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Marvel’s Guardians of the Galaxy Recorded with DPA Microphones

Simon Hayes 2

Oscar-winning production sound mixer Simon Hayes relied on DPA lavalier mics to record Marvel’s film adaptation of Guardians of the Galaxy, directed by James Gunn.

Hayes, who first used DPA microphones as Production Sound Mixer for the film adaptation of Mamma Mia in 2008, has turned to DPA d:screet™ 4061 and 4071 miniature mics on every film he’s worked on since then. Recently these have included Les Miserables (for which Hayes picked up the Oscar and BAFTA for Best Sound Mixing) and upcoming releases Tarzan, directed by David Yates and Kingsman: The Secret Service, directed by Matthew Vaughan.

Hayes chose DPA miniatures for Guardians of the Galaxy so that he could capture original dialogue, right at the point of shooting. Given that Director James Gunn’s vision for the film was to preserve the authenticity and emotion of the actors’ performances, he felt this was the best way to serve the film and its creative team.

“It was clear from the first meeting with James Gunn that he wanted to capture original performances, which of course isn’t always easy when you’re talking about large budget special effects and action-driven visual effects type movies,” Hayes says.

“We knew that we were going to be shooting three or four cameras at all times so the DPAs took precedence over the booms on a lot of scenes. This meant that, in the final mix, at least 75% of the dialogue that made its way into the movie was recorded on DPA [d:screet] 4071s and DPA [d:screet] 4061s.”

Leading man Chris Pratt was fitted with the DPA d:screet 4061 omnidirectional mic. “We felt that the 4061 added a little something extra in the bass region for his voice, which was quite exciting,” Hayes continues. “All of the other characters used 4071s on their chest rigs and if we were rigging microphones in their hair or in their helmets, we used 4061s to increase the bass.”

As the title suggests, the sets for Guardians of the Galaxy were not going to be small. Finding regular-sized Sound Stages a little small, set designer Charlie Woods had sets housed in old Ministry of Defence buildings to allow enough space. This provided Hayes with a few hurdles to overcome sound-wise.

“That kind of environment isn’t as easy to record sound in as a sound stage, so I had a lot of background noise and a lot of reverb to contend with,” he says. “Again, the DPA mics excelled at rejecting that reverb and just capturing dry, up-front vocals for me.”

One of the things that really sets Guardians of the Galaxy apart from its kin in the superhero film genre is its esoteric 70′s soundtrack, which was integral to the way the sound was mixed. Hayes explains why this was a huge consideration when recording:

“Mixed in with the huge space sound-effects that the sound design team built for us, we really wanted close-up dry dialogue so that we could push the music and the effects harder, and that’s what the DPA mics helped us to do,” says Hayes, who collaborated closely with Alexandra Byrne (costume designer) and Dan Grace (costume supervisor) to design the mic placements used within the actors’ costumes.

“We had some really interesting rigs. For instance, Lee Pace, who plays Ronan, was wearing a helmet for his whole performance and we actually placed two 4061 mics into the helmet because the microphones were creating a tiny bulge. We wanted to have the bulge uniform, so we put one above each eyebrow, which not only gave a uniform look to the helmet, but it also gave us the opportunity to have two tracks running on Lee Pace’s dialogue.”

Ronan has a particularly dynamic part in the film, as Hayes continues: “This placement allowed Lee Pace more creativity in the way that he was playing Ronan and I was able to assure him that because we had the two 4061 mics on him, he could literally go from a whisper to a shout without us having any trouble whatsoever.”

Dave Bautiste, whose character Drax the Destroyer goes through the whole film topless, presented another challenge altogether, which meant finding an ingenious solution.

“We collaborated with the Special Makeup FX department and were able to have a [d:screet] 4071 basically rigged into the special makeup effects, which was applied to his upper body so it became part of a scar in the middle of his solar plexus,” Hayes says. “This meant that even though we had a topless man through the whole movie, in every single scene we were able to have a perfectly placed 4071. DPA’s are so reliable that you can have it buried under makeup and you know that it’s going to work all day, you’re not going to have any problems from them.”

