A virtual press conference from Sound & Video Contractor

Archive of the AES Newslink Category

Group One Ltd Launches SD5 Trade Up Program

With the launch of the new SD5 console earlier this year, DiGiCo U.S. distributor, Group One Limited, initiated a limited-time trade up program within the United States to get the new system into as many hands and inventories as possible. The premise of the program is that Group One will take back any make or model large-format analog or digital desk with a credit towards the purchase of a new SD5. The trade up program not only offers a financial benefit, but is also an easy way to stay on the leading edge of technology and upgrade to current technology. The advantages, in particular for a black box theatre or house of worship, is that it would allow them to put in a request for funding and once approved, the venue could swap out the old for the new seamlessly without any downtime, or having to worry about hassling with resale. Several large production companies took immediate advantage of the offer including Alford Media, Clearwing Productions, Hi-Tec Audio, and Beach Sound.

Jonathan Lieurance

Alford Media Services is a nationally recognized event technology support company providing audio, video, lighting and show coordination services for a wide range of clientele from corporate to concerts worldwide. With two of each D1s and D5s in service since 2003, they took advantage of trading up the two D5s for two SD5s with an additional purchase of two 56×32 SD-racks, as well as a pair each of SD9′s and SD11′s and six DRacks. “For our needs, the SD5′s offer the advanced feature sets that our engineers need and tour riders request but don’t cost what the SD7 does,” says John Caswell, Manager of Audio Services. “Upon taking delivery, we did a week in Dallas for Ambit Energy, followed by another event for Sam’s Club in Kansas City and one of our SD5′s was at FOH for both events. That same console was also used at the California Women’s Conference in Long Beach.”

Clearwing Productions, a key resource for audio, video, and lighting, traded up a Soundcraft digital console for an SD5 and also purchased an additional SD9 for its inventory. “We went for one of each for versatility,” explains president Gregg Brunclik, “and planning ahead, the next purchase will be another one of each as we usually buy pairs of each desk. We had an upcoming tour (Bob Dylan) that was interested in using the SD5 so the timing seemed right. We like to make cutting-edge purchases that position us as a primary resource and with the pending tour that ended up taking the SD5 there was instant ROI. We’ve found great success being early adopters with L-Acoustics (we were one of the first five US companies to adopt the K1) and Vari-Lite, and we rolled the same dice on the SD5. DiGiCo’s pioneering new technology sets the bar that other manufacturers must meet. Similar to L-Acoustics pioneering the line array (and since- it’s improvements) you are the barometer by which all others get judged. We’ve come to find that we realize much greater ROI’s on products when we are very early to adopt. It’s a gamble, but when we’re right it really pays off. So far, so good on the SD5.”

Industry mainstay Hi-Tec Audio saw the success with the D5 and took advantage of the program to buy into DiGiCo’s newest technology by trading up six of their D5 inventory for the new SD5s. “For us, this was a no brainer,” mused owner Louis Adamo. “At Hi-Tec we like to look forward and for that reason it was obvious for us to move all our inventory into the new DiGiCo SD series—and we were an early adopter of that technology. In fact, we bought one of the first SD8s when it was introduced. Over the last year, we’ve been adding SD racks and accessories like crazy and our inventory is well over 24-25 SD racks, which is well over half-million dollars. We have a few customers that have been loyal D5 customers and they’ll be the first obvious ones to migrate to the SD5s. It also serves to fill a niche between the SD10 and SD7. The SD5 offers the technical requirements of the SD10 with the surface of the SD7 at a fraction of the cost. DiGiCo has built a very powerful and flexible platform, has done its part by putting the console in the hands of lots of engineers, and are making strides in the live sound market with its consoles. There’s a model that fits every shoe size. We have confidence in the technology and we have a definite market for them.”

Beachsound also felt the trade up program was a fantastic way to move out old capital and replace it with new and exciting technology. They traded up a Yamaha PM5D for an SD5 and purchased an additional SD9… for now. “We felt we needed a higher caliber showcase console to fit the bill of our needs/demands,” explains company president Andre Serafini. “We find the console’s flexible I/O, sonic quality and the ergonomics make it top tier and we are very pleased to have one in house. DiGiCo’s dynamic EQ feature has been a big hit and the DiGiTube technology has been a real pleasure getting to know. We have the SD5 set up to be on a few high profile events in the near future, including a televised mega church event.”

