A virtual press conference from Sound & Video Contractor

Archive of the ISE Newslink Category

More realistic than ever before: CAST releases beta version of wysiwyg R33

Ahead of its general product release, expected before the end of June, CAST Software announces the distribution of the beta version of wysiwyg R33 design and previsualization software suite – the second instalment in the graphics upgrade — with three of its new and significant features, many of which were evaluated and requested by CAST Software’s partner base.

LED Video Walls / Screen Virtual Point Light
As content changes on screens such as LED video wall displays, they emit a light ‘glow’ into the surrounding environment. wysiwyg perfectly replicates this effect so lighting designers will be able to produce the most accurate previsualization and deliver stunning designs for their clients.

Shaded View Profiles
Promising greater workflow efficiency, Enhanced Shaded View Profiles allows users to save a combination of lighting settings under a profile for future use.

200 Lighting Universes
Saving perhaps the best new feature of R33 to last, CAST Software has doubled the number of universes giving wysiwyg users access to 200 universes. This translates to 102,400 DMX lighting channels, ensuring that no project is too big for wysiwyg.

But what does an industry professional see when looking at wysiwyg for the first time? Really virtually real super rich graphics driven by the ultimate software application that is so comprehensive that it deals with all aspects of lighting, including those things, which affect lighting like moving props, LED video walls, and reflective surfaces. wysiwyg lets them design and pre-cue, and then previsualize, run a sequence or take screen shots to test or share, ultimately delivering a design that can be faithfully replicated for real.

One lighting designer working with the beta version is Emiliano Morgia who said: “On seeing the beta version of wysiwyg R33, my first impression was ‘Wow’. In our lighting design projects we are often working to very tight deadlines so the Shaded View feature will ensure that we’re even more efficient. Additionally R33 packs some punch in creating realistic previsualizations for clients, especially those who are increasingly requiring LED video wall displays.”

“R33 represents a huge leap forward in functionality and the next instalment of the on-going graphics upgrade. The speed enhancement, file handling and navigation improvements are a result of the direct feedback from our professional customer base. R33 continues to unleash creative lighting for today’s needs and exemplifies what we are prone to say around CAST: it just keeps getting better!” explained Bruce Freeman, Chairman at CAST Group.

Meanwhile, over 100 beta testers, representing a cross-section of lighting professionals, are busy putting R33 through its paces and will be communicating their findings to CAST over the next weeks.

A full set of R33 features will be announced when the general release version of wysiwyg R33 becomes available, likely before the end of June.

R33 Beta LED Video Wall Glow Video: http://youtu.be/rQaoazMZ7dI

Twitter & Facebook: @CASTsoftware

CAST Forum: http://forum.cast-soft.com

www.cast-soft.com/blog

TDC provides core video expertise for largest-ever light festival Vivid Sydney

Aquatique Show International, Vivid Aquatique, Darling Harbour, Photography by Rodney Campbell.

TDC – The Technical Direction Company is proud to be deploying the full range of its professional and technical expertise in providing core technology and services to Destination NSW for the sixth annual Vivid Sydney festival running from 23 May to 9 June.

Anthony Bastic, Vivid Light Festival Director said: “Vivid Sydney is a unique celebration of light, music and ideas that will see the centre of New South Wales’ vibrant capital transformed by a series of state-of-the-art visual and creative art installations. There are two components to Vivid Light. The first is the Light Walk, which is the public interface of Vivid Sydney. This includes numerous light installations by artists. Secondly, also forming part of the Light Walk, are projections onto some of Sydney’s most iconic buildings including the Museum of Contemporary Art and Customs House. We are thrilled to work with TDC in bringing the artists’ vision to light.”

“This is our third year of working with Destination NSW on Vivid Sydney, providing a huge range of technologies including 3D media servers, 3D mapping, video projection equipment, projection tower infrastructure and sound installations, not to mention our highly skilled crews to manage the technology,” comments Kain Jones, Special Projects Manager at TDC. “We have used our experience of working on Vivid Sydney for the last three years to apply the insights with have learned to how to adapt and continue to make sure that the elements TDC is involved in are amazing.

