A virtual press conference from Sound & Video Contractor

Archive of the AES Newslink Category

It’s Fiber All the Way for Hillsdale College

 

When it comes to broadband AV, it’s optical fiber all the way for Hillsdale College in Michigan. The independent private college started running high-speed, secure optical fiber across its indoor track using audio optical technology by FiberPlex Technologies in May and is now gearing up for another, longer optical run that will shuttle multimedia across its campus.  

In the next few months, the College will roll out FiberPlex’s WDM-16 multiplexer into existing fiber strands for moving large multimedia files from its auditorium and sports fields to a control studio on campus.

Hillsdale’s Director of Technical Media Ted Matko is working with AVI Systems, headquartered in Eden Prairie, Minn., on the project and expects the WDM-16 active wave division multiplexer to save the college the cost of trenching in new fiber in some areas of the campus by reusing existing optical runs which will generate substantial savings.  

“We needed capacity to get video from the athletic fields, the auditorium, the fine arts building and elsewhere to our new control studio about a quarter of a mile away. Multiplexing will make it cost effective to do that,” said Matko, explaining that FiberPlex’s WDM-16 lets him multiplex 16 separate channels at 3Gb/s each onto two fiber pairs used by the campus network.

The additional channels are needed to stream the college’s live volleyball, football and baseball games across a quarter-mile distance from its athletic fields to the control studio, which was originally the College’s bookstore but now serves as the command center for media control and the head-end to the LTN feed picked up by the networks. The College also shuttles media to its control room from its auditorium on a regular basis for guest speaker engagements.

Previously, in May, the College installed FiberPlex LightViper optical audio snakes for its graduation ceremony held in its indoor track facility with 5,000 people in attendance –including commencement speaker U.S. Senator Ted Cruz.  A LightViper snake connected the mics on stage to a mixing console at the back of the field some 265 feet away over fiber optic cabling. Another LightViper optical snake routed the audio channels – via optical cable – from the track to the studio control room across campus.

All audio is controlled and networked through Peavey’s MediaMatrix audio control system.

“This is a standalone digitally networked sound system that can handle just about anything they want to do from the field. If they need to change anything, they just click on a control page from their laptop and now they’re switched over to any device or location they want through optical fiber and the LightViper system,” said Andrew Walker with Avtek AV, who designed the system and recommended the LightViper optical snake instead of copper snake because it can transport audio error-free and transparently over greater distances, by a 400:1 ratio compared to copper.

A typical LightViper system includes a FOH breakout unit and 32×8 stage box connected by optical cable for sending and receiving optical signals to a remote location. One fiber cable weighing less than eight pounds can transmit the same data as two, 40-pair copper cables weighing 700 pounds.

In the next few weeks, the College’s LightVipers will be joined by new WDM-16 multiplexers that will take the school’s multimedia endeavors a step further by routing video over optical fiber to the control studio elsewhere on the campus for full head-end control of media files.   

Hillsdale College is just one example of how fiber optic technology can be leveraged for educational and communication purposes. FiberPlex makes fiber optic products and systems for government agencies as well as for houses of worship, corporate facilities, broadcast applications, and K-12 and higher education.  

VETERAN MIX ENGINEER TONY MASERATI RELIES ON METRIC HALO PLUG-INS

SAFETY HARBOR, FLORIDA – MARCH 2014: If mix engineers had the same cultural currency as sports heroes, Tony Maserati would be a household name the world over. The veteran mix engineer has worked with all of the music industry’s biggest and brightest stars, from Lady Gaga to Notorious B.I.G., from Mariah Carey to Puff Daddy, and from Christina Aguilera to R. Kelly. Recently he completed three weeks of mixing for Beyoncé’s self-titled “surprise” release. Maserati is the sound of major label pop, and the in-demand engineer maintains an outrageous schedule that would make your eyes bleary just to hear it. Obviously, Maserati will not suffer anything less than the very best in pro audio equipment for his sessions, both in terms of sound quality and performance, which is why he relies on Metric Halo ChannelStrip, HaloVerb, and Multiband Dynamics plug-ins. Maserati likes their stellar sound quality, easy and quick interfaces, and rock solid performance.

“The sound quality of Metric Halo’s classic plug-in, ChannelStrip, is what first caught my attention and made me aware of the company,” Maserati said. “I often see ChannelStrip on the sessions I get handed; in fact, several of Beyoncé’s tracks came in with it. ChannelStrip is still my go-to plug-in for routine and extreme equalization and dynamics. There’s something psychologically appealing about having six EQ bands at the ready, and the presets get me where I need to be quickly.”