With a run of over 18 films on which he’s used DPA microphones, Hayes concludes, “In the marketplace today there aren’t any lavalier mics that sound as natural and as transparent as DPAs. I feel that when I’m using a DPA microphone, I’m hearing actors through their performance rather than the microphone factoring it.”

After the box-office success of Guardians of the Galaxy, a sequel has already been announced, due for release in 2017.

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

Fairlight Delivers the Gift of Great Sound at Sky Vision Sound Studios

Robert Thompson Sky Vision

London-based Sky Vision Sound Studios, the international distribution arm of Sky, has recently completed a major upgrade of its Fairlight equipment to bring it in line with Sky’s UK broadcasting facilities in Osterley. The three-studio complex, two mix rooms and a prep room, has upgraded its Fairlight Constellation console with a Fairlight EVO, six of which are already in use at Sky. It has also upgraded its XYNERGI system by installing the latest software version – a move that is already improving workflow.

Sky Vision’s Audio Supervisor and Senior Dubbing Mixer Robert Thompson says: “Although we have handled work for external clients such as the BBC, Universal and Channel 5, the majority of our work comes from Sky Vision. As work often moves between Sky’s sound studios and ours, it made sense for us to have identical equipment. The dubbing mixers at Sky were obviously very happy with their Fairlight EVO’s and this, combined with our own good experiences of Fairlight, meant we had no qualms about upgrading our own desk.”

Tucked away in a Georgian Mews in the heart of London’s Fitzrovia, Sky Vision Sound Studios handles a variety of programming covering wildlife, docudrama, documentary, children’s TV shows, scripted content, sports and comedy. The diversity of the projects Sky Vision Sound Studios tackles is mind-boggling, as is the speed of turnaround this facility achieves.

“Last year we completed over 70 hours of broadcast TV, which for two mix rooms is pretty good going,” Thompson says. “That’s just shy of three hours a month – a lot of work by anyone’s standards. Of course none of this would be possible without the Fairlight systems we have in both rooms. It really is a credit to Fairlight we achieve what we do because you simply couldn’t get through such a large quantity of work without having a system that is so reliable and flexible.”

Sky Vision Sound Studio’s affiliation with Fairlight goes back to 1999 when the facility was first set up by dubbing mixer Trevor Barber. Thompson, who was brought in some years later to help increase the facility’s output, says: “I got switched on to Fairlight by Trevor because he wouldn’t use anything else. I didn’t start out as a Fairlight user – in previous jobs, and as a freelancer, I had mostly used Avid Pro Tools. But when Trevor first set up the studios he installed a Fairlight MFX hard disk recorder in Studio One. As soon as Fairlight introduced their new Xynergi range, Trevor came on board straight away. In fact, the Xynergi system we own and use today is serial number 5. It still works perfectly. The only thing we have changed is the operating software, which we have just upgraded again to the latest version.”

Thompson adds that transitioning from Constellation to EVO has been very straightforward, mainly because all Fairlight systems are very intuitive.

“We have had no issues moving over to the EVO,” he says. “Both Russell Skellon, who mainly works in Studio Two, and myself have been using Fairlight for a long time and we have so much experience that the system is almost second nature to us. I would say the same about XYNERGI and the upgrade to the latest software version. Setting up the XCS controller on the EVO so that it works the way we are used to was very quick to master and it was all so seamless that we were up and running almost immediately. The only thing that is taking a bit of time is exploring the new software features. We are now finding out all the new tricks it can do and it is already offering much greater functionality.”

As many users will testify, one of the main benefits of Fairlight is the ability to build customised workflows.

