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Archive by Vanessa Sanchez

Masque Sound Takes Lincoln Center Theater Audiences on a Sonic Tour of New York City in Moss Hart’s Autobiographical Play, Act One

NEW YORK, APRIL 16, 2014 – Masque Sound, a leading theatrical sound reinforcement, installation and design company, returned to the Vivian Beaumont Theater at Lincoln Center to support Sound Designer Dan Moses Schreier with a dynamic custom audio equipment package for Lincoln Center Theater’s newest production, Act One.

In Act One, James Lapine directs his own adaptation of Moss Hart’s classic autobiography, which chronicles the legendary playwright and theater director’s struggle to escape poverty and forge a career in theater. This led to his collaboration with George S. Kaufman, and culminated in his first great success, Once in a Lifetime.

Schreier’s biggest challenge in designing the sound was dealing with the acoustics of the theater itself. “The Vivian Beaumont Theater is notorious for requiring special acoustic systems, since there is no natural reverb in the room,” says Schreier. “When the theater was constructed it was built with traps all the way around the back wall of the auditorium, which gives the effect of an acoustically dead space. Technologies have evolved so much since the theater opened in 1965, however, that it is now possible to make the room feel alive.”

Part of the aesthetic of Act One is driven by the set design, as it features a three-story structure built on an 80-foot revolving turntable. Each part of the turntable highlights a different New York City locale throughout the play. “It’s very monumental, it’s very theatrical and it’s a very beautiful structure,” adds Schreier. “All of the sound effects were driven by the look and the movement of this turntable, which signifies that specific time period of Moss Hart’s life. In addition, every time it spins, you get a different sonic picture of New York City — sometimes it’s the subway, other times the street or a playground. The idea behind the sound design was to create a sonic version of New York City. With Masque Sound’s help, I think we did a wonderful job.”

Another key component of the sound design was the use of Yamaha’s DME 64 Programmable DSP Engine. “I worked very closely with my Associate Sound Designer Joshua Reid to create nine different zones that all have different timings to help with the architecture of the space,” says Schreier. “Because of the theater’s shape, a third of the audience is always looking at the back of an actor. A big part of the sound design was to compensate for this, which is why we created these different time zones based on the actor’s locations on the set.”

In order to achieve the sound he was looking for, Schreier chose the Yamaha CL-5 digital mixing console. With a three-section fader layout for efficient hands-on control, the CL-5 is an ideal choice for a diverse spectrum of live sound systems, giving Schreier exactly what he needed. He utilized 12 discreet outputs of the console going to various areas of the theater in order to provide real sound effects, such as the sound of the subway moving across the back wall of the theater at the same time as dogs barking upstage. This added real depth and three dimensions to the design.

For his PA, Schreier thought a lot about what speakers would be right for the space. “The Vivian Beaumont Theater seats like a coliseum with a three-quarter fan shape,” he continues. “There was one speaker in particular, the d&b audiotechnik E12-D, that I thought would solve the problem of the theater very elegantly, and it did. The coverage is smooth and it’s amazing how well the speakers work. I think the sound reinforcement part of the design sounds quite fantastic and I really have to thank Masque Sound for that, because they had to purchase this particular model for this production.”

Schreier chose the d&b E12-D for its rotatable horn, as it provides a very wide dispersion. By rotating the horns up and down, he was able to cover the theater almost entirely with one cabinet, thus eliminating the need for an array. Masque Sound also provided d&b Q-subs as well as Meyer Sound M1Ds for the rear orchestra fill and balcony delay ring. In addition, Schreier also utilized the Beaumont Theater’s Qin-house PA system for some of the sound effects when he wanted to envelop the audience.

Act One opened on Thursday, April 17 at the Vivian Beaumont Theater. The show features a cast of 22 including Tony nominees Tony Shalhoub and Santino Fontana and Tony Award-winner Andrea Martin. The limited engagement is currently scheduled to run through June 15, 2014.

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.