Media Vision USA’s New Technology Launch Allows Remote Audio Conferencing in Multiple Languages.

San Francisco, CA, October 29, 2012 – Media Vision USA is pleased to introduce Attend: the world’s first technology solution for multilingual remote participation. Attend allows remote attendees to dial in to a meeting and both listen and speak in their preferred language making use of the same interpreters that are serving the meeting venue.

“The launch of Attend is a great step forward for our company and the international meeting community that we support” said Fardad Zabetian, CEO of Media Vision USA “Enhancing communication in cross-cultural settings has always been our core focus”.

The Attend technology, designed and manufactured in California, is a remarkable addition to any microphone system installation in an organization holding multilingual meetings – most likely international organizations, courtrooms, universities or large corporation. This long-awaited solution will be a source of travel costs savings but the most important is how it will enhance the quality of meetings, as Fardad explained: “Attend encourages the inclusion of more meeting participants and thus more expertise than would otherwise be possible”.

The solution consists in a self-contained hardware unit acting as the interface between the in-room audio system and the teleconference cloud service. The Attend Multilingual Remote Audio Interface offers line-level inputs and outputs to connect directly to the floor and up to 15 language channels as supported by the interpreters at the meeting venue.

The web-based interface to the audio teleconferencing service allows authorized users to create, schedule and manage meetings and decide on a wide range of meeting parameters such as security and login, dial-in or dial-out and VoIP parameters. Once the meeting is in progress, the authorized moderator can use the online dashboard to monitor who is present, what languages are being used, and dial-out to new participants as needed.

“It is important that these sophisticated meetings be handled with a high level of control and security” says Fardad “Remote participants are subject to the same rules as the ones applied to the in-room conference system users and the moderator keeps full control over requests to speak and who is heard on the floor channel.”

The Attend technology is being introduced at the AES convention by Media Vision USA and asserts the company as the lead provider of professional wired and wireless conferencing solutions for high-profile meetings including distance communication and multilingual support.

About Media Vision USA
Media Vision USA is a leading provider of professional wired and wireless conferencing solutions for meeting rooms, VTC boardrooms, training centers, council chambers and auditoriums. Supported by feature-rich, flexible technologies, powerful software, and a dedicated product engineering team, we work with system integrators and consultants to design conferencing solutions that improve the quality of the audio in the room, and outside the room for distance communication. Additional information can be found at www.mediavisionusa.com

Exploring the Arts Gala Features Performances by Tony Bennett, Sting and a Yamaha CL5

BUENA PARK, Calif.—Hosted by Katie Couric with performances by Tony Bennett and his quartet with a special guest performance by Sting, the annual Exploring the Arts (ETA) fundraiser held October 4 at Cipriani’s mid-town in New York City raised $1.2 million. A star-studded red carpet affair, benefactors attending included Alec Baldwin, Jon Bon Jovi, Bryant Gumbel, Donna Karan, Lorraine Bracco, former New York Governor Mario Cuomo, Nancy Pelosi, Barbara Walters, and NYC Mayor Michael Bloomberg.

ETA is a nonprofit organization founded in 1999 by Tony Bennett and his wife, Susan Benedetto. The organization’s mission is to strengthen the role of the arts in public high school education. ETA currently supports 14 partner schools in all five boroughs of New York City and reaches more than 10,000 public school students, the majority of who live below the poverty line. ETA’s flagship school, the Frank Sinatra School of the Arts located in Astoria, Queens (the birthplace of Mr. Bennett), was founded by the Bennetts and opened in 2001.

Bennett is set to release VIVA DUETS on October 22, a CD featuring Latin recording artists, and The ZEN OF BENNETT, which was created and conceived by son Danny with a theatrical opening in NYC on October 24 (LA, SF, Chicago on November 2). In November, Bennett’s latest book “Life Is A Gift” will be released.

Audio production for the gala was provided by ACIR Professional (Egg Harbor Township, NJ), and included a Yamaha CL5 digital audio console with two RIO 3224-D remote I/Os used at front of house, a Yamaha PM5D-RH used for monitors, and Yamaha T3n amplifiers for monitor wedges. Additional products brought in by ACIR included Shure, A-T, Heil, Neuman and Sennheiser microphones and wireless monitor systems. The company also provided all of the backline instruments. Bennett LD, Ron Farino, designed the lighting for the event.