“We often have to deliver shows to multiple broadcasters worldwide, and with Fairlight I am able to build consoles and workflows that produce all the deliverables I need very efficiently,” Thompson says. “I also find editing on Fairlight incredibly intuitive because I can use the Picture Keys on the XCS to make my own controller and editor, which I design around my personal preference. It’s also really nice to personalise my common functions and assign them a macro so they can be done with just the push of a button. It gets me away from mouse based editing. The whole XCS mentality is quite exciting as it has the potential to operate as a controller across multiple applications.”

Thompson adds that Fairlight’s ability to accept and export multiple file formats is useful when the facility gets project from outside clients, “but to be honest we’ve honed the workflow between ourselves and Sky Vision to a point there this isn’t really relevant,” he says.

“What is useful, though, is Fairlight’s ability to give users two picture tacks at the same time.
If you are re-versioning and don’t get an EDL file that tells you what has been cut where, this can be a very tedious and time consuming process. With Fairlight’s integrated video we can streamline the process by running two picture tracks and comparing them in real time. This makes it much faster to manually make the cuts. It’s a great feature and one that really helps us.

“For example, the nature of our work is that we do quite a few versions of a specific programme mix. With the new software, we can easily conform all of our edits, including the mix, which was something we couldn’t do with previous versions. We’ve always had a good dialogue with Fairlight and this is something we’ve been specifically asking them to do, so having it now is just fantastic because it means we can work even faster as the whole reversioning process is now far more automated. Most other systems rely on third party software for this.”

Thompson adds that he is also looking forward to exploring the latest software’s new background recording feature, which offers lots of sound design potential.

“I’m still checking this out but it looks like another really useful feature,” he says. “You can record while you are scrolling and jog shuttling. It basically records anything passing through a specified output as a background task. I can also see this being useful for ADR because it saves the timeline becoming littered with takes.”

Having proved that Sky Vision Sound Studios can handle an annual output of more than 70 hours of broadcast TV on Fairlight’s previous software, Thompson is confident this can be exceeded now that the new version is in place. But despite all the time saving features the new EVO console delivers, he still feels the best thing about Fairlight is its sound quality.

“I suppose I’m a bit of a musician at heart,” he laughs, “which is why I really like the smoothness of the Fairlight I/O. Some of our clients are composers and musicians as well so it’s no surprise they also comment on how good this system sounds.”

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About Fairlight:
Fairlight has been designing, engineering and manufacturing cutting edge, professional digital audio technology for more than 30 years. Its dedication to innovation, quality and customer service has made Fairlight one of the most respected companies in professional audio. With their integrated control surfaces and intuitive user interfaces, Fairlight’s award-winning media creation tools are renowned for their speed, flexibility and exceptional sonic quality. The company’s products offer full compatibility with virtually all open audio, video and sync standards, making them ideally suited to a wide range of audio post and live broadcast applications.
www.fairlight.com.au

Comprehensive Cable and Connectivity Celebrates 40 Year Anniversary

 

Comprehensive-Default-Logo--RGB-300dpi-JPG

 

This September marks the 40th year anniversary for Comprehensive Cable and Connectivity Company.

In 1974, the professional audio visual market was just emerging and the new small businesses across the country known then as “audio visual dealers” had a problem:  Whom do they go to get the connectivity, accessories and supplies they need for the equipment they are selling to local media, schools and businesses? Lucky for the AV industry, Comprehensive had the solution.

Originally known as Comprehensive Video Supply, Comprehensive began as a single source of accessories and supplies for the then up-and-coming “professional audio-visual” market. Sold exclusively through resellers, Comprehensive products, which included their now world-famous cables and connectivity products, were a must-have for every audio-visual and computer reseller. The same was true for the Comprehensive 200-page product catalog. Dealers could use the Comprehensive catalog as an invaluable resource, and have it custom imprinted with their business name and contact information for distribution to customers. (Keep in mind – popular use of the internet was still more than 20 years away, and it would be another 33 years before the first iPhone was introduced. Even the VCR had yet to be released).

