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The 86th Annual Academy Awards® in Perfect Harmony with DPA Microphones


Prestigious Award Show’s Orchestra Mixer and Orchestra Setup Coordinator relied on the company’s d:dicate™ 4011 and d:vote™ 4099

LOS ANGELES, MARCH 5, 2014 – As all eyes were fixated on the actors who graced the stage of the 86th Annual Academy Awards® at the Dolby Theatre® on Sunday night, audience’s ears were tuned to the musical accompaniments of the show’s orchestra, which performed remotely from Capitol Records. Since the piano was positioned among the noisy percussion instruments, the show’s Orchestra Mixer and Orchestra Setup Coordinator needed a way to isolate its sound. To accomplish this for the piano, the duo used a combination of DPA Microphones’ d:dicate™ 4011A Cardioid Microphones and d:vote™ 4099 Instrument Microphones. He also positioned a pair of d:dicate 4011E Hanging Microphones for the orchestra’s drum kit.

By using the unique combination of d:dicate 4011As and d:vote 4099s, the duo was able to close the lid of the Steinway Grand Piano, giving live and television audience members a full appreciation of the pristine instrument’s sound during the different presenters entrances, transitions and other musical performances throughout the event. An additional pair of d:dicate 4011Es were also applied as overheads for the drums, which allowed them to pick up the full ambiance of the kit.

“There’s a large orchestra and rhythm section, with percussion, so we wanted to isolate the piano in order to get a really good sound,” explains Orchestra Setup Coordinator Dan Vicari. “We’ve been using DPA’s microphones during the Oscars® for years, so we knew that this setup would give us really great sound. The mics truly help us get the perfect sound without a lot of other noise coming in, which is often hard to do on a piano.”

Orchestra Mixer Tommy Vicari echoes his brother’s sentiments. “Since we wanted to put the mics inside the piano and close the top, we needed broad microphones that provide brightness to the sound,” he says. “Usually when you dampen the piano by closing the top, the sound of the instrument becomes dulled. Since I had brass blowing toward the piano, and the strings coming the other way, I needed to shelter the piano. By using the DPA d:dicate and d:vote mics, we were able to get the clarity from the piano that we were looking to achieve, while still protecting the sound from outside noise.”

With the added difficulty of performing from a remote location, outside of the theater, the Vicari brothers also needed microphones with audio quality that could hold up to the transmission of the sound. This was necessary in order to still provide the feeling of hearing live music in the venue.

“We were thinking of using either the d:vote or d:dicate, but we ultimately decided that the combination sounded the best for what we were looking to achieve,” explains Dan.

“I always pick my mics based on the instrument, because I want the orchestra to sound as perfect as possible,” adds Tommy. “I usually use a variety of applications, techniques and mic positions, but choosing the right mic is key to any live event, recording or broadcast. In this situation, using both the d:dicates and d:votes was the ideal solution.”

DPA’s microphones are world-renowned for providing an ultimate sound in broadcast, recording and live applications. With its state-of-the-art components that have been carefully selected to provide optimal neutrality, accuracy and exceptionally low distortion, d:dicate Recording Microphones have a directional quality that is perfect for isolating sound. More natural-sounding than any other internal microphone or pickup, the d:vote Instrument Microphones reject unwanted noise, which allow it to accurately capture the true voice of acoustic instruments, such as a grand piano.

Each audio professionals in their own right, the Vicari brothers have been working on the Oscars for more than a decade. A live sound engineer by trade, Dan also owns LAFX Recording Services, an audio equipment rental company for major recording studios. An award-winning sound mixer/engineer/producer, Tommy has worked on such major motion pictures as Wall-E, The Help and Iron Man 2.

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

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Masque Sound Provides Audio Feast for Interactive Theatrical Dinner Experience, Queen of the Night

Install Part of $20 Million Renovation to New York’s Diamond Horseshoe at the Paramount Hotel

NEW YORK, FEBRUARY 27, 2014 – Masque Sound, a leading theatrical sound reinforcement, installation and design company, was called upon by Co-Sound Designers Charles Coes and Darron L West to provide the house sound system for the new immersive, theatrical dinner experience, Queen of the Night, at the newly renovated Diamond Horseshoe at The Paramount Hotel. The limited run officially opened to rave reviews on February 2, 2014.