The quality of a plug-in’s interface is very important to Maserati because he has to move fast. “I don’t have the time or patience to sit around and figure things out,” he said. “Metric Halo’s GUIs are intuitive to understand, and the automation is simple and easy to work with. HaloVerb is a good example of a plug-in that sounds great and is easy to dig into with great results.” While paying careful attention to the density of his reverb plug-ins and outboard gear, including the delicacy of the tail, Maserati’s busy schedule also demands a very functional interface. He has used HaloVerb on guitars, vocals, and percussion to great effect. One of his new tricks is to run a dry signal through HaloVerb and then send HaloVerb’s output into a distortion box. “The stress of that sound is really interesting to me,” he said. “Sometimes I’ll automate the send so that I get that stress only on certain notes. It’s great.”

Maserati also has to pay careful attention to the load he puts on his Pro Tools system. “Pop sessions get really gigantic,” he said. “They come in with a lot of plug-ins, I add a lot of plug-ins, and I’m also using 32 hardware inserts and two print tracks; one that’s maximized and one that’s not. It’s not just a storage system, and it’s not just an automation system. I’m taxing it, and a lot of math is happening!” These days, he’s using an HD native card, and the fact that all of Metric Halo’s plug-ins are AAX works well. “My plug-ins have to be totally solid,” he said. “The code has to be well-written; if something’s broken, I just won’t go near it. Metric Halo has a long history of solid performance that uses surprisingly little DSP resources. A testament to Metric Halo’s stability is the fact that I’m now using Metric Halo’s Multiband Dynamics plug-in on my mix bus. That’s unusual for me, and I wouldn’t do that if I wasn’t completely confident.”

ABOUT METRIC HALO Now based in the sunny city of Safety Harbor, Florida, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and future-proof hardware.

www.mhlabs.com

Yamaha CL5 Howls at Mohegan Sun’s Wolf Den

BUENA PARK, Calif.—Mohegan Sun Casino in Uncasville, Connecticut opened in 1996 by the Mohegan Tribe of Connecticut, and is one of the world’s most amazing destinations with some of New England’s finest dining, hotel accommodations, retail shopping, live entertainment and sporting events. Located in the center of the action, in Casino of the Earth, the popular 350-seat Wolf Den offers a state-of-the-art sound system for nightly performances. The Wolf Den seats 350 and entrance is on a first come, first served basis. Recently, two Yamaha CL5 Digital Audio Consoles were installed to enhance the sound system, one at front of house and the other at the monitor position including Rio 3224-D and 1608-D input/output boxes.

Mat Diamond, lead audio technician for entertainment at the resort said the decision to add two Yamaha CL consoles to the entertainment arsenal was a departmental decision. “As the head of the department, I had the final say, but I don’t get to use the equipment as much as the rest of the department which is why it is important to make the decision as much a group decision as possible. We already own two Yamaha M7CL-48 digital consoles, two Yamaha LS9-16s and an LS9-32 so between that and the price point, the CL5s seemed like the next logical step.”

Diamond said the custom knobs and fader banks, storing system scenes that can be recalled, EQs, and built-in Premium Rack that can be used together or independently are all valuable features. “I love the idea of the Premium Rack and hope that more effects will be added down the road. I personally like to use the Portico 5033 as my EQ for masters. I really like using the dynamic EQs for vocals. I love how the Yamaha CL allows me to control certain frequencies without eliminating them entirely.”

With regard to the CL learning curve, Diamond said his staff picked it up fairly quickly but since they own several Yamaha consoles, they just needed to learn their way around the CL. “Most of the visiting engineers just need a quick walk through if they haven’t used a CL in the past.”

Since the Yamaha CL consoles have been installed, artists that have performed in the Wolf Den include Macy Gray, Starship featuring Mickey Thomas, Foghat, G. Love & Special Sauce, Walk Off the Earth, Chuck Negron, Gin Blossoms, Uncle Kracker, Los Lonely Boys, and Eddie Money.

For more information on the Wolf Den at Mohegan Sun, visit www.mohegansun.com/poi/venues/wolf-den.html

For more information on Yamaha CL Digital Audio Consoles, visit www.yamahaca.com.