Long-time Bennett front of house engineer, production manager for the event, and co-owner of ACIR professional had his first opportunity to mix the show on the new Yamaha CL5. An avid fan of the Yamaha PM1D and PM5D, Young said using the CL5 for its compactness certainly made sense based on the footprint allocated for FOH in the Cipriani room. “I was quite pleased about the performance of the CL5 and how well it sounded,” states Young. “The console is very easy to navigate.”

For more information on Exploring the Arts, visit www.exploringthearts.org.

For more information on ACIR Professional, visit www.acirpro.com.

For more information on the Yamaha CL5, visit www.yamahaca.com.

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PHOTO ID: Tom Young, Bennett’s front of house engineer and production manager

PHOTO CREDIT: Digital Warmth

About Yamaha Commercial Audio Systems, Inc.:
Celebrating 125 years of Passion and Performance, and 25 years in the manufacturer of high quality digital audio consoles, 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.

Clark Appoints Tim Kearns to New Position os Western Regional Sales Manager

Clark Wire & Cable™, CCW HD World Booth #863, a leader in broadcast and professional AV interconnect technology, has appointed Tim Kearns to the newly created position of Western Regional Sales Manager. As the sales manager for the western region of Clark’s domestic sales, Kearns will be responsible for customer development and the specification of Clark brand cables and value added products.

With over twenty years of experience Kearns is a team leader who has an earned reputation of partnering on the design and implementation of electronic components between manufactures and system integrators in the broadcast and commercial AV industries. Prior to his new position with Clark, Kearns served as the Regional Sales Manager and Special Projects Manager at Camplex Systems where he lead its global sales initiatives and collaborated on product designs. Past experiences also include technical sales and marketing and the development and holding of several US patents within the commercial and consumer electronics markets.

“Tim is a natural fit to Clark’s sales team and part of our strategic growth,” stated Shane Collins, president of Clark Wire & Cable. “We have achieved an exceptional increase in both our customer base and revenue in the past three years. Tim has the skill set and personality to drive our growth while at the same time enabling us to continue to service our markets with the same personable and technical approach that is core to our philosophy.”

About Clark Wire & Cable

Clark Wire & Cable, a leader in broadcast and professional AV interconnect technology, is celebrating over 23 years of business. With a focus on quality and innovation, Clark Wire & Cable delivers unique and reliable solutions dedicated to the markets it serves. From precision engineered bulk cable and cable assemblies to connectors, tools and custom panels, Clark Wire & Cable has remained committed to delivering comprehensive interconnect solutions. For additional information, please visit www.clarkwire.com.

ADAM Audio Targets Wide User Base With New F Series Monitors

San Francisco, CA––At the 133rd AES Convention, ADAM Audio is introducing the F Series professional monitors with signature tweeter technology that provides unsurpassed performance at the most accessible prices in the company’s history.

The new F Series consists of the F5 and F7 nearfield monitors and SubF dedicated subwoofer. Both the F5 and F7 employ the company’s new ART tweeter that provides performance similar to ADAM’s acclaimed X-ART tweeter in a smaller size to fit the new form factor with the same pristine clarity and unique resolution as its predecessor and slightly less efficiency and maximum SPLs.

The F5
Designed for smaller rooms, the compact F5 features the new ART tweeter, which is powered by a 25W (rms) A/B amplifier, and a 5” midwoofer also powered by a 25W (rms) A/B amplifier.

The F7
The F7 continues ADAM’s most popular configuration using technology that makes it affordable to the widest range of users. It is equipped with the new ART tweeter, driven by a 40 watt A/B amplifier for the unsurpassed clarity and precision ADAM is known for worldwide. Its 7” woofer and a 60W (rms) A/B amplifier produce an exceptionally low and tightly defined bass response.

The SubF
A small yet powerful subwoofer, the SubF features a robust 8″ woofer with driven by a 150W (rms) PWM (pulse width modulation) power amplifier. The amp stays cool while handling maximum power levels, even when sustained. Several controls to adjust the subwoofer are located on the rear panel: a volume knob (-∞ to +6 dB), a control for the crossover frequency, and a phase switch. The SubF is an ideal match for both the F5 and the F7 monitors wherever a deeper and more powerful bass response is required.