Queen of the Night is a fusion of performance, music, circus, cuisine, design and nightlife that welcomes the audience into a wholly interactive entertainment experience. From 1938 to 1951, Billy Rose’s Diamond Horseshoe operated in the basement of the Paramount. Known for its vaudeville-style revues, the club featured the day’s top entertainers and even inspired a 1940s movie musical. Seventy-five years after the club first opened, and following a $20 million renovation, Diamond Horseshoe is a prime midtown nightlife destination and venue for environmental theatrical experiences, events and other unique programming overseen by Variety Worldwide, LLC and LDV Hospitality. The 6,000-square-foot ballroom features two bars, a brand new kitchen, banquet style tables and various private rooms.

Queen of the Night is very heavy in terms of audio playback and takes place in numerous rooms. Because of these factors, the sound designers turned to Masque Sound to provide a solution that would allow them to walk into any room with a tablet or computer, and be able to adjust the audio levels, so that they could define the very specific sound that they were looking for.

In consultation with Masque Sound, Coes and West put together a Dante digital sound network that allows them the ability to control anything in the space and send audio to anywhere within the space. “Because we are covering more than 20 individual rooms with more than 48-channels of playback and 36-channels of control beyond that playback, we felt the Dante system was the best option to achieve our goal,” says Coes. “With the Dante network, we can send instructions to any individual speaker in the entire venue through a combination of console, DME and QLab.

Considering Masque Sound’s superb track record, it comes as no surprise that the company was extremely helpful and knowledgeable in addressing the unique requirements of this interactive show. Because we had the support of a shop with such a large resource pool, we were able, as a sound department, to turn things around in one day.”

Dante is a combination of software, hardware and network protocols that deliver uncompressed, multi-channel, low-latency digital audio over a standard Ethernet network. In addition to the Dante network, the main room is made up entirely of NEXO sound system combinations, which is starting to generate a lot of interest within the New York sound reinforcement community. The room features GEO mains with PS10 and PS8 fills, and surround using NXamp 4×1 and RS 18s. The signal flow is entirely digital, from playback to amplifier, all using the Dante standard. This allowed Coes and West to be able to use the network and send audio straight from their computers to the console for the mix, making it very easy to direct signal.

“We have been through a lot of changes in what the soundtracks are and what the acts are,” adds Coes. “It has been a long developmental process but one that really started to gel and come together in the preview process, and Masque Sound was once again, incredibly supportive. Scott Kalata on the business side and the shop staff were extremely helpful in quickly finding solutions to problems as new things came up. The only real restriction on what we could achieve was how quickly we could turn our ideas into reality.”

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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Sound Devices Takes Home Cinema Audio Society’s Technical Achievement Award

REEDSBURG, WI, FEBRUARY 25, 2014 – Sound Devices, specialists in portable audio and video products for field production, is pleased to announce that its 633 Production Mixer has earned the prestigious Cinema Audio Society (CAS) Technical Achievement Award in the production category.

The CAS Technical Achievement Awards recognize innovations in recording technologies, including hardware and software products that are used by sound mixing professionals. Sound Devices has now been a recipient of the CAS Technical Achievement Award four times. The 744T and 788T Production Recorders, and the 664 Field Production Mixer are past winners.

“To be consistently recognized for our new products with CAS Technical Achievement Awards is an outstanding accomplishment,” says Matt Anderson, President of Sound Devices. “At Sound Devices, we continue to push the boundaries by presenting high-quality, innovative tools that really make a difference in the workflow of our customers. Having the Cinema Audio Society behind us reaffirms the positive impact that our product development goals have within the industry.”

Sound Devices 633 mixer/recorder features six inputs, with three high-bandwidth mic/line XLR inputs complete with phantom power, high-pass filter, input limiter and variable pan. Three additional line-level inputs appear on TA3 (mini-XLR) connectors. All inputs are assignable to any output bus. AES digital I/O, including support for AES42 digital microphones, is available.