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Photo ID: Standing Mat Diamond, Lead Audio Technician
Seated: Curt Wade, Front of House Engineer – Wolf Den

Photo Credit: CM Photos

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

Jünger Audio Bridges A Gap With D*AP8 MAP

Following Dolby’s decision in 2013 to discontinue its DP570 Multichannel Audio Tool, dynamics specialist Jünger Audio is now the sole company in the world that can supply a product to fill the gap.

The company’s D*AP8 MAP Monitoring Audio Processor, which will be on show at Jünger Audio’s NAB 2014 Booth (C2134), is the only Loudness processor on the market capable of offering real-time metadata emulation as standard. This vital feature allows broadcast engineers in post-production, DVD and DTV facilities to check the quality of Dolby Digital AC3-encoded audio prior to transmission so that they can monitor exactly what the consumer will ultimately hear.

“Metadata emulation is very important to the broadcast community, especially those working in the USA where the ATSC has specified that all audio must be Dolby AC3 encoded prior to transmission,” says Jünger Audio’s CEO Peter Pörs. “Every set-top box in the USA – and in many other countries, too – has a Dolby Digital decoder installed as standard. These decoders receive audio metadata, which is the unique ‘data about data’ delivered by Dolby Digital bitstreams.

“Metadata is important because it ensures that television audiences at home hear their programs the way producers and content creators intended them to be. All kinds of audio parameters, including Loudness levels, are controlled this way. In countries where you can be fined if you get audio loudness wrong, it’s vital that broadcasters can check exactly what consumers will hear before material leaves their facilities.”

Jünger Audio’s D*AP8 MAP Monitoring Audio Processor combines an audio monitor controller and a loudness measurement device in one unit, thus providing comprehensive quality control and loudness monitoring for anyone working in a production or broadcast environment.

Designed for quality checking surround (5.1) and/or stereo programs, D*AP8 MAP features a built-in Dolby® Metadata generator and an optional Dolby® decoder that allows users to decode Dolby-E, Dolby-D (AC-3) and Dolby Digital plus (E-AC-3). It can also be used for live monitoring and to ensure compliance with today’s standards and regulations (ITU 1770-3, ATSC A/85 or EBU R128).

The unit comes with alarm signals that alert the operator when pre-set loudness thresholds are exceeded, and these signals can be delivered by simple GPOs and/or SNMP traps, which carry actual loudness values. Loudness measurements can be performed over a long run or over a fraction of a program, or both. These measurements can be triggered by automation systems via GPIs or via the network – or even manually by buttons on a remote panel.

Alongside loudness measurements, D*AP8 MAP also offers functionality for acoustical QA. It has eight speaker outputs that allow for A/B checking of stereo compatibility of a surround downmix through alternative speakers, as well as via L/R front speakers.

By incorporating 3G, HD and SD auto detection, D*AP8 MAP gives users the option of dealing with all 16 channels of SDI embedded audio at the same time. This means the engineer can listen to one program while permanently logging the loudness of two (5.1 +2 mode) or four (4×2 mode) programs. It is also possible to send further embedded programs to D*AP8 MAP’s AES outputs to feed a third party instrument for analyzing and/or display.

For no extra cost, the D*AP8 MAP SDI board also acts as an embedder and comes with video delay to compensate for any kind of audio delay. This feature is ideal for those looking to maintain lip sync in QA suites or control rooms.

“Broadcast engineers still a need for a hardware based monitoring controller that combines loudness management and logging features with the ability to monitor Dolby®-E, Dolby®-D (AC-3) and Dolby® Digital plus (E-AC-3), as well as HE-AAC formats,” Pörs explains. “Our D*AP8 MAP is the only unit on the market that can do all of this and we will be using the NAB 2014 platform to ensure that everyone knows about it.”

For more information about Jünger Audio, please visit NAB booth C2134 or visit the company’s website at www.jungeraudio.com

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About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.jungeraudio.com

DK-Technologies Ships First DK T7 Meters To Calrec

Audio and video metering specialist DK-Technologies has fulfilled the first orders for its new DK T7 Audio and Loudness meter, which was launched to much critical acclaim at IBC last year.

The DK T7 began shipping in February with the first two units delivered to UK console manufacturer Calrec. These have now been fitted into 48-fader Artemis Light consoles destined for Al Jazeera in London. Other broadcast and post production customers have chosen either stand-alone DK T7 meters or the new 3U rack mounted variant – the PT0T7. This fits neatly into a Tektronix rack system and can be used separately or in conjunction with a waveform monitor.