Leading Italian Hire Company AGORA Adds SSL Live to its Console Portfolio

“The sound quality reminded me of the high level analogue sound that I was used to”

ROME – AGORA, the leading Italian rental company, has purchased an SSL Live console to support the local and international music, sports and corporate events that it serves. In the nearly 25 years that it has been in business, AGORA has become the standard for the tours of top Italian artists, such as Andrea Bocelli, Laura Pausini, Ligabue and Tiziano Ferro, as well as high-profile international events, such as Carlos Santana, Red Hot Chilli Peppers and Elton John, the Live 8 concert and the opening and closing ceremonies of the 2006 and 2014 Winter Games in Turin and Sochi.

AGORA’s Live console has already hit the road with one major client, Italian blues singer Mario Biondi, whose front of house engineer, Piefrancesco “Hugo” Tempesta, has been using it on tour for almost two months and has been extremely happy with the results. “Before I decided to use the SSL Live on tour, I did a simple but efficient test,” says Tempesta. “I used one channel and carefully listened to the performance of the mic pre, summing and overall sound quality, which reminded me of the high level analogue sound that I was used to. I had no doubt in my mind that this was the console for me, and I feel very confident in my choice.”

It wasn’t just the sound quality that drew Tempesta to the SSL Live, but also the user-friendly interface, which he says is well-designed and intuitive. Another key feature for him is SSL’s Blacklight II high bandwidth multiplexed MADI, which transports several MADI ports on a single fibre connection.

Wolfgango and Vittorio De Amicis, brothers and co-owners of AGORA added their own comment regarding their addition of SSL Live to their hire portfolio. “AGORA usually invests with major players in the industry and of course SSL is one of them, even if it has just joined the live touring market. We expect that SSL’s reputation will follow the company into the live space and make Live a leading contender in the market.”

www.solidstatelogic.com/live
www.agoraaq.it

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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SSL Live Console on the Road with Flogging Molly’s GREEN 17 TOUR

“Bar none, it’s the best digital console on the market”

LOS ANGELES - When an analogue stalwart front-of-house engineer who’s known to eschew digital consoles finally finds one that meets his standards it’s a milestone. Flogging Molly is named for their inauspicious start playing Molly Malone’s Pub in Los Angeles Monday nights in the Nineties. The seven-piece Irish/American, punk/folk ensemble is a rock band with traditional Irish instruments, fronted by Dave King on acoustic guitar and Bridget Regan on fiddle, with electric guitar, bass drums, accordion and banjo. An SSL Live console, supplied by VER Tour Sound, the latest addition to SSL’s Live partner network, was deployed at front of house for the group’s 10th Annual GREEN 17 TOUR, the band’s countdown to St. Patrick’s Day. Stopping at 27 cities, the tour started at Atlanta’s Tabernacle and ended five weeks later at New Orleans’ House of Blues.

FOH engineer Kevin Lemoine describes the touras “theaters and larger clubs, like the House of Blues, with loudspeakers ranging from a very nice d&b J-series outside <where everything is pristine and clean, all the way down to 15-year-old EV boxes.”

Lemoine has mixed Green Day for 13 years and is known for carrying an analogue console during most of his tours. He has mixed a number of other well-known acts, including Sugar Ray, Buck Owens, the Luna Chicks, Iggy Pop, Ice-T, Jane’s Addiction, The Black Crowes and The Reverend Horton Heat, among others.

VER’s Jason Vrobel has worked Green Day shows with Lemoine since 2004 as crew chief and system engineer. “I’ve known Kevin for a very long time,” Vrobel states. “He’s always been anti-digital. Always uses analogue as much as he possibly can. Anytime there’s analogue/digital situation, it wasn’t his choice. This was the first time he was extremely happy.”

“I didn’t have any time on the SSL Live before we went out on tour,” says Lemoine. “Back at VER, Jason programmed the inputs, effects sends and returns, groups, basically assigning the whole console before the tour. So no training, a little bit of YouTube searching about how things work, how it was set up, how it operated, but the rest of it was hands-on right there. It’s not a very difficult console to get around on.”