The 633 offers 10-track 24-bit, 48 kHz uncompressed polyphonic or monophonic broadcast WAV file recording (96 kHz for eight tracks, 192 kHz for six tracks) or timecode stamped MP3 recording to CompactFlash and/or SD cards. All six inputs plus Left/Right and Aux 1/2, can be recorded to individual tracks. Similar to Sound Devices’ 12-input 664 Production Mixer, the 633 offers dual card slots that record to either one or both cards simultaneously, with the added ability to assign different tracks to each memory card.

Unique to the industry, the 633 is equipped with a four-way power supply and Sound Devices’ proprietary PowerSafe technology. This four-way powering allows for multiple, simultaneous power sources including external DC on a Hirose 4-pin locking (12-18 V), two removable and independent L-type Lithium-ion batteries and internal AA battery powering (six-AA). The unit detects when power sources are removed and seamlessly transitions to an available power source. With its PowerSafe circuitry, when all power is removed the unit remains on for 10 seconds to close all file operations and properly shut down. With PowerSafe, a complete power loss has no effect on the recording. PowerSafe also provides two-second ‘power-on-to-recording’ so the mixer is ready for operation at a moment’s notice.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

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DPA Microphones Turns the Beat Around for Gloria Estefan

Musician’s monitor engineer uses more than 20 DPA mics to accommodate the natural sound of the live instruments used for her orchestra-based performances

MIAMI, FEBRUARY 25, 2014 ― When seven-time Grammy® winner Gloria Estefan belts it out during a live performance, her ear is trained to pick up on any imperfections. That’s why her long-time monitor engineer, Craig Melvin, relies on the precision of DPA Microphones to eliminate noise and capture the natural sound of the live instruments used during Estefan’s orchestra-based performances. To meet these audio requirements, Melvin depends on a combination of DPA 4023 Compact Cardioid Microphones, d:screet™ 4061 Miniature Omnidirectional Microphones, d:vote™ 4099 Instrument Microphones and d:dicate™ 4011 Cardioid Microphones.

Melvin has employed the d:dicate 4011s for years in a rock music setting, but until recently, had not considered using them as orchestra mics. After hearing a live orchestra performance that had incredible sound, and discovered that DPA mics were behind the excellent audio.

He knew instantly that he had found the string mic for which he was looking. “DPA Microphones didn’t originally cross my mind when I was looking for a replacement string microphone,” recalls Melvin. “Then, my ears were opened to the possibilities of these mics. Orchestra miking is a different animal. It doesn’t have as much close miking as you find in rock music. Once Eric Schilling (recording engineer for Estefan) and I heard the DPAs used for the violins, there was no going back to anything else. Add to that the benefits of all of the mounting hardware and it was a no brainer.”

As for Estefan’s opinion of the mics, Melvin says, “Gloria is not only an accomplished singer, but a great musician as well, so she picks up on subtleties in her audio. I’m responsible for what she hears in her ear monitors. She knows how things should sound and she can detect any compression artifacts immediately. She’s got a great ear and, having just finished recording her Standards with an orchestra in a studio setting, I appreciated hearing her positive comments about the live sound we achieved with the DPA mics.”

Shortly after personally purchasing a supply of DPA Microphones to bring on the road during Estefan’s promotional tour, Melvin knew he wanted to add more to his collection. He found himself admiring the DPA d:vote with the magnetic mounts for the Steinway grand piano, which he complimented with a DPA d:screet 4061 in the hole. As that worked out very well, Melvin was ready to add more DPAs to his setup.

“DPA Microphones are solid workhorses, so much more consistent than some other microphones that we had used,” explains Melvin. “Our thought process was, if DPA is making mics for strings, then those are the mics we need. It was that simple. We did a couple of the orchestra gigs and that’s when I purchased all the DPA mics. I wanted to have that consistency for all the shows going forward.”