“We’re delighted with the number of pre-orders the DK T7 has generated and we’re ramping up production to fulfil them,” says DK-Technologies’ Product Marketing Director, Uffe Kjems Hansen. “The DK T7 is exactly what the market needs – a cost-effective audio meter with an easy to use multi-touch interface that delivers a whole host of useful features at a very cost effective price. At just €3,495 and USD 6,390 MSRP, there is simply nothing else on the market in this price range that gives users access to so much functionality. The nearest competitor product that even comes close to the DK T7′s feature-set is nearly double the price.”

Dubbed as the ‘everything included’ audio meter, the high precision DK T7 incorporates as standard every Audio and Loudness meter function currently offered by the award winning DK Meter range. These functions include Bargraphs, Moving Coil Emulation, DK-Technologies’ proprietary StarFish™ and JellyFish™ display technology, FFT spectrum analysis and, of course, industry compliant Loudness and Logging. The new DK T7 also includes 3G SDI Picture Preview, as well as the ability to read and log against SMPTE time-code – a feature that has only recently been added to the DK Meter range.

“Engineers working in the broadcast and post production industries now have to cope with a complex set of formats, standards and documentation requirements,” Uffe Kjems Hansen adds. “For this reason we felt it was vital to give them an easy to use Audio and Loudness meter that did the job it was bought for as soon as it came out of its box. The DK T7 is the most complete, high precision Audio and Loudness meter on the market today – and the most honest because it does not involve any hidden costs.”

The DK T7 allows end-users to adapt to virtually any format including 3G SDI I/O. The unit also offers 8 AES/EBU input/output channels, 2ch Analogue input channels, headphone output and HDMI monitor output. At just 20 x 135 x 180 mm (depth, height and width), its compact design also allows it to be highly portable and easy to position, while its intuitive multi touch interface makes it very straightforward to use.

Since first showing the DK T7 at IBC 2013, DK-Technologies has incorporated a number of improvements that are now available as standard. These include a pause/resume function for Loudness Logging that will save engineers time when they are adjusting Loudness to hit targets on larger time spans.

“Essentially, this function allows engineers to work step-wise through the entire audio clip, rather than having to go back and measure loudness from the top for every tweak,” Kjems Hansen says. “We’ve also improved our software so that it includes a new 7.1 Surround display feature for Theatrical Mix. This is something no other meter can do and it will have particular relevance to engineers working on big motion picture productions.”

For more information about the DK T7, please visit www.dk-technologies.com. Alternatively, please visit DK’s US distributor Ward-Beck, which will be showing the DK T7 and other DK product at NAB 2014, Booth N1202.

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About DK-Technologies
DK-Technologies develops and produces audio meters, video sync and test signal generators, as well as video waveform monitors and colour analysers both for LCD and CRT monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

Jünger Audio Shows The D*AP4 VAP Voice Processor At NAB 2014

At NAB 2014 (Booth C2134), dynamics processing specialist Jünger Audio will be showing its recently introduced D*AP4 VAP Voice Processor – a unique unit that is designed to make life easier for engineers working in radio stations, TV production voice-over studios and feature film ADR facilities.

What makes this processor so special is the inclusion of Jünger Audio’s proprietary Spectral Signature™ dynamic EQ – a totally new creative tool that offers automatic and dynamic EQ control to balance spectral differences. By analyzing incoming audio and comparing its spectrum with individually predetermined voice ‘fingerprints’, this clever unit can automatically apply dynamic EQ corrections to give a consistent sound.

For people working in TV voice over and feature film ADR, this facility is a Godsend. Imagine, for example, that you have booked an expensive and well-known actress to voice the cute little rabbit in your new children’s TV series. Over the course of the recording sessions you notice that her voice sounds different at different times of the day – maybe because she is tired, or has developed a sore throat, or has had a heavy night and smoked a lot of cigarettes. If you want your rabbit to sound exactly the same every time, how do you overcome this?

Jünger Audio’s D*AP4 VAP Voice Processor is the answer. On day one you record the actress’ best rabbit voice, and then measure it using Spectral Signature. The voice’s tonal characteristics are analyzed and recorded as a curve on a graph, which is used as a template for all future recordings. The next time your actress does her rabbit voice, the unit compares the new recording to the saved version and automatically adjusts the frequency until both voices match. Voilà! A perfect rabbit voice every time, thus saving a fortune in repeated ADR and voice over sessions, not to mention a lot of frustration on all sides.