Inputs & Controls
Several controls provided to adjust the F5 and F7 monitors to the environment are located on the rear panel: 2 room EQs for the high (>5kHz) and the low (<300Hz) frequencies as well as a volume knob (-∞ to +6 dB). In addition, there is an 85Hz high pass filter to facilitate the use of a subwoofer. There are both XLR combo (jack) and RCA connectors on the rear panel as well.

All F Series products will be available in the United States in January 2013.

MSRP for F Series is:
F5: $249.99 each — $499.98 a pair
F7: $399.99 each — $799.98 a pair
SubF: $399.99

For more information about ADAM Audio USA, please stop by booth #749 at the Moscone Center, call us at 516.681.0690, or click to www.adam-audio.com

About ADAM Audio: Combining extensive experience and research in the field of speaker systems with their revolutionary ART and X-ART tweeter designs, physicist Klaus Heinz founded ADAM Audio in 1999. Based in Berlin, Germany, ADAM designs and builds professional monitor systems for leading recording studios around the world as well as sophisticated hi-fi and multi-channel loudspeaker systems for the home and residential installation markets.

Yamaha CL Series on Display at TC Furlong Digital Console Showcase

BUENA PARK, Calif.—On Tuesday, November 27, TC Furlong will host a Digital Console Showcase at the Moody Church, 1635 N. LaSalle Drive in Chicago from 3:00 – 8:00 pm CST in Rooms 107/108. The Showcase will include the new Yamaha CL Digital Console Series including the CL1, CL3 and CL5, and Yamaha Commercial Audio Systems staff will be on hand for demos and to answer questions. The TC Furlong event is free and open to the public but space is limited so RSVP early at 847-367-9588.

For more information visit www.tcfurlong.com.

For directions to the Moody Church, visit http://www.moodychurch.org.

For more information on the Yamaha CL Digital Console Series, visit www.yamahaca.com.

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About Yamaha Commercial Audio Systems, Inc.:
Celebrating 125 years of Passion and Performance, and 25 years in the manufacturer of high quality digital audio consoles, 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.

QSC Q-Sys Offers Acoustic Echo Cancellation as a Standard Feature

Q-Sys CoreCosta Mesa, CA –(October 19, 2012) QSC Audio Products, LLC is pleased to announce that Acoustic Echo Cancellation (AEC) is now available as a standard component of their acclaimed Q-Sys integrated system platform, which has quickly become the preferred choice worldwide for audio system control and signal transport.

Ideally suited for Q-Sys clients that utilize AV conferencing systems in such places as corporate boardrooms, meeting and convention spaces, hospitality installs, and government and legislative venues, the powerful QSC AEC process is easily deployed in Q-Sys Designer software as a simple, draggable component. And unlike AEC offerings from competing manufacturers which must be purchased as costly add-on input cards, the Q-Sys solution is 100% integrated into the Q-Sys Core without any additional cost to the user.

“Because of the powerful Q-Sys DSP processing engines, we have been able to offer Acoustic Echo Cancellation as an integrated feature to serve our customers,” says Joe Peavey, QSC Product Manager, Software. “The tight integration between the Q-Sys processor, DSP, hardware and control software, gives Q-Sys the ability to do AEC on audio signals coming from any number of sources such as mics, remotes, I/O frames and even over IP streams.”

Current Q-Sys customers can enjoy the AEC feature at no charge by upgrading to Q-Sys Designer Release 3.0 or newer. More information on the upgrade, as well as a new Q-Sys AEC whitepaper can be found at: www.qscmarketing.com/aec.

“We are excited to be able to offer AEC to our customers with Q-Sys,” adds Peavey. “And we continually have plans in the QSC pipeline to add more advanced and powerful features to Q-Sys which will benefit our customers. “

Q-Sys, the complete integrated system platform that encompasses everything from the audio input to loudspeakers, provides all the audio routing, processing, control and monitoring necessary for any facility while maintaining the audio quality and reliability QSC has come to be known for. Designed for the rigorous requirements of both small and large-scale venues, the power of Q-Sys has been demonstrated worldwide in a variety of applications, including stadiums and arenas, theme parks, performing arts venues, transportation hubs, corporate boardrooms, convention halls, government facilities, hotels and casinos and houses of worship.