“As Vivid Sydney grows, new buildings and locations are added, so initially we spend considerable time analysing which technology is best-aligned to meet the artists’ vision. We get involved from the outset in installation design, mapping the buildings to enable the designers to create content specific to the outline of those buildings. We then work on optimal locations for projector placement, media server selection, lens selection and the number of projectors required to meet specific brightness (lux) output for each installation.”

“Vivid Sydney is a great challenge for our company, the scale of this event is enormous in regard to projection technology required to bring it all together,” comments Michael Hassett, TDC’s Managing Director. “This year over 50 Barco projectors will be deployed in total, ranging from the brightest projector in the world, the HDQ-2K40 (40,000 lumens brightness) along with Barco HDF-W26 (22,000 lumens brightness) and FLM-R22+ (22,000 lumens brightness) projectors. This is a projection technology feat and not something that any company globally could pull together easily. We’re proud to be working with the great team at that Destination NSW again this year, and we look forward to the continued success of Vivid Sydney.”

• Over 50 Barco projectors will be deployed in total, ranging from the brightest projector in the world, the HDQ-2K40 (40,000 lumens brightness) along with Barco HDF-W26 (22,000 lumens brightness) and FLM-R22+ (22,000 lumens brightness) projectors. Photography Rodney Campbell.

The TDC team preparing for Vivid Sydney. Photography by Rodney Campbell.

TDC getting ready for Vivid Sydney. Photography by Rodney Campbell.

And the last word goes to Olin Winton, Technical Manager at TDC who says: “It’s always a joy to work on large format projection projects and Vivid Sydney is no exception. The opportunity to display images on iconic buildings takes months of planning and long nights of alignment. This year we have added several new projects to our list, which we are extremely pleased with. Seeing it all come together, working with world class technicians and seeing the end result of people interacting with the buildings is extremely rewarding.”

World firsts from TDC

This year’s Vivid Sydney programme includes a number of significant technological and creative firsts.

Dichroic Dimensions

Digital Shamans, Dichroic Dimensions, Museum of Contemporary Art Australia (Mordant Wing). Photography by Rodney Campbell.

Kain Jones points to one aspect of a unique interactive installation at the new building of the Museum of Contemporary Art Australia (MCA), where artist-in-residence Ross Manning has collaborated with multidisciplinary artistic collective, The Digital Shamans to give visitors the chance to projection-map the façade of the building using only their voice.

“There’ll be two microphones on a slightly raised platform. As the audience uses their voice to interact with the installation, various hidden layers of visuals and soundscapes will be revealed based on pitch,” explains Michael K Chin at The Digital Shamans. “TDC are an amazing company with the technical know how and equipment to cope with the subtleties in our work. Especially with the HD video taken of dichroic filters producing subtle gradients in tones and colour shifts, strong contrast and vivid colour. It’s been a pleasure working with TDC for the first time. They are very professional and their experience with past Vivid Sydney festivals has been invaluable.”

Gamma World

Jess Johnson & Spinifex, Gamma World, Original Façade, Museum of Contemporary Art Australia. Photography by Rodney Campbell.

Bringing together the worlds of live performance, interaction and visual art onto the original façade of the Museum of Contemporary Art, ‘Gamma World’ combines isometric designs, old school gaming, pop up 3D books and forced perspective using 3D and animation tricks that powerfully takes the viewers on a journey through changing worlds.

Stella Carmody, Producer at Spinifex Group Sydney says: “What makes this projection so special this year is that we were able to combine our love of story-telling with the wonderfully inspiring artwork of Jess Johnson to create an abstract, engaging and playful piece of moving art on this iconic building. Hardware and projection mapping was undertaken by our good friends, large-scale projection experts, TDC.”

Urban Tree Project

Urban Tree Project, Ample Projects – MLC Centre, Martin Place. Photography by Rodney Campbell.

If you ever find yourself wondering what grew in the CBD before monuments of glass and steel, Urban Tree Project in Vivid Sydney 2014 will show you. The CTA building in Martin Place will grow out of the ground to become a magnificent living tree within the surrounding urban environment to celebrate and reflect on Sydney’s original green landscape. Design and animation company, Ample Projects turned to TDC to provide the projection solution.