Jünger Audio’s D*AP4 VAP Voice Processor is equally interesting to radio broadcasters who want to create an aural identity for their radio stations. By using exactly the same spectral sound management principles, the unit measures specific voice recordings and then uses these sound fingerprints as a reference. The Spectral Signature algorithm matches all subsequent live recordings to these fingerprints, thus creating a dedicated ‘station sound’.

“The D*AP4 VAP draws on our extensive experience with previous Voice Processing devices such as our popular VO2, but adds new tools and algorithms to create an easier and more efficient approach to voice processing with no compromise in sound quality,” says Peter Pörs, CEO of Jünger Audio. “We have also included processing such as HP/LP filtering, versatile dynamics section, full parametric EQ and de-essing, and made the unit really easy to use – even for non-technical radio staff such as producers and journalists.”

Jünger Audio has also provided a dedicated voice leveler combined with an auto-mixer circuit to help mixed voice programs into loudness-based broadcasting on the fly. Using the optional SDI I/O card automated voice over for SDI embedded audio becomes an attractive feature of the D*AP4 VAP.

Available as either an insert into a mixing desk or as a stand-alone unit, D*AP4 VAP offers interfaces that allow integration in existing environments via an AES insert. The unit can also be used with an optional analogue board that adds two high quality mic-preamps.

For more information about Jünger Audio’s D*AP4 VAP, please visit NAB booth C2134 or visit the company’s website at www.jungeraudio.com

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About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.jungeraudio.com

The Music Producers Guild Introduces Mastering Engineers To Broadcast WAV

As the music industry prepares to adopt the Broadcast WAV file format as the best means of embedding ISRC data into future recordings, the Music Producers Guild is hosting an event to highlight the importance of this initiative and give recording professionals the information they need to make it a success.

The event, which is primarily aimed at Mastering engineers, will take place at the Hospital Club in London on the evening of April 9th, 2014. It is sponsored by digital audio workstation manufacturers Magix/Sequioa, Merging/Pyramix and Prism Sound/SADiE, all of whom have recently announced their support for the initiative by backing file exchange between their systems.

Headed by Alchemy Mastering’s Barry Grint, the MPG has led a strident campaign to get Broadcast WAV accepted by the music industry in place of ordinary WAV files, which don’t contain a method for embedding ISRC information. Their efforts have been successful as the boards of both the BPI and AIM have now recommended to their members that this new format be adopted.

“Our event on April 9th is the only opportunity Mastering engineers will have to understand and prepare for this format change,” Barry Grint explains. “Each of our DAW sponsors will demonstrate how the ISRC embedding process fits within their workflow, and how they are working together to ensure seamless exchange of the data between all of the workstations. This is a massive step forward for the industry and we really hope that Mastering engineers and other recording professionals who are interested in ISRC will take the opportunity to come along and learn more.”

Grint adds that the importance of ISRC cannot be understated. ISRC, which stands for International Standard Recording Code, is uniquely allocated to every song recorded. These codes are then registered with royalty payment agencies, thus ensuring that recording artists and copyright holders are properly remunerated for their work when it is played on radio or TV.

Broadcast WAV, the professional WAV format created by the European Broadcasting Union, can carry ISRC information and this is why MPG is so keen to see is adopted by as the de-facto standard for music interchange in the production process.

“The inclusion of ISRC information will remove the need for it to be re-entered and reduce the opportunity for error,” Grint says. “The new system is simple to implement and, once adopted, it will allow ISRC to flow through the whole production chain.”

The MPG’s aim is to establish ISRC as the cornerstone of every aspect of digital asset management, from tracking and reporting through to royalty reporting and song identification. This will give the entire music industry a robust and secure system for identifying tracks, and who had input into their creation, so that it can safeguard the incomes of all artists and copyright owners.

Ultimately, the adoption of BWF as standard will provide a cornerstone for the MPG’s Credit Where Credit is Due campaign, which aims to highlight the woeful lack of credit information within the digital domain.

“Our overall goal is to ensure that all music creators receive proper credit and proper payment for their work, and having an industry-standard technical solution that allows credit information to be included in the metadata is a major step forward in achieving this ambition,” Barry Grint says.