SSL Live is designed to provide a flexible workflow with several operational approaches, combining a large multi-touch daylight screen, with a second channel control screen surrounded by dedicated encoders, and up to three five-layered, 12-channel fader tiles plus, under the hood, there’s abundant, adaptable bus architecture. “The first day, was a little nerve-wracking because I was just learning the console,” says Lemoine. “Second day, I got a little deeper into what was available on each input; compressors, limiters, gates and how things worked. For the stuff that you use every day, it’s laid out pretty well. The sound was great on the first day and throughout the tour, I just refined the great sound.”

“There are two schools of thought from a FOH perspective,” continues Lemoine. “Pretty much, it boils down to digital versus analogue consoles. To my ear, and to most of my friends’ ears, analogue consoles sound the best, but the one negative factor is transport, size, weight and all that stuff. On the other hand, you have the digital realm where the console is small, light and easy to pack around, but their sound is usually kind of inept, I think. The features are there, but in the end, the sound isn’t really what you’re looking for. So now, you have this SSL Live, which seems to be in its own realm. It’s a small digital console, easy to pack around and fits into any venue, but it doesn’t sound like a digital console, it sounds like an analogue console. It’s very pleasing to the ear.

“It’s a very wide sound stage,” adds Lemoine. “A lot of consoles don’t go that wide. It’s nice to hear your drummer’s toms go from left to right and hear a true stereo image on your cymbals. It’s definitely a wide sound stage. Bar none, it’s the best digital console on the market. I have no doubt in my mind. I really like Live’s mic pres, they’re pretty amazing.”

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

Barry Manilow and Bruce Sussman’s Harmony – A New Musical Captivates Los Angeles Audiences with Stellar Sound System from Masque Sound

Custom Audio Equipment Package Includes New Sennheiser Digital 9000 Wireless System

LOS ANGELES, APRIL 9, 2014 — When Sound Designers David Patridge and John Shivers returned for the second run of Barry Manilow and Bruce Sussman’s Harmony – A New Musical, they once again turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a new custom audio equipment package. The show’s Los Angeles production at the Center Theatre Group’s Ahmanson Theatre marks the second time the duo was personally chosen by Manilow and Sussman to create the sound design — and while the story remains the same, the sound design was completely different.

Harmony recounts the true story of the Comedian Harmonists, six talented young men who in 1920s Germany took the world by storm with their signature blend of sophisticated close harmonies and uproarious stage antics. The Comedian Harmonists sold millions of records, starred in dozens of films and packed the most prestigious concert halls around the globe until the world they knew forever changed with the commencement of World War II.

“After the Atlanta run [of Harmony] came to an end, the equipment we used went back into Masque Sound’s shop and we rebuilt the entire show for this second run in Los Angeles,” says Patridge. “Every theatre and venue is a challenge of its own. One of the obstacles was the theatre’s size, as the Ahmanson is a much bigger theatre than Atlanta. You can’t cookie cutter these things and they have to be morphed into whatever works for the architecture. Masque Sound did an excellent job accommodating our needs.”

Masque Sound provided the designers with a DiGiCo SD10T digital console, which not only provides the flexibility they were looking for but also comes complete with a software package that is designed specifically for the theatrical market. In addition, the show has a completely new PA design featuring L-Acoustics dv-DOSC speaker arrays built from scratch via Masque Sound’s inventory. The dv-DOSC delivers powerful, cost-effective coverage in a compact profile making it ideal for the designers’ needs.

Masque Sound also supplied a demo system of the Sennheiser Digital 9000 Wireless System featuring eight 9000 series radios. The Sennheiser Digital 9000 system was developed for all professional users who are unwilling to compromise on sound. Its unique uncompressed digital audio transmission offers artifact-free sound with great dynamics. The Sennheiser Digital 9000 wireless system not only delivers a unique sound quality but also lets its professional users experience a whole new kind of flexibility.