“This project had unique technical challenges, so the natural choice for us was TDC. Ample designed a complex 3D mapping solution in collaboration with the TDC team. They were highly professional, providing projection design solutions for a cylindrical architecture screen with extreme focal planes. We look forward to working with them again soon,” says Ample Creative Director, Nicholas Tory.

“The shape of the structure was great to work on. We decided that the best solution was to map the projection to the curves of the building using Coolux Pandoras Box Media Servers,” comments Pete Lynn, TDC’s Media Server Specialist. “We’re very happy with the results.”

The projections for the Urban Tree Project are synchronised with a stunning laser lighting show as is the case with TDC’s projections for the Vivid Aquatique Water Theatre installation.

Spirit of Patyegarang

•	Patyegarang, Bangarra Dance Theatre Company – Vivid Light Walk Tour, Harbour Bridge Southern Pylon. Photography Greg Barrett.

Bangarra Dance Theatre is Australia’s leading Indigenous performing arts organisation celebrating its 25th anniversary this year. To mark this milestone the company presents its new production at the Sydney Opera House Patyegarang until 5 July and participates for the first time in Vivid Sydney with The spirit of Patyegarang. Projected onto the southern pylon of the Sydney Harbour Bridge, The spirit of Patyegarang is a video installation marking the first Indigenous contribution to the Vivid Light Walk.

Bangarra’s Executive Director, Philipe Magid, said: “TDC is providing equipment and video expertise enabling our company to project a stunning work of art on to a section of the iconic Sydney Harbour Bridge. Through a fusion of dance movements and music soundscape and thanks to video projections supported by TDC, the important story of Patyegarang will awake and inspire with the sensations and emotions of ‘first contact’”.

Play Me

Play Me, Customs House, Photography by Rodney Campbell.

In a poetic explosion of colour, light and sound, ‘Play Me’ will transform the façade of Customs House into a series of massive ‘musical sculptures’ that are individually selected and manipulated by the audience.

“Each of these ‘sculptures’ depicts a family of musical instruments which the audience can ‘play’ in real-time using a touch screen located on a platform in front of Customs House bringing it to life in glorious torrents of ever-changing colour, light form and sound,” says Sergio Carrubba, director and projection designer at Danny Rose, the design team for this project. “We’ve worked with TDC before on the ‘Move Your Building’ exhibit at Vivid Sydney 2013. In all cases, TDC offers exceptional support during planning phases, onsite technical support and the very best in projection equipment to assist with our designs which will all be brought to life at Vivid Sydney.”

Ignatius Jones, Creative Director, Vivid Sydney, comments: “Vivid Sydney is a strange beast: on the one hand it is a major government initiative designed to drive visitation and tourist expenditure during the year’s lowest season, and on the other a celebration of the fusion of Art and Technology that is changing our world forever and for the better. As Creative Director I must split my focus between the exacting contractual and economic demands of government, and the necessity to provide cutting-edge technical solutions to all the issues of larges-scale – or should I say vast-scale – public entertainment.

“TDC has an instinctive and comprehensive understanding of these issues. They are the perfect collaborators: calm, creative and totally competent. I would have no qualms in recommending them to anyone in the tough world of live mass entertainment, and hope to be working with them for a long time to come.”


TDC staff working on this project:

Kain Jones – Special Project Manager
Olin Winton – Technical Manager
Steve Cain – Head Technician/Media Server Specialist
Pete Lynn – 3D Media Server Specialist
Drew Ferors – Projectionist
Gareth Marsh – Projectionist
Katrina Harding – Projectionist
Isaac McKenzie – Projectionist
Adam Fiddler – Technician