To register for this event, please visit: http://www.mpg.org.uk/events/279

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About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

DK-Technologies Shows its New DK T7 Audio Meter at NAB 2014

Danish manufacturer DK-Technologies is using the NAB 2014 platform to highlight its new DK T7 Audio and Loudness meter, which will be on show for the first time in the USA (Booth N1201, in conjunction with Ward-Beck).

Launched to enormous critical acclaim at IBC 2013, the ‘everything included’ DK T7 is now shipping with the first units already installed into two Calrec consoles destined for Al Jazeera London.

Designed as a cost-effective, one-box solution for broadcast and post production engineers, the DK T7 incorporates as standard every Audio and Loudness meter function currently offered by the award winning DK Meter range. These functions include Bargraphs, Moving Coil Emulation, DK-technologies’ proprietary StarFish™ and JellyFish™ display technology, FFT spectrum analysis and, of course, industry compliant Loudness and Logging.

The new DK T7 also includes 3G SDI Picture Preview, as well as the ability to read and log against SMPTE time-code – a feature that has only recently been added to the DK Meter range. At just 20 x 135 x 180 mm (depth, height and width), its compact design also allows it to be highly portable and easy to position, while its intuitive multi touch interface makes it very straightforward to use.

“The DK T7 allows end-users to adapt to virtually any format including 3G SDI I/O,” says Uffe Kjems Hansen, Product Marketing Director at DK-Technologies. “The unit also offers 8 AES/EBU input/output channels, 2ch Analogue input channels, headphone output and HDMI monitor output. At just €3,495 and USD 6,390 MSRP, there is simply nothing else on the market in this price range that gives users access to so much functionality.”
At NAB 2014, DK-Technologies will show a new Theatrical Mixing 7.1 Surround display feature for the DK T7, which will have particular relevance to engineers working on big motion picture productions. Also on show is a new pause/resume function for Loudness Logging that will save engineers time when they are adjusting Loudness to hit targets on larger time spans.

“Essentially, this function allows engineers to work step-wise through the entire audio clip, rather than having to go back and measure loudness from the top for every tweak,” Kjems Hansen adds. “The DK T7 was already the most comprehensive audio meter on the market but with these new features it can deliver functionality that no other audio meter can offer.”

DK-Technologies will also be using the NAB 2014 platform to launch its new Matrix PC application, which allows complete audio routing, preset handling, backup and overall management of an audio meter from the end user’s computer. Designed to work with all DK meters including the new DK T7, the Matrix PC application gives users a much better graphical overview of their meters – and significantly easier setup and handling.

Also on show for the first time will be the new DK T7 Stereo – an entry level version of the DK T& meter that is designed for engineers working in stereo.

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About DK-Technologies
DK-Technologies develops and produces a wide range of audio meters, video sync and test signal generators and video waveform monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

DK-Technologies Appoints A New ‘Budee’ In China

Audio and video metering specialist DK-Technologies has expanded its sales potential in China by appointing Beijing-based Budee Technology Development Company as its new distribution partner.

Founded by Mao Yanjun in 2002, Budee is now one of the country’s fastest-growing professional audio companies with over 100 employees and two branch offices and five provincial offices in mainland China.

Mr. Cheng Zhongjun, vice president and head of Budee’s Technical Division, says Budee’s new cooperation with DK-Technologies will allow the company to offer customers technology-driven metering products that deliver the right solutions for the broadcast and pro audio industries.

“We are very impressed by the reliaility of DK-Tecnologies’ products and their long standing reputation within the broadcast and pro audio industries,” Mr Zhongjun says. “DK-Technologies’ products cover numerous applications, from video to audio, and from radio to TV and post production. Budee’s business also covers a wide range of installations and we are very interested in expanding into new markets. Our cooperation with DK-Technologies gives us our first core brand in the broadast industry, and it certainly won’t be the only one. Working with an advanced and well respected brand like DK will allow Budee to build its own reputation in the broadcast field.”

Mr. Zhongjun adds that DK-Technologies and Budee both share the same core values of respect for customers and professionalism.

“We believe in always putting customers first and only recommending products and systems that are best suited to their needs,” he says. “Trust and friendship are very important and are central to the way both Budee and DK-Technologies do business. We also believe in long term brand management and we look forward to developing a firm friendship and long relationship with DK-Technologies.”