About QSC Audio
QSC Audio Products, LLC is a leading manufacturer of power amplifiers, loudspeakers, digital signal processors, digital sound transport, and network audio for professional audio systems worldwide. qsc.com

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Train’s ‘California 37′ 2012 Tour Lays Tracks Across U.S. With Dual DiGiCo SD10s

Grammy Award-winning pop-rockers Train have been laying tracks across the continental United States and Canada this summer and fall with their San Francisco 2012 tour. The band pulled out all the stops, rolling through material both old and new, including songs from their latest studio album, California 37. Because of the tour’s beefed-up band and increased input list, engineers Rob Thomas and Robert Greene opted for a pair of SD10 systems at FOH and monitors (provided by Delicate Productions and Hi-Tech Audio), to simplify the production and the technology requirements.

“Rob Greene and I have used many different platforms working together with Train over the years,” Thomas explains, “but for this tour, it got a little more involved. Train is typically a three-piece band, but with this tour there are eight musicians onstage and we needed at least 52 inputs/outputs for the band and the accompaniments, including bass, guitar, vocals and background singers, in-ear mixes and stage monitors. We wanted the best-sounding console and one that was most configurable, and that’s how we came up with the SD10s. Having two of the DiGiCo’s out there was the best option for the tour, allowing us to pick each other’s brains about functionality and also streamline the technology. This is the first time that I’ve toured with a DiGiCo product, although I’ve used and am familiar with the D1 and D5 Series. In my time with the SD10 at FOH, I found that it truly sounds great; it’s one of the best-sounding digital consoles that I’ve been able to get my hands on. Choosing DiGiCo was one of the easiest decisions we had to make early on.”

System Tech Philip Reynolds and FOH Engineer Rob Thomas

“Going into this tour back in early 2012 we knew that we were going to move up above the 48-channel level,” adds Greene. “We had a chance to check out both the SD10 and SD7 and they were both impressive. The SD10 had everything that Rob and I needed so we decided to save the band a little dough and take out the SD10.”

The FOH system uses the DiGiCo SD Rack loaded with 56 inputs, 16 analog outs, and eight AES. “We are using both AES and analog to drive the PA via a Martin Merlin processor ,” clarifies Systems Tech Philip Reynolds. “The system is run in AES to the Martin Merlin 4 in 10 out matrix. From there, the rig is analog throughout. We have a very cool setup with the headliner independent of the support act settings. We use a separate group output off the console to drive three more inputs on the Merlin, also using AES. I am also using both the SD Rack and FOH outputs to feed hearing assist, video recording/ monitor, back of house audio as well… all controlled off the matrix on the desk.”
Thomas says he’s done some slick routing at FOH thanks to the flexibility of the DiGiCo interface. “The compact surface of the SD10—taken from the SD7 approach where any fader can be configured the way I want—allows me to take a musical approach vs. a typical console layout and was a plus. Unlike other consoles, you can minimize your layers, and the SD10 gives us flexible, multiple layers to choose from, so I tend to use less because of how I’m able to lay the console out just on the first layer. What would normally take me three to four layers on the console, I can now do in one, maybe two, because the desk is able to be laid out in almost any configuration of inputs, outputs, etc. I’m not doing anything too crazy; just some fun routing and grouping stuff. We created a Systems/Playback layer that had a few input channels—iPod, pink noise, the input from the support desk—so that any announcements between bands and system tuning is all in one layer.

“I also throw in some dynamics as in the compressed vs. the noncompressed group, which is no trade secret, and I’ve had such awesome results because of using that dynamic section on a wet/dry situation. Everything else on the desk I use simply straight up, it sounds that good. I don’t really need to do a lot to it. As soon as you plug into the desk you’ll hear a difference, from the preamps to the outputs, and that’s the icing on the cake. I love the compression, too. The multiband compression and the dynamic EQ are the best tools on the console. The dynamic section of the console is tops. It’s part of that DiGiCo sound that I just love and that’s one of the reasons I went after the console in the first place.”