TDC are working with following designers for Vivid Sydney:
• Urban Tree Project, Ample Projects – MLC Centre, Martin Place http://www.vividsydney.com/events/urban-tree-project
• Aquatique Show International – Vivid Aquatique, Darling Harbour, http://www.vividsydney.com/events/vivid-aquatique
• Patyegarang, Bangarra Dance Theatre Company – Vivid Light Walk Tour, Harbour Bridge Southern Pylon, http://www.vividsydney.com/events/the-spirit-of-patyegarang
• Starry Night, Brad Miller – Pier 8, Walsh Bay Wharf, http://www.vividsydney.com/events/starrynight
• Digital Shamans – Dichroic Dimensions, Museum of Contemporary Art Australia (Mordant Wing), http://www.vividsydney.com/events/dichroic-dimensions
• Danny Rose – Play Me, Customs House, http://www.vividsydney.com/events/play-me
• Heinz Kasper – Mystery of Creation (Fragments of The Seasons), Cadman’s College, http://www.vividsydney.com/events/mystery-of-creation-fragments-of-the-seasons
• Jess Johnson & Spinifex – Gamma World, Original Façade, Museum of Contemporary Art Australia, http://www.vividsydney.com/events/gamma-world-mca-original-facade

TDC equipment supplied:

• Over 50 Barco projectors will be deployed in total, ranging from the brightest projector in the world, the HDQ-2K40 (40,000 lumens brightness) along with Barco HDF-W26 (22,000 lumens brightness) and FLM-R22+ (22,000 lumens brightness) projectors.
• Coolux Pandoras Box Media Servers
• Dataton WATCHOUT™ multi-image display and presentation software

RELIABLE, SPACE-SAVING ASHLY AMPLIFIERS DELIVER AT LIBERTY HIGH SCHOOL

O’FALLON, MISSOURI – MAY 2014: Located forty miles west of St. Louis, St. Charles County is the fastest growing county in Missouri and ranks among the fastest growing counties in the nation. The Wentzville School District is responsible for public education in the area, and with space in its two high schools reaching maximum capacity, the district drafted plans to build a third high school. Now finished, Liberty High School has reliable technology in the classroom, sports facilities, and for extracurricular activities, including a comprehensive sound system that uses space-saving and dependable multi-channel Ashly amplifiers.

St. Louis-based McClure Engineering designed Liberty High School’s sound and A/V systems, and local A/V integrator TSI Global installed it. The system includes a paging service for the common areas of the school, along with more muscular systems for music playback in the gym and on the football field. Modest Biamp DSP and Crestron control systems provide minimal processing and intuitive user control. The real challenge at Liberty High School was ensuring that the system would operate uninterrupted, day-in and day-out. Because space was at a premium, Dave Bick, McClure’s acoustical and systems engineer specified Ashly ne-Series multi-channel amplifiers to power Renkus-Heinz loudspeakers.

In just twelve total rack spaces, the Liberty High School sound system fits thirty amplifier channels: three 8-channel Ashly ne8250s and three 2-channel Ashly ne2400s. “Ashly is always my go-to amp,” said Bick. “Ashly amps are quiet and dependable. Out-of-box failures are extremely limited. The power delivery and options are also very flexible, with 8-ohm and 70-volt variants available in a range of channel counts and power outputs. Despite that, they’re very cost competitive, and the service I get from Ashly is excellent. Due to the fast pace at which products can change or be updated in the A/V industry, I often like to verify things before I commit to them in a design, for which I need a quick, company confirmation. Unlike a lot of other manufacturers, it’s easy to get a knowledgeable human on the line at Ashly in just moments.”

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 37-year old company is headquartered in Webster, New York U.S.A.

www.ashly.com

BE SURE TO STOP BY AND SEE US AT INFOCOMM BOOTH #C11308

Calibre brings real-world innovation to InfoComm 2014

Focus on media, events and entertainment applications

Calibre UK, the creator of multiple award-winning scalers and processors for the professional audio visual market will exhibit at InfoComm 2014, 18-20th June, Las Vegas Convention Centre (Booth C7541). The booth will be co-branded Calibre and Kramer Electronics in recognition of the two companies’ strategic partnership launched in 2013.