Now, with an inventory that features a variety of DPA Microphones, Melvin is always ready to experiment with different combinations to find the best sound possible. “We did a show with the DPA d:vote 4099 on the Steinway grand piano and kept the d:screet 4061 in the hole. I was amazed at how great that sounded,” he notes. “The d:vote works great for the Steinway, and the magnetic mounts make it so easy.”

The d:vote mounting hardware for the violins, violas and cellos allow the musicians to easily adjust the positioning on their own to meet their comfort and bowing needs without compromising the sound during a performance. Included in Melvin’s microphone collection is the d:dicate 4011, which is ideal for close miking instruments in a live performance or studio setting. This provides for accuracy, uniform off-axis response and low distortion of the natural sound. Melvin currently relies on the 4011 for flutes and saxophones.

Even today, Melvin considers adding more DPA Microphones to assist his monitoring needs, with his eye on the drums next. “I was thinking about picking up a couple of d:vote mounts for drums,” he adds. “I’ve heard people say how well they work for toms and hand drums. I used the original version of the 4011s with the 4003 Omni Microphone early in my career with Gloria for the kick and snare drums. We did a show a while back where it was just a pair of 4003s on the drums with a separate kick mic, and it was perfect for that jazz style.”

Estefan recently released her 23rd studio album, The Standards, which received a Grammy® nomination for Best Traditional Pop Vocal Album. In addition to her musical career, Estefan is an actress and entrepreneur. She co-owns multiple restaurants and hotels in Miami with her husband, Emilio Estefan. The Latin crossover artist is currently in pre-production for an autobiographical Broadway show.

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

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RTW LQL Software Now Shipping Worldwide

RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, is pleased to announce that it is now shipping worldwide the new LQL – Loudness Quality Logger software.

Developed for logging, true-peak data analysis and reporting, the LQL is compatible with the TM7, TMR7 and TM9 TouchMonitor line of products running with Logging Data Server license (SW20014). The LQL is a natural extension of RTW’s range of innovative software options for the 7- and 9-inch line of TouchMonitor audio meters.

Once activated, LQL enables measured Loudness and TruePeak data to be derived directly via an IP-connection from a capable TouchMonitor audio meter, as well as from external storage media such as a USB stick. The software also includes dual limit weighting, status information, marker and various other reporting features. The new PC software is free of charge to users; however the SW20014 Logging Data Server license is required to enable a TM7, TMR7 or TM9 series meter to be compatible with data export and additional display functions.

The TM7 and TM9 series TouchMonitors, which include the innovative Magic LRA instrument, feature a 7- and 9-inch touch-sensitive display, respectively, and provide unparalleled flexibility and modularity, combined with intuitive control. The software visualizes multiple sources simultaneously. Both support displaying the same signal on multiple instruments in parallel, each with dedicated defaults with both horizontal and vertical operation. TM7 visualizes up to 40 sources at the same time, while the TM9 visualizes up to 48 and the TMR7, specifically designed for radio broadcasting, visualizes up to four.

Various audio interfaces and combinations are available i.e. analog, AES3, AES3id or 3G-SDI. RTW’s entire TouchMonitor range was created to help adhere to all major industry loudness standards, including EBU R128, ITU BS.1770-3/1771-1, ATSC A/85 and ARIB.

About RTW
RTW, based in Cologne (Germany), has more than 45 years of experience in designing, producing, and marketing advanced recording-studio systems. The company focuses its business on professional audio signal metering tools that are in use in the leading recording studios as well as by radio and TV broadcasters worldwide. The current product portfolio highlights the TouchMonitor range, a new series of tools for visual signal analysis and comprehensive loudness metering. The TouchMonitor combines the highest of flexibility and modularity with an intuitive user interface and touchscreen-based multichannel-analysis features, integrating exceptional surround-signal visualization using the unique and groundbreaking Surround Sound Analyzer. The high-end SurroundControl series of products with fully fledged loudness measuring combines the convenient metering options of the RTW surround display devices and the control functions of an eight-channel monitoring controller.

For more information, visit
www.rtw.de
www.rtw.com
www.facebook.com/rtw.de
or call +49 (0) 221 709130.