“With the Sennheiser 9000 series you can use a built-in software feature in the receiver rack, which will scan and allocate available frequencies,” adds Patridge. “Theoretically, you should no longer need the extra steps of doing an RF scan of the venue in advance or an intermodulation study. The 9000 series takes the hit or miss of pre-programming completely out of the equation. Masque Sound not only provided us with this impressive demo equipment, but they also set up an on-site visit with a Sennheiser tech who demonstrated the use and features of the new system. There is no question that the 9000 series will prove very valuable with a more and more crowded RF spectrum and sonically, they are great.”

Directed by Drama Desk Award-nominee Tony Speciale (Classic Stage Company’s Unnatural Acts, A Midsummer Night’s Dream), Harmony officially opened at the Center Theatre Group’s Ahmanson Theatre in Los Angeles on March 4 and is slated to run through April 13, 2014.

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) Names Evan Hall Project Manager

ORLANDO, FL, APRIL 7, 2014 — Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, is pleased to announce that Evan Hall has been hired as project manager. Hall will oversee and coordinate frequencies for a variety of PWS events that require the expert frequency coordination and management needed in today’s congested RF landscape. He will be an integral part of the development of future plans focusing on all PWS’ business divisions: Live Events, Broadcast, Music Festivals, Design Services, Product Manufacturing and Business Development.

“Evan’s wealth of industry knowledge and experience in managing audio and wireless for large events will be a great asset to PWS,” says PWS General Manager Jim Van Winkle. “Evan will be called upon to make a positive impact on our business, as well as help grow and maintain PWS’ standing as an industry leader. We are pleased to welcome him to the team.”

Hall brings more than 20 years of industry experience to PWS, having most recently worked for Funa International, Inc., while holding the position of Principle Park-Wide Audio Designer for a newly constructed theme park, Chimelong’s Ocean Kingdom, located on Henquin Island, China. Prior to that, Hall spent nine years at LMG, Inc. as Audio Manager, Mixing Engineer and Touring Audio Crew Chief for various recording artists including Avril Lavigne, Rob Thomas, Jonas Brothers, Taylor Swift, One Republic and countless corporate events for Fortune 500 companies. Earlier in his career, Hall spent five years as an Audio Engineer and Designer with Walt Disney World Entertainment.

“I am excited to be joining the PWS team, and I look forward to working with the company on the upcoming line-up of high-profile summer events and design projects,” says Hall. “To play a role in PWS, a dynamic company immersed in such a diverse range of live events, design projects and product development, gives me the opportunity to continue working in an industry that I know and enjoy.”

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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Tekserve Makes Shared 4K Broadcast Production a Reality at NAB 2014


Tekserve to Demonstrate Complete Video Workflows Leveraging the Extreme Bandwidth of the NetApp E-Series and EF550 Storage Arrays

LAS VEGAS, APRIL 7, 2014 – Tekserve, a leading provider of technology solutions for creative professionals in a variety of markets, will demonstrate a complete video workflow solution at NetApp’s NAB booth (SL9510), featuring the new NetApp E-5500 series and EF550 all-flash array.

The joint demonstration will highlight 4K 60 frame-per-second (high frame rate) acquisition and playback. Region-of-interest control enables replay of an HD-sized frame from within the acquired 4K content. A joystick controls frame position, pan and tilt during slo-mo playback. The extreme performance and enterprise-grade reliability of the NetApp E-5500 series and EF550 all-flash array, when used with ATTO Technology Celerity 164E quad-channel PCIE 3.0 host bus adapter card running Multi-path Director software, makes shared 4K productions a reality.

“We are thrilled to be a part of the NetApp booth, sharing this technologically advanced broadcast solution with NAB attendees,” says, Matthew Cohen, Principal, Tekserve. “Not only does this concept demonstrate our ability to work with our broadcast customers for customized workflow consulting, but also demonstrates the benefits of working with multiple vendors to pool the right resources in order to define the most accurate workflow technology for a project.”
With density and modular flexibility for the widest range of data-intensive workloads, NetApp’s new E-Series controllers are plug and play with the existing line of modular chassis holding 12, 24, or 60 drives. These chassis can be configured with SAS, NL-SAS or SATA hard disk drives or SSDs. In addition, hybrid architectures can mix types in a single enclosure. NetApp’s EF550 all-flash array can independently scale compute and capacity up to 96TB at 450K IOPS with less than one millisecond latency.