Immediately adjacent to the main Kramer booth (C7736), Calibre will include an impressive array of real-world applications using the new Kramer Media, Events & Entertainment product range of edge blending, scaling, warping and LED video wall processing equipment – all powered by Calibre’s proprietary scaling technologies. The products include the Kramer VP-791, VP-792, VP-793 and VP-794, which are derived from the Calibre HQView and LEDView scaling and processing model range.

Live at InfoComm 2014: VP-794 events demonstration

Making its Americas debut, the Kramer VP-794 universal live events scalers will be demonstrated in typical live events scenarios. Creating a exceptionally engaging and bright display that’s expected to be seen from all angles of the InfoComm show floor, the VP-794 will drive content for display on to Lighthouse Technologies’ LED video walls.

Complementing this will be a demonstration of the VP-794’s capabilities to edge blend and warp various content onto a curved screen display using ultra-bright large-venue projectors from Digital Projection International.

The demonstrations will highlight to InfoComm visitors how easy it is to manage video content across LED displays and projection video walls in the most rugged and high-demanding environments.

Focus on high-performance image processing

Where image quality, precision and fidelity are key, Calibre will demonstrate the benefits of edge-blending across multiple displays and curved projection screens for simulation and training environments, events, conference room applications.

Highlights include the warping and blending controls of the Kramer VP-793 and VP-792 processors at interactive demo stations located around the booth.

There will also be interactive demo stations showing video processing with geometric correction using the 3G-SDI to DVI-HDMI signal processing capabilities of the Kramer VP-791 processor and an interactive demo of Kramer VP-794 pixel-accurate image resizing for LED videowalls.

In each case visitors can come and try out the products and interact with the controls themselves to see how they work.

“The booth this year will enable visitors to gets hands on and try out the Kramer Media, Events and Entertainment range powered by Calibre so they can plan for their future projects and investments,” said Tim Brooksbank, Chairman at Calibre UK.

“Our proven technologies are in daily use across the world in some impressive and challenging event, media and entertainment production installations and are now available to a much wider market through Kramer’s outstanding Americas and worldwide sales and support network.”

You can see the Kramer Media, Events & Entertainment product range powered by Calibre including the VP-791, VP-792, VP-793 & VP-794 scalers on the Calibre booth at InfoComm 2014, 18-20 June, Las Vegas Convention Center, Booth # C7541.

ENDS

About Calibre
Multi-award winning British company, Calibre has over the past 26 years achieved world recognition providing image scaling and processing technologies for use in broadcast/television, digital cinema, large venue projection, LED videowalls and surgical medical applications. Calibre manufactures products under its own brand-names as well as providing products and technology to several market leaders in the Pro-AV market worldwide. Calibre is a market leader in innovation, utilizing its own, UK & Germany-based in-house hardware and software design teams for all its product developments and its own UK manufacturing.

Some useful links:

Twitter: @CalibreProAV

Website: www.calibreuk.com

THE BOX MIXES IN NORWEGIAN HOME STUDIOS THROUGH KAN LYD

SKIEN, NORWAY: Operating out of the home of sound engineer Kjetil Arvesen Nesheim, Kan Lyd is a growing professional project studio for mixing and overdubs. While recording and mixing full productions, Kjetil often travels with his studio gear to record throughout multiple locations. To create the sounds of a big studio through smaller recording spaces, Kan Lyd has commissioned API’s THE BOX console to accommodate the needs of recording artist clients with worldwide audiences.

Kjetil had dreamed of owning a high-end console for years, and was inspired to make an API purchase after listening to vintage American vinyl recordings. He specifically cited Fleetwood Mac’s album Rumors, which was recorded through an API console in 1977. Kjetil contacted API’s Norwegian distributor Prolyd to find a system that would integrate seamlessly with the rest of his gear, and fit the needs of Kan Lyd.

“As soon as I saw the ad for THE BOX, I knew it was the right console for me,” recalls Kjetil. “After I started using it, my mixing became faster and easier, and made my mixes sound more three-dimensional. All instruments blend together perfectly. It sounds bigger, wider, and clearer all at the same time.” Kjetil also appreciates the versatility of THE BOX, and it’s optimization for the digital era. “The idea of having twenty channels of summing in mix-down, built-in preamps, EQs and compressors was very intriguing.”