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SSL Builds Asian Live Console Distribution Network

Solid State Logic is pleased to welcome DMT in Hong Kong and Beijing and Stage Craft International in Manila, Philippines to its commercial distribution partners for the SSL Live console. The company also announces that distribution for Singapore will be processed through the SSL Singapore office.

“DMT has been an exclusive distributor for SSL in the greater China and Hong Kong territory for nearly 20 years now,” says Chris Fish, technical director of DMT. “By catering to the professional broadcast, music and post production markets, we have forged a very close working relationship with SSL and have worked hard to expand our operation to serve the live and installation markets. The SSL Live represents an exciting new opportunity for us in this field and perfectly complements our existing high-end live companies. After the recent SSL Live distributor training event at our Hong Kong headquarters, we found that everyone is getting very positive feedback from prospective clients, especially with regards to sound quality and flexibility.”

“Stage Craft International has a long and proud track record in the professional light and sound industry and at broadcast studios, houses of worship and live venues across the Philippines,” says Shiela Petalio, senior sales manager for Stage Craft International. “We have continuously been closely associated with the leading brands in the world, and SSL is the best in this field. Our specialists have been trained by SSL in the operation and service of the Live desk, and we can’t wait to show it to our customers. There is already so much interest.”

“SSL Singapore has been part of the SSL network for some 25 years, and I was pleased to join them this year to help co-ordinate and market the SSL Live desk,” says Dominic Koh, sales and marketing manager, SSL Singapore. “I’ve spent my career in the live music industry both as an engineer and commercially, and I think that the SSL Live desk is stunning in sound and flexibility. We have already received many requests from across the region from people keen to try it for themselves. I’m looking forward to taking our demo system on the road in 2014.”

“China and South East Asia represent an important and growing market for Solid State Logic,” says Anthony Gofton, Sales Manager, Solid State Logic. “The live music scene in this region is vibrant and very healthy, and we look forward to being an increasingly important part of that. We are pleased to announce that we have a growing network of distributors for the Live desk throughout Asia, each with demo console(s) and trained personnel on site. We will host events across the region throughout 2014 and will be showing the console at many trade shows, seminars and concerts. This way, everyone will have the opportunity to see and hear the SSL Live console for themselves. Each distributor represents the best in professional audio products and services in their region, and I am pleased and proud to work closely with them.”

www.solidstatelogic.com/live
www.dmtpro.com
www.stagecraftintl.com

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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Masque Sound Takes Flight With Peter and the Starcatcher

When PETER AND THE STARCATCHER, the five-time Tony
Award®-winning musical play written by Tony® Award-nominee Rick Elice and directed by Tony® Award-winner Roger Rees and Tony® Award-nominee Alex Timbers, set out on its first U.S. national tour Masque Sound, a leading theatrical sound reinforcement, installation and design company, was along for the ride with a custom audio equipment package to help bring Designer Darron L West’s Tony® Award-winning sound design alive.

PETER AND THE STARCATCHER, a grown up’s prequel to Peter Pan, is the innovative and imaginative musical play based on the best-selling novel by Dave Barry and Ridley Pearson. A company of a dozen actors play more than a hundred unforgettable characters, all on a journey to answer the century-old question: How did Peter Pan become The Boy Who Never Grew Up? This epic origin story of popular culture’s most enduring and beloved character proves that your imagination is the most captivating place in the world.

Both West and Masque Sound have been involved in the play from its original production at NY Theatre Workshop to its successful run on Broadway, as well as its post-Broadway run at New World Stages, so collaborating on the tour together was a natural fit.

“I depend on Masque Sound to provide me with the gear I need for my shows, so when the PETER AND THE STARCATCHER tour became official, there was no doubt that it was going to be the shop I called on to take the show on the road,” says West. “When a problem arises that needs to be solved, there is never a moment that I feel like I can’t call on Masque Sound to provide a solution, equipment recommendations, etc. Scott Kalata at Masque Sound has been great to us since the very beginning.”