“NetApp welcomes Tekserve at our NAB booth this year,” says Jason Danielson, Solutions Marketing Manager, Media and Entertainment Solutions at NetApp. “We are proud to showcase how our new E-5500 series and EF550 all-flash array offers the external storage solution necessary to fully complement the video workflows Tekserve is implementing for their customers. Attendees are welcome to join us for a glimpse of it in action.”
Designed to support the recording and distribution from 4K sources for ROI HD extraction using AJA’s TruZoomTM application and Corvid Ultra hardware with TruScaleTM card’s superior scaling technology for live-action sports broadcasts; a version of the complete Tekserve workflow solution was first used earlier this year during a major U.S. sports broadcast.

About Tekserve
Tekserve delivers a broad range of enterprise services, solutions and products to support the technology needs of businesses in fields ranging from finance and retail to media and entertainment. Employing best in class products from a wide range of technology manufacturers, Tekserve helps clients by identifying, engineering, deploying and supporting the best possible solutions for their technology challenges.

From its famous New York City retail location in Chelsea, Tekserve, stocks a wide variety of Apple products, accessories, storage solutions and display devices. Tekserve also provides system rentals, workshops and certified training, as well as the finest repair and support services. Since its inception in 1987, Tekserve has been dedicated to the service of its customers and the surrounding community. For more information, visit www.tekserve.com.

RTW Introduces TM3-Primus TouchMonitor

Ultra-Compact Meter Enables Extensive Loudness and Audio Metering Capabilities for a Variety of Applications and Budgets

LAS VEGAS, APRIL 7, 2014RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, is pleased to introduce at the 2014 NAB Show (Booth C1246), the new TM3-Primus, a highly compact and innovative addition to the company’s TouchMonitor range of audio meters. This latest model from the award-winning TouchMonitor series provides a full set of easy-to-read instruments for level and loudness metering in commercial and non-commercial production and broadcasting environments.

Targeted to music and multimedia producers, the TM3-Primus can be used as a desktop unit offering analog and digital audio ports. In addition, it features an advanced USB hybrid mode where a metering point in a digital audio workstation (DAW) (implemented using a specific RTW plug-in) is visualized right on the new TouchMonitor’s screen. Also, a USB port allows for implementing an innovative USB/plug-in hybrid mode that enables metering to be performed right on the DAW so that a user can process and visualize the information instantly

With a budget-friendly price, the TM3-Primus is an advanced addition to the TouchMonitor range that is ideal for a variety of entry-level applications across multiple markets. The TM3-Primus is equipped with everything needed for loudness and audio metering, including frequently used standard instruments and parameters that provide supreme quality.

This new desktop unit is a full-featured device with minimum footprint and includes analog and digital audio interfaces right on the hardware, as well as a 4.3-inch touch-sensitive display to allow for standalone operation.

As an ultra-compact and low-cost TouchMonitor version, it is equally suited for professional use in minor or secondary workflows for broadcasting, music and voice recording and video editing. In addition, it offers a new quality solution for non-commercial use in small radio environments or podcasting. Like other models from the award-winning TouchMonitor series, the TM3-Primus comes with a highly intuitive and user-friendly touchscreen interface that simplifies system handling even for operators without background knowledge.

Shipment of the RTW TM3-Primus will start in September 2014.

About RTW
For more than 45 years, Cologne-based RTW has accompanied the steady technological progress in the professional audio industry with innovative instruments and technologies for visual audio monitoring in broadcast, production, post production and quality control. Its state-of-the-art audio and loudness metering systems have an excellent reputation throughout the world. With groundbreaking products such as the Surround Sound Analyzer, the company has been a key vendor of professional broadcast and audio metering equipment for decades.

RTW’s range of products currently include the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the Touchmonitor units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.