For mixing purposes, Kjetil had two additional 550B EQs installed. “The first four channels of THE BOX are dedicated to drums: a 550A for kick and snare, and a 550B for toms. I’ve got the compressor strapped to the mix bus at all times. Doing it this way gives me the best of two worlds. It sounds more expensive now.”

On top of working on a voiceover project for a digital guide, the latest album for Christian rock musician Arvid Pettersen is being mixed at Kan Lyd. Kjetil comments that THE BOX has improved his work flow in comparison to his past recording projects. “This is my first experience with API gear, and I love it.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and THE BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

ASHLY GEAR SCORES AT FINLAND HOCKEY ARENA

HEINOLA, FINLAND: Although the hockey arena in Heinola, Finland seats 1,600, attendance commonly swells to nearly 3,000 as hockey fans crowd through its doors. Until recently, however, fans strained to hear announcements and cringed at the sound of anemic music coming from the arena’s aged ceiling speakers. That all changed when Finnish A/V integration firm Noretron Communication Ltd. replaced the system with full-fidelity FBT loudspeakers and Ashly Audio processing, amplification, and user control. Shortly after the overhaul, Heinola hosted the Women’s Hockey World Championship to rave reviews.

“The previous system was very old and functioning poorly,” said Timo Kunnas, owner of Noretron Communication Ltd. “Using an Ashly back-end and FBT Shadow loudspeakers, we composed a plan that would give them the control and performance they desperately needed. Part of the challenge was meeting their budget and yet still providing excellent coverage in an acoustically-poor environment.” Noretron, a distributor for both Ashly and FBT in Finland, designed the system, installed the rack, and performed the system tuning at commissioning. Local electrical installation firm Electrowise Ltd. handled all of the cabling and the loudspeaker installation.

“Ashly builds reliable and great-sounding gear and sells it at a price that is very competitive,” said Kunnas. “The Ashly ne24.24M modular processor, Ashly KLR-Series amplifiers, and RD-8C remote fader control would give the arena everything they needed. And for us, it’s all very easy to set up and program.”

Because it has a modular I/O count, Kunnas was able to order an Ashly ne24.24M with twelve inputs and eight outputs to accommodate four microphones, two stereo RCA input jacks, a radio output, and a CD player output. The eight outputs feed four dual-channel Ashly KLR-3200 amplifiers, which in turn power nine FBT Shadow loudspeakers, four for the central cluster and five for delays. User control consists of three redundant Ashly RD-8C remote fader panels that provide individual volume control of each input, plus overall volume control. The three redundant locations allow user control from anywhere that staff may need to make adjustments.

“The client is very happy with the sound quality, speech intelligibility, and ease of use, all thanks to Ashly,” concluded Kunnas.

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 37-year old company is headquartered in Webster, New York U.S.A.

www.ashly.com

SYMETRIX LAUNCHES SYMNET COMPOSER SOFTWARE VERSION 2.0

SEATTLE, WASHINGTON: Symetrix announces a new release of its SymNet Composer open architecture design software for Edge and Radius DanteTM network audio DSPs. In addition to a host of time-saving workflow enhancements, Composer 2.0 natively integrates select Dante third-party hardware supporting the discovery, signal routing, and other aspects of AtteroTech unDIO2x2 and unDX2IO and Stewart Audio AV25-2 and NetAV 2×2 devices. Composer 2.0 is the only programming environment needed to build a Dante networked system from start to finish, simplifying and speeding initial design, revisions, and troubleshooting.

Trent Wagner, senior product manager at Symetrix, noted, “I’m very excited to launch this version of SymNet Composer. To my knowledge, Composer 2.0 is the first full integration of third-party Dante devices in our industry. Contractors can now manage an entire Dante-based system from end-to-end (remote wall box I/O, to DSP, to power amps) using only SymNet Composer 2.0 with select products from AtteroTech, Stewart Audio, and Symetrix.”