West’s goal for PETER AND THE STARCATCHER was to try to create and preserve a simple and minimally invasive design. “We wanted the play to feel like it was an old Victorian show, so we thought a lot about our microphone choices and speaker positions,” he says. “The show features two musicians and ‘musicians towers’ in direct view of the audience, and we designed the system to sound as though the audio was coming from these points, since the musicians are crucial to how the show is received by the audience. We utilized our surround sound capabilities through a story-driven approach, and we really tried to keep the audio as centralized around the sound effects and music that those musicians were creating.”

In order to create the atmosphere that West was looking for on the tour, Masque Sound provided a DiGiCo SD10 digital console. The SD10 is a super-flexible, complete integrated system powered by Stealth Digital Processing and floating point Super FPGA technology. According to West, “There is a lot of really intricate reverb work that happens in the show that is really being driven by the SD10. The SD10 works incredibly well with the theatre software we are using and is crucial to the show’s success.”

Additional equipment provided by Masque Sound includes both Meyer Sound and D&B speaker rigs, as well as wireless gear from Sennheiser.

Putting together a traveling production is not without its challenges and West credits Masque Sound as well as his associate Charles Coes for helping to pull it all together. “We really needed to figure out the amount of gear we needed and how to set it up for 22 different sized venues for a show of this magnitude,” concludes West. “Masque Sound has a great crew at the shop and we really depend on them to bounce ideas off of and to figure out exactly how to put on a production of this size. Between Masque Sound and the Proof crew who built the towers, we couldn’t believe how incredible it worked. Charles did an amazing job in designing the tower and putting it all together.”

Tour dates and additional show information can be found at www.peterandthestarcatcher.com.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “MAMMA MIA!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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Professional Wireless Systems (PWS) Teams Up with ATK Audiotek and the NFL to Deliver Fumble Free RF Coordination for Super Bowl XLVIII

For the 18th consecutive year, Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, teamed up with ATK Audiotek and Versacom to deliver interference-free RF management for its portion of the Super Bowl XLVIII at MetLife Stadium in New Jersey, which included expert on-site frequency management for pre-game and halftime entertainment, as well as several referee microphones.

Preparation for the big game started back in mid-October when PWS General Manager Jim Van Winkle, Brooks Schroeder, lead RF coordinator working with PWS, and Matt Campisi from Versacom met at the stadium with ATK Audiotek’s Paul Liszewski to determine the staffing requirements and locations for the equipment— RF and intercom racks, antennas, cables etc. In addition, Van Winkle worked closely with ATK Audiotek General Manager Brett Valasek in regards to the detailed equipment list for the event.

PWS submitted a list of frequency requirements to the NFL Game Day Frequency Coordinators (GDC) who handled the frequency coordination for the entire event, including coaches’ intercoms, referee mics, network broadcasters, media and entertainment. Karl Voss, the NFL’s lead frequency coordinator, in turn allocated the frequencies PWS needed to seamlessly integrate the entertainment needs with all the other users at the Super Bowl. PWS’ expert on-site team of Schroeder, John Garrido and Mike Ward handled over 80 frequencies to ensure that spectrum users were not interfering with each other during the game’s entertainment segments.

“Karl Voss is the protector of all frequencies for the Super Bowl and does an amazing job in keeping things moving smoothly in what is an unbelievably complex event,” says Van Winkle. “We greatly appreciate Karl’s hard-work, and the entire NFL game day RF coordination program, in accommodating our needs for the big game.”

This year, PWS handled frequencies for Renee Fleming who sang the National Anthem, Queen Latifah who sang America the Beautiful, and all eight microphones and eight in-ear microphones for the half-time show, which featured Bruno Mars and Red Hot Chili Peppers. In addition, PWS managed frequencies for two referee mics, each equipped with two frequencies.