In 2013, as part of its expansion into the U.S. market, RTW established RTW International Corp. in Lancaster, Pennsylvania. The office, the first U.S. location launched by RTW, demonstrates the company’s dedication to supporting its customers and dealer networks stateside. It houses all customer service, repair and final product assembly activities for U.S.-based RTW customers.

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.

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Sound Devices Hosts Lineup of Renowned Industry Professionals at Its Booth During NAB 2014

Hear from the Pros as They Discuss Today’s World of Audio and Video Production

LAS VEGAS, APRIL 4, 2014 – Sound Devices, specialists in audio and video products for production, will host several presentations from leading industry professionals at its booth throughout the 2014 NAB Show (Booth C2546).

“Sound Devices is thrilled to welcome Alex Lindsay, Eliot Mack, Dave Ruddick and Drew Taylor to provide their expert insight and experience in various aspects of audio and video production,” says Paul Isaacs, vice president of marketing for Sound Devices. “I encourage all of those in attendance at NAB to come be a part of these informative sessions.”

These leading industry influencers will share their first-hand production experience with multimedia workflows, extreme location audio and video capture, and other challenging scenarios, providing their insights into the real world of production from both the audio and video perspective. The NAB seminar lineup includes:

Monday, April 7, 2014 – 2:00 p.m.
Alex Lindsay – Founder, Pixel Corp.

Alex Lindsay has been working in computer graphics and video production for over 25 years. Starting in programming and computer aided drafting, Lindsay has worked in radio, print, games, interactive, broadcast and film. He spent three years working at Lucasfilm and Industrial Light and Magic on Star Wars: Episode 1 before starting his own companies, dvGarage, which builds tools for the visual effects community, and Pixel Corps, a world leader in live interactive streaming events — producing over 300 events per year around the world. Lindsay will discuss the audio and video challenges of multi-site live stream productions.

Tuesday, April 8, 2014 – 2:00 p.m.
Eliot Mack – CEO, Lightcraft Technology

Lightcraft Technology was founded in 2004 by mechanical engineer and MIT/University of Michigan graduate Eliot Mack. Mack has worked at Walt Disney Imagineering, where he led the mechanical engineering effort on the iRobot Roomba before applying his skills and dedication to the development of the Previzion virtual studio system. In this presentation, he will walk through the details and benefits of how Lightcraft’s Previzion virtual studio system embeds tracking data into Apple ProRes Quicktime files captured by the Sound Devices PIX 240i, which can then be transferred into traditional post-production tools or played back in real time from the PIX 240i into Previzion.

Tuesday, April 8, 2014 – 4:00 p.m.
Dave Ruddick – Location Sound Mixer

Dave Ruddick records audio in some of the most beautiful, treacherous and remote locations in the world. An accomplished mountain climber and outdoorsman, Ruddick is in demand when the conditions are the most challenging, including productions taking place on the summit of Mount Everest, following the Iditarod in Alaska and scaling glaciers in Greenland. His customers include National Geographic, Discovery Channel, PBS Nova, WGBH Boston, History Channel and Skywalker Sound. Dave will discuss the challenges of audio production in extreme locations, far from mains, technical support and hot showers.

Wednesday, April 9, 2014 – 11:00 a.m.
Drew Taylor – Business Development, HRS Control

HRS Control is a four-year-old company with a deep background in corporate rental, staging, live event production and concert touring that has also expanded into broadcast and commercial system integration. The company develops its own products for AV system control. Taylor will talk about how HRS Control products control and automate the PIX 260i, taking advantage of the frame synchronous playback and record.

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.

TED2014 Speaks Up with DPA Microphones

McCune Audio, full-service technical event specialists, rely on classic 4088s and d:screet 4060s to mic guests and props for the renowned conference

VANCOUVER, APRIL 3, 2014 – Heard by thousands of people through live audiences, simulcasts, webcasts and recordings, and millions more through online video engines, the annual TED Conference requires gear that matches its prestige. With discussions that address a wide range of topics within the research and practice of science and culture, microphones are vital to all TED audiences. To provide the ultimate in sound quality for presenters and performers at TED2014, technical team from McCune Audio/Video, the symposium’s sound services company, relies on DPA Microphones’ classic 4088 Directional Headset Microphones and d:screet 4060 Omnidirectional Microphone.