In addition to third-party Dante device integration, Composer 2.0 offers a number of workflow enhancements. Remote control protocol can be accessed via TCP/IP and TCP/IP string output modules, simplifying integration with control devices and increasing the number of compatible control systems (e.g. projectors). Module input and output names can be automatically propagated to downstream modules, speeding and standardizing the labeling process, and presets can now be created and edited without going off-line. In addition to the 600+ DSP modules already within the Edge and Radius system, a new Transient Suppressor DSP module reduces random transient noise (e.g. pen tapping, silverware clanking) for clearer conference audio. Furthermore, a new “Trace Signal Path Forward” feature now traces through all Dante transmitters and receivers that significantly reduces the time required to understand, follow, and troubleshoot signal flows within large systems.

Added Symetrix Founder and CEO, Dane Butcher, “SymNet Composer 2.0 is yet another milepost in our ongoing mission to provide software and hardware tools that help our integrators achieve the greatest possible levels of technical excellence while at the same time expending the least time and effort.”

SymNet Composer 2.0 is available for free download at www.symetrix.co

ABOUT SYMETRIX Symetrix is dedicated to making life sound better. As a world leader in the development and manufacturing of digital audio signal processing (DSP) systems and accessories, Symetrix provides best in class audio management solutions to businesses, schools, non-profits and government organizations.

For more information on Symetrix products visit www.symetrix.co

BE SURE TO VISIT US AT INFOCOMM BOOTH #C9416

FORT WORTH BUILDS ITS STUDIO PROFILE WITH AN API 1608 CONSOLE

FORT WORTH, TEXAS: Over a span of 25 years and growing out of two previous studios, producer/engineer/studio owner Bart Rose has made his presence known in the Texas music scene through what is now called Fort Worth Sound. The studio works with both bands and singer/songwriters ranging from rock, country, blues and jazz. A new 1608 console by API completes the transformation of Fort Worth Sound’s Studio A, which has been a project in the making since 2008.

It took years to complete the construction of Fort Worth’s Studio A. “I wanted a console with amazing analog character, a small-ish footprint, and great reputation in the production world,” shares Bart. “There had been times when a prospective client looked at my control surface and asked ‘where’s the console?’ We think you will agree that Fort Worth Sound is one of the finest recording studios in the North Texas area.”

Studio A, which houses the 1608 console, accommodates the majority of the album recording and mixing projects. Since purchasing the console, Bart has used the console for several recording sessions. “I love the sound of the preamps. Just having amazing preamps with a high-pass filter yields great results on tracks that don’t need EQ.” Bart takes the sound coming from the studio into great consideration. The main recording room for Studio A has twelve-foot ceilings, independent climate control for each room, and floating floors to avoid low-frequency rumble from city traffic.

Since 2008, Fort Worth Sound has worked with major artists including The Toadies, Los Lobos, and Pat Green. Soon after the 1608 commissioning, the studio hosted a very successful two-night open house, where past and perspective clients were shown the new capabilities of Studio A. Bart has confidence that the purchase of the 1608 will diversify his studio profile. “I have a feeling this console will attract clients who wouldn’t have recorded with me before I had an analog console on the front end.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and THE BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

(PHOTO CAPTIONS) (TOP) Bart Rose with the API 1608 console in Fort Worth Sound’s Studio A. (BOTTOM) FortWorthSound_StudioA.JPG: Studio A at Fort Worth Sound.

METRIC HALO ULN-8’s FRONT IMMERSIVE IDEAL – A RECORDING SESSION ON DISPLAY AT D.C. AREA MUSEUM

ARLINGTON, VIRGINIA – APRIL 2014: Beauty Pill is the musical brainchild of veteran producer and engineer Chad Clark, who founded the band in 2001 shortly after the dissolution of Smart Went Crazy. Both bands have received heaps of critical praise from outlets local to Washington D.C. and from the national press. Solid songwriting has turned Beauty Pill’s on-again/off-again status into something that promotes, rather than detracts, from its cult following. Beauty Pill recently teamed up with the Arlington, Virginia-based Artisphere museum to take on a unique artistic, musical, and sociological experiment. The band set up in a large room inside the museum with a windowed overlook and spent two weeks on display recording an album. Although they went in with racks of borrowed A-list studio gear, their initial recordings fell flat. It was only after Clark stripped everything down to just his Metric Halo ULN-8 interfaces that the recordings came alive, a testament to the ULN-8’s fantastic sound.