PWS utilized the Shure AXIENT wireless system due to its ability to provide automatic, fail-over protection via a built-in backup frequency as well as Shure UHF-Rs and PSM-1000 Series in-ear microphones. The team also employed 3732 receivers with 5200 transmitters, along with a range of wireless gear from Sennheiser. Versacom provided a mixture of wireless intercoms, including HME PRO850 and BTR800s from Telex, for the event. PWS’ Domed Helical Antenna was also on-site. In addition, a combination of Domed Helicals and original PWS Helicals were used for the ATK wireless systems on the field.
For more information about Professional Wireless Systems, visit http://www.professionalwireless.com.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “MAMMA MIA!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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Masque Sound Turns Up the Volume for Touring Production of Musical Sensation, Rock of Ages

When the touring production of the hilarious, five-time Tony® Award-nominated 80’s musical Rock of Ages hit the road to rock its way across America for a third season, Masque Sound, a leading theatrical sound reinforcement, installation and design company, went along for the ride, supplying a custom audio equipment package to support Sound Designer Craig Cassidy and his team.

Set in 1987 on Hollywood’s famed Sunset Strip, Rock of Ages tells the story of a small town girl who meets a big city rocker at Los Angeles’ most famous rock club, The Bourbon Room. This arena-rock love story is told through the mind blowing, face-melting hits of the greatest bands of the 80’s including, Journey, Night Ranger, Styx, REO Speedwagon, Pat Benatar, Twisted Sister, Poison, Asia, Whitesnake, Bon Jovi and more.

Recreating the heavy, arena-rocking sound that defined the big hair 80’s with a PA system that would be able to move in and out of the theatres quickly enough for the tour’s rigorous schedule was Cassidy’s biggest challenge in designing the sound. To make this happen, Cassidy collaborated with the team at Masque Sound.

“Gary Stocker at Masque Sound was instrumental in creating a tower design that would provide us with the flexibility and sound we needed for the production,” says Cassidy. “Getting the SPL of a rock concert without having the cast run around with handhelds all night long is not an easy task — Masque Sound’s support and technical services played a big part in pulling it off.”

In order to create the hard-rock sound Cassidy envisioned, Masque Sound provided a DiGiCo SD 10 Digital Console for the front of house and a DiGiCo SD 8 at the monitor console. A line array featuring Meyer Sound MICA compact high-powered curvilinear loudspeakers and Meyer Sound 600 HP subwoofers were incorporated into the towers. Masque Sound also provided the production with Sennheiser 5212 transmitters, matching 1046 receivers and coupled them with DPA 4066 omnidirectional headset mics. In addition, Masque Sound supplied its expert frequency coordination services for the over 30 channels of wireless that are being used for the show.

“I have enjoyed a long relationship with Masque Sound, and it is my shop of choice,” adds Cassidy. “I can really lean on the staff’s expertise in a lot of areas. If I run into any problems, they always have someone there who can solve it for me. They are really top notch.”

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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Related Topics: Microphones |

Hi-Tech Audio Joins Solid State Logic’s U.S. Live Console Partner Network

HAYWARD, CALIFORNIA – Solid State Logic is continuing to add to its U.S. reseller network for SSL Live consoles with the appointment of Hi-Tech Audio. Headquartered in Hayward, California, the company has been providing professional audio rental, sales and services for everything from houses of worship across the U.S. to concert tours and music festivals around the world.

Pictured Left to Right: Louis Adamo, President of Hi-Tech, and Sidney Wilson, Hi-Tech Sales

“SSL is a name synonymous with the highest quality of audio recording control,” says Louis Adamo, President of Hi-Tech Audio. “Now that the company has turned its attention to live sound, Hi-Tech Audio is honored to help introduce SSL’s first live sound console, SSL Live. Hi-Tech Audio specializes in the world’s top live-sound consoles and we are looking forward to showing the SSL LIVE to live sound production companies, houses of worship, theaters and venues across the U.S. There will be some big fun in using this console!”

“We knew Hi-Tech was a company that we wanted onboard with SSL Live from the start,” says Jay Easley, SSL’s Vice President of Live Consoles in the Americas. “The company’s long history of experience with console technology and reputation of laudable customer service makes this partnership exactly what we wanted as part of the SSL Live family.”

www.solidstatelogic.com/live
www.hi-techaudio.com

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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