TED2014 marks the second time that DPA Microphones is part of the audio setup for the conference. The McCune Audio team used the same selection of mics at last year’s event because of the high-quality audio of both mics and comfortable fit and feel of the 4088, each requests from production crew workers and presenters, respectively.

“For years, the post-production crew was trying to get us to reduce the amount of room acoustics we were hearing in the recordings,” says Nick Malgieri, McCune’s Head of Audio for the TED Conference. “Because of the live PA system in the room, there was a slap-back echo always happening in the voice. We really used some pretty extreme processing paths with our previous mics just to try to help us get ahead of the issues. Once we switched to DPA 4088s, the added isolation let us really scale back on the processing. The sound was so much better that the post-production crew asked us to deploy ambient mics to capture the energy of the venue. That led us to the d:screet 4060s, which we use to pick up a lot of the stage noise from the props and scenery on set, such as chalkboards during presentations, a fire organ for a pyrophone performance or a target being hit by an archer.”

The versatility of the DPA mics also plays an important role in the audio support at the TED Conference, which hosts 12 90-minute shows over the course of five days. Throughout each of these individual productions, Malgieri and his crew need to mic as many as 10 separate presenters speaking for up to 18-minute segments each. In these instances, the audio team uses the 4088s. The shows also incorporate other types of presentations, such as musical, theatrical or dance performances, or magical acts, which require the 4060s.

“The technology setup for this show is very important because of the high turnover and the way the show is actually produced,” explains Malgieri. “We are doing three shows a day, with only an hour or so to reset between them, so we need high-end gear that can keep up with the constant demand and rigorous use.”

As one of DPA’s most popular products, the 4088 is ideal for a variety of performing and vocal presentations. It is designed for acoustically demanding live performance environments, where background noise and feedback is a concern, and boasts the same open and natural sound qualities of the company’s other legendary microphones.

Originally designed for use with wireless systems in theater, television and close-miked instrument applications, the d:screet 4060 capsule is highly unobtrusive. Because of its small size, this tiny condenser mic exhibits an exceedingly accurate omnidirectional pattern, and therefore does not need to be aimed directly at the sound source to achieve quality pickup.

As the technical specialists of record for the TED Conference since it began, McCune Audio/Video provides live sound, projection and video production services for the event. Over the course of its 82-year history, McCune has been involved with some of the nation’s top events, including the final Beatles concert – held at Candlestick Park, the Monterey Pop Festival, Monterey Jazz Festival, and the Playboy Jazz Festival. They have also supported a variety of speeches for every sitting U.S. President since John F. Kennedy.

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.

Solid State Logic Appoints Dr. Enrique Perez Gonzalez as Chief Technology Officer on Board of Directors

OXFORD, UK – Solid State Logic is pleased to announce the appointment of Dr. Enrique Perez Gonzalez as Chief Technology Officer for Solid State Logic’s Board of Directors. Dr. Perez has been promoted from his current role as Head of R&D and became a board member effective April 1.

“Enrique is one of those rare individuals who has deep technical ability, first-hand experience of our markets and the skills to manage product research and development effectively,” states SSL’s CEO Antony David. “Even more importantly, he has the vision to build upon our technical heritage and the resources to take us forward.”

Dr. Perez joined SSL in 2011, spearheading the development of the Tempest processing platform and SSL’s new Live console. An electronics and communications graduate from ITSEM, Mexico, which included a year at Australia’s Royal Melbourne Institute of Technology, he is an alumnus of the University of York (UK), and holds a doctorate in electronic engineering from the Queen Mary University of London.

“I am very excited at the opportunity to provide the technology, vision and leadership for a company with such an impressive technological heritage,” says Dr. Perez. “It is an honour to be able to work on a daily basis with the best engineering team there is in the industry. I look forward to a future of innovation and technology that will deliver the user experiences our customers have come to expect from SSL.”

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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