“Artisphere initially approached me to ask if I could do something ‘musical’ in the museum’s beautiful space,” explained Clark. “I was touring around, trying to come up with some ideas, when they showed me a large room with a window that overlooked it. It reminded me of Abbey Road Studio 2, where the Beatles made a lot of famous recordings. That put the idea in my head to do a recording there. It would be live in the sense that people would be watching us, but my plan was to record exactly as we would in a normal studio… including all of the discussions, overdubs, and the like. I thought it would interesting for the public to see that process – I have some non-musician friends who seem to think an album is made in almost the time it takes to listen to it!”

A musician first, Clark happily fell into engineering and production when other bands in the D.C.-area approached him because they liked the sound of Smart Went Crazy. He quit his day job in 1998 and spent nearly a decade between now and then as a mastering engineer at Silver Sonya. These days, he works mainly as a mix engineer, where he finds his passion for music is best nurtured. “It was working with Beauty Pill that first got me interested in the Metric Halo ULN-8,” Clark said. “It seemed to fit what I needed and what the band needed. Although I have nothing against low-fi recordings, I have no romance for them. I like sound that is vivid and the descriptions of the ULN-8 conveyed that idea. It’s turned out to be completely true – the ULN-8 is a miracle device! It’s incredibly flexible, and everything I record with it sounds amazing.”

Nevertheless, when someone goes to do a big studio recording – especially one that will be on display – there are certain preamps with legacies deep in the recordings of the late 1960s that engineers naturally assume will be the best choice for a rock record. With the help of friends at local studios, Clark amassed a rack of the choicest analog preamps and processors available. “We mic’d everything up with the best mics for each application and ran them to the textbook pro preamps that engineers have been using for decades,” he said. “The initial recordings were okay, but they weren’t fantastic. We all agreed that they fell kind of flat. So we simplified the mic’ing and pulled out all those great preamps, relying entirely on the Metric Halo ULN-8s for preamps and conversion to 24-bit/88.2kHz.”

He continued, “It was a revelation. The sound came alive. It was vivid and tactile. The ULN-8 preamps are just stellar. That was a convincing test, and now I never wonder about using anything but the ULN-8s now. I think it’s worth pointing out that although Metric Halo’s use of the term ‘archival quality’ is totally appropriate, it shouldn’t give anyone the idea that the ULN-8 is only for purists or documentary recording styles. Beauty Pill’s Artisphere recording is far from documentary. We use all kinds of overdubs and textures and found sounds. The quality of the ULN-8 simply makes that mode of recording more vivid and involving.”

Some of the band’s friends advised them against the experiment, citing YouTube’s “comment culture” as an example of how mean people can be when a band is vulnerable. “I suspect that if we had streamed the installation or posted video, things might have gotten ugly,” said Clark. “But the people who came to the exhibit were completely supportive. Sure, there were some uncomfortable moments when we were arguing amongst ourselves, but I mainly felt empathy from the window. They were wishing us well. It was an encouraging experiment!”

Ultimately, Immersive Ideal ran as an interactive multimedia photography and music exhibit with pictures from the recording sessions paired with a surround-sound mix of the final versions. Beauty Pill anticipates releasing it as a conventional stereo recording in the fall.

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

CAST BlackTrax Shortlisted for Two Studio LIVE Design Awards

48HRS BEFORE VOTING CLOSES!



Live Design’s Seventh Annual Excellence Awards voting is now open.

Vote for CAST BlackTrax in the following categories:

Category 3. Live for Broadcast: Eurovision
Category 7. Venues (Theatre or Performance): Trinity Fellowship Church

Vote Here: http://livedesignonline.com/news/excellence-awards-voting-open

Winners of each category will be featured in the June issue of Live Design, as well as honored at the Broadway Master Classes.

CLICK HERE TO WATCH THE VIDEO

www.blacktrax.ca

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