Initially, he was making use of the Waves SoundGrid bundle but for simplicity’s sake, found that he was able to get everything he needed within the desk. “I’ve actually forgone the Waves plug-ins and am using all the delays, reverbs and time-based effects on the SD10 itself. The only outboard situation that I take the desk into is a Crane Song HEDD 192 digital signal processor/harmonic sweetener. I take a Subgroup of all of the band and run it through that and it adds a little sparkle to it. I then run it back to the desk and rejoin it with my vocal groups.”

As far as outputs, Thomas says that changes daily. “For our PA situation, I typically use two Left/Right outs these days and then matrix out through either a Lake-type system or the new Martin MLA system feeding left, right sub, front fills, side hangs, delays, lawn and hearing assists. On any given day, we can go from four to 16 sometimes, plus an additional three outputs for our Rational Acoustics Smaart 7 system where we were able to monitor left, right and any input or output off the second solo bus. Being able to see and hear without having to change and manage levels was great. We used one for the nearfield monitors, and the second for the Smaart.”

For recording and virtual soundcheck, Thomas is among the first wave of engineers making use of DiGiCo’s new UB MADI 24-bit/48-channel USB 2.0 interface to get a MADI stream in and out of his MacBook Pro. “I’m using it every night and it’s worked flawlessly,” he says. “I love it. We are at more than 48 channels but I’ve taken the primary inputs, track for track, to a MacBook Pro to a LaCie 4TB Thunderbolt hard drive and I record 48 tracks every night. I also use the ‘Listen to Copied Audio’ function for the Virtual Soundcheck mode, so I can play back the previous night’s show right back to the desk, channel for channel, 1-48. Also, the UB MADI is not DiGiCo proprietary, so the interface will work with any MADI-ready console, which is so cool. Initially we were set up to run with Pro Tools, but we found that if you have Pro Tools Native, it only allows you to go up to 32 channels with the standard PT system, and that was a real bummer. Not taking anything away from Pro Tools or the users of Pro Tools, it’s a great editing system for tracking, but for what we’re doing it’s not. We went and bought a $60 Reaper program that’s absolutely phenomenal. It’s flawless and allows me to listen back to my MADI rack. It sounds really good, too.”

Over at monitor world, Rob Greene is digging the SD10′s flexibility, routing and onboard effects—some of which, including snapshots, are a revelation for the engineer.

“I love the dual solo busses and being able to route a solo to either buss or both,” he says. “It’s very important as a monitor engineer not to have a click-track blasting through your cue wedge. I can also cue up someone’s in-ear mix and wedge mix at the same time. Almost everyone in the band uses Sennheiser in-ears, but my lead singer and guitar player rely heavily on wedges and sidefills. On the first day of rehearsals we decided to run the console at 96kHz. Overall, the console’s sonic quality is superb. It’s got the closest sound to an analog console and sounds better than most of the leading brands of digital consoles.

“I also like the ability to move inputs and outputs to wherever you want on the SD10. I have all the outputs that I need to listen to most often on the first bank so I don’t have to just move banks around too much. Speed is so important. I’m also digging the snapshots on this console. This is the first time I’ve used snapshots for a show. I’ve always been afraid to use them because it’s easy to get lost in them, but I found them easy to understand and they give you a lot of control.”

With the summer/fall leg of the tour coming to a close at the end of September and European dates on the horizon in 2013, Thomas and Greene have been happy with the flexibility the console has offered and will continue to rely on the console’s flexibility to support the show’s diverse structure.

“We’ve tried to keep the audience involved with kids coming onstage to sing, etc.” explains Thomas. “There’s a kind of Vegas show theme to our shows in that there’s always something going at any given time onstage. Using the small footprint of the SD10, which is a condensed screen surface, and having the ability to lay out the console where you need it and for what you need most to be on top and in your hands was key. I went to DiGiCo initially because it sounds the best. And having the ability to have what you need, where you need, when you need it is obviously of the utmost importance with any console. The ergonomics of the SD10 makes it tops. I’ve seen and experienced it all, and having this DiGiCo in my hands every day makes my job easier. And with the tour heading overseas, in fly-date situations, we don’t get to carry our backline, so DiGiCo has now been added to that fly spec of our rider. We’re hoping that everyone will jump on the SD10 format to the extent that we request one from Alabama to Asia. That’s what we’re looking to help do: get it out there and into people’s hands and let them know that this is a very serious product. And the SD10 fits into a lot of regional sound company budgets. It’s a hard-working, great-sounding desk that’s very powerful, and I think it’s going to be one of those consoles that is a staple of the regional and major sound companies. It’s affordable and everyone needs one in their inventory.”