Uffe Kjems Hansen, of Product Marketing Director at DK-Technologies, says: “Budee is already well established in the pro audio and post production markets and is now expanding its remit into the broadcast sector. This perfectly suits our product line, which includes high end audio and video monitoring and metering products that are renowned for their extreme accuracy and quality. We see China as a major new market for DK, particularly for our Award-winning portable and affordable Loudness metering solutions, and we are very excited to be working with a distribution partner that is so obviously technology-oriented.”

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About DK-Technologies
DK-Technologies develop and produce audio meters, video sync, test signal generators and video waveform monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

White Mark Completes Its First Dolby® Atmos™ Theatre In The UK

Acoustic consultancy White Mark Ltd has designed and installed a Dolby® Atmos™ screening theatre for technology solutions and servicing company the EIKON Group.

The 12-seater theatre, which now forms the centrepiece of EIKON’s 3,000 square foot London post production facility, is the first of its kind that White Mark has built in the UK.

David Bell, White Mark’s Managing Director, says: “The Dolby® Atmos™ Premier film mixing theatre that we built for Cinelab in Moscow was our first experience of designing a facility for this new format. Since then we have seen a significant increase in interest, not only from companies like EIKON that deliver services to the cinema industry, but also from companies that deal with cinema advertising.”

Bell adds that, in terms of cinema sound, Dolby® Atmos™ is the most exciting development to have come along in years.

“The fact that it is a cinema-only format and can’t be replicated in the home makes it very important for the film industry – one that could give it a whole new lease of life,” he says. “You only have to look at the recent Oscar success of Gravity to see how well 3D Atmos sound can complement 3D pictures, and how much cinema audiences appreciate this enhanced experience. EIKON’s screening facility may be the first Atmos theatre we have built in the UK but it certainly won’t be the last as we are already working on designs for six more.”

Located in London’s Poland Street, EIKON specialises in creating foreign versions of feature films for major studios and independent distributors. The company also handles VFX for foreign localisation, soundtrack replacement, censor editing, subtitling and Digital Cinema Package mastering.

Equipped with an Alcons Audio professional sound system, EIKON’s new theatre was completed at the beginning of this year and is already being used as a client screening room and quality control facility for grading and mastering.

Laurence Claydon, EIKON’s Director of Technology, says: “Our screening theatre supports the latest cinema picture and sound formats and was built with optimum viewing quality in mind. As the first ground-up, purpose-built Atmos facility in the UK, we were able to adhere perfectly to the specification set down by Dolby and create the best possible listening and viewing environment for our customers.”

Claydon, who also runs the internationally acclaimed technology consultancy Cinefilm, has worked with White Mark on a number of projects in the past. These include the design and build of two preview theatres at NBC Universal’s international headquarters in London.
“White Mark consistently achieves excellent acoustic isolation on all their builds and I have never been disappointed with any of their facilities,” he says. “Internally, their studios always have incredibly tight bass, and just the right balance of absorption and diffusion for a perfect listening environment. You really can hear every detail.”

Claydon adds that client reaction to EIKON’s screening theatre has been very positive.

“We recently completed mastering work on foreign versions of Robocop, and our client, Sony Pictures, was incredibly happy with the result,” he says. “There is definitely something special about our White Mark room. Another customer commented that, having seen and heard a recent feature film over 50 times in various venues, he’d not heard or seen it better than in here.”

-ends-

About White Mark:

Established in 1997 by David Bell, John Dunnill, Derek Buckingham and Alan Cundell, White Mark Ltd specialises in production facilities for music recording and the film and television industries. Over the last fifteen years it has designed and supervised the construction of over 500 production suites worldwide. The company’s impressive client list encompasses some of the world’s most famous music recording facilities including Peter Gabriel’s Real World Studios in the UK, Germano Studios in New York, Hit Factory/Criteria Recording Studios in Miami, Strongroom in London and private studios for producers and musicians such as William Orbit and Damon Albarn. In the area of audio post production, White Mark has completed over 140 audio studios and many broadcast and video editing facilities for more than 60 companies in Soho alone. The list of clients includes Grand Central, Hackenbacker, Envy, De Lane Lea, Scramble, Lipsync, Molinare, DeLuxe, 750mph, NBC/Universal, Wave, Unit and Boom. Advertising agency clients include worldwide facilities for Hogarth International and AMV/BBDO on four continents. www.whitemark.com

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