Dual Yamaha DM2000s Used at Hofstra Presidential Debate

BUENA PARK, Calif.—Hofstra University on Long Island (NY) was the site chosen for the second of three Presidential debates between President Barack Obama and former Massachusetts Governor Mitt Romney. Held on Tuesday, October 16, Hofstra previously hosted the 2008 debate between President-elect Obama and John McCain. Audio production was provided by On Stage Audio (OSA) Las Vegas.

Michael Abbott, owner of All Ears, Inc. (Los Angeles) chose a pair of Yamaha DM2000 digital consoles for audio control. “The dual DM2000s were chosen for the Presidential debate specifically to provide two separate audio streams,” states Abbott. “Size and audio I/O capabilities also played a key role in the set up. We routed six Yamaha AD8HR 8-channel preamps to eight groups: four for the house mix and four for the broadcast pool truck.”

In addition, Abbott said Dugan-MY16 cards were inserted for the 24 Town Hall participant mics along with moderator and candidate microphones.

For more information on All Ears, Inc., e-mail michaelsound@earthlink.net.

For more information on Yamaha Commercial Audio products, visit www.yamahaca.com.

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About Yamaha Commercial Audio Systems, Inc.:
Celebrating 125 years of Passion and Performance, and 25 years in the manufacturer of high quality digital audio consoles, 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.

Sennheiser to Host “Al Schmitt & Friends” Roundtable at AES to Include Elliot Scheiner, Ed Cherney, George Massenburg, Chuck Ainlay and Frank Filipetti

Audio specialist Sennheiser announced that it will sponsor “Al Schmitt & Friends: AES Roundtable of Award-Winning Engineers” at the 133rd Audio Engineering Society (AES) convention, to be held at the Moscone Convention Center in San Francisco later this month. The roundtable, which is free to registered AES attendees on a first-come, first-serve basis, will cover a range of recording-related topics and includes some of the biggest names in audio production: Elliot Scheiner (Foo Fighters, Eric Clapton), Ed Cherney (Bob Dylan, The Rolling Stones), George Massenburg (Earth Wind & Fire, James Taylor), Chuck Ainlay (Mark Knopfler, Dire Straits) and Frank Filipetti (Foreigner, KISS).

The roundtable will be hosted by 21-time Grammy-winning engineer and producer Al Schmitt and is being presented as part of Sennheiser’s Recording Sound Academy (RSA) program. Admission to the event at the convention is free for all AES attendees. For those not able to attend, the event will be recorded and posted online at the Recording Sound Academy (RSA) and AES websites. The archived video can be viewed free for all RSA and AES members, and just $9.95 for non-members. To learn more or to sign up for RSA, please visit http://www.sennheiserrsa.com.

Details on time and location
When: Friday, October 26, 2012 between 3:30 p.m. and 5:30 p.m. PDT
Where: 133rd AES Convention, San Francisco
Moscone Convention Center Special Events Room #134

Topics covered at the roundtable will include:
Understanding the differences of recording at home, in a project studio and in a larger traditional studio
How to effectively record drums
How and when to use effects
Techniques for vocal thickening
Obstacles that were encountered and resolved during the recording of classic albums
Diplomacy in the studio with artists, executives and other stakeholders

During the presentation, the panel will answer questions both in person and those posted by RSA members from the RSA forum page.

Register for the Online Recording Sound Academy
By registering for Sennheiser’s Online Recording Sound Academy, participants have the opportunity to have two of their own mixes critiqued by award-winning engineers, in addition to having access to live and archived webinars and other special events featuring well-known artists and producers. Members can also access exclusive tutorial videos and receive a free copy of CuBase LE5 mixing software as well as the chance to win a Neumann U 87 studio microphone.

Photo caption:
Al Schmitt, 21-time Grammy-winning engineer and producer (image courtesy Capitol Studios).

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Related Topics: AES Newslink, Events |

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