Scott Schaefer, Comprehensive’s current President, commented, “Comprehensive was there at the beginning of both AV and IT. It is Comprehensive’s experience, commitment to reliability, value and service that has kept B2B customers around the world coming back year after year. We are so grateful for the decades of support that our industries, resellers, customers and employees – past and present – have shown Comprehensive. Without them, we would not be here today, and we never forget that. We thank each and every one.”

Over the years, Comprehensive built the business with a strong reputation for “putting its money where its mouth is” service by stepping up and standing behind its resellers and products from the very beginning. One of many enduring legacies that Comprehensive has given the industry is the ‘Lifetime Warranty’ on cable assemblies, connectors and adapters. While a marketing commodity in today’s internet age, Comprehensive takes those words very seriously.

“Comprehensive customers need reliability and service above all else. Customers come to Comprehensive because they know they can count on us; every product, every order, every time. ” said General Sales Manager, Martin Fensterstock.

Today, Comprehensive has grown into one of the leading connectivity brands in the U.S. and around the world and their reliability and service have become legendary in the industry. Over the decades, Comprehensive has truly become the “go to” company for B2B audio-visual and I.T. professionals in every industry.

In fact, looking at a partial client list of Comprehensive customers reads like a “who’s who” of technology, business, media, entertainment and government. Clients include: Sony, Panasonic, Disney, Microsoft, Apple, Crestron, NASA, U.S. Army, Columbia University, NBC, ABC, CNN   just to name a few. A list of resellers and distributors reads much the same – Ingram Micro, Anixter, AVI-SPL, The Whitlock Group, HB Communications, B&H Photo, New Egg.com, and the list goes on.

Originally located in Northvale NJ, Comprehensive was purchased by VCOM International Media Corporation in 1995 and has continued to expand even during the recent recession. With continuous, growing demand for their cable and connectivity products and services, Comprehensive recently moved into new, larger headquarters in Fairfield NJ. They are also hiring with many positions available.

Listening to customer needs, something Comprehensive has done since the very beginning, has led to many new and innovative products. The most recent being the extremely successful Pro AV/IT Series HDMI Cable family, which are the onlyHDMI cables specifically designed for systems integrators, corporate, government, medical and other demanding B2B environments. Exclusive features such as ProGrip® Connector Technology, SureLength® Indicators with cable lengths easily visible on all connector heads, as well as color Identification and 4K X 2K support are just a few innovations that customers can expect from Comprehensive products.

 In its first 40 years, Comprehensive became synonymous for reliable and innovative connectivity products that the audio-visual and I.T. professional could count on and that at least, is not something Mr. Schaefer thinks will change much over the next 40 years. “We are so excited about where Comprehensive and the market are going – 4K, HDBaseT, collaboration and the cloud, mobile, the opportunities are endless. Technology continues to evolve and advance and so does Comprehensive. We are doubling down on everything our customers have demanded from us in the past and building on it for tomorrow and beyond. The best is yet to come and like all things Comprehensive, you can count on that.”

For more information about Comprehensive or any Comprehensive products, including the Pro AV/IT Series High Speed HDMI Cables, please visit us at www.comprehensivecable.com, call toll free at 800-526-0242 or e-mail sales@comprehensivecable.com

 

About Comprehensive Cable
For 40 years, Comprehensive Cable has been the Pro A/V industry standard for professional connectivity performance, reliability and value. That’s why millions of Comprehensive cables and connectivity products are in use at stadiums, in broadcast and recording studios, stages, boardrooms, classrooms, government installations and now living rooms around the world. Comprehensive Cable and Connectivity Company is a division of New Jersey based VCOM International Multimedia Corporation.

TRANSAUDIO GROUP ANNOUNCES DRAMATIC PRICE REDUCTION ON DAKING PRO AUDIO SIGNAL PROCESSORS

Daking_FET_3LAS VEGAS, NEVADA – OCTOBER 2014: Daking Audio has changed the way it brings its American-made equipment to market in order to increase value to the end user. Purchasers of Daking Audio signal processors will benefit from the resulting dramatic price reduction, which applies to all of its products. These include the Daking Mic Pre 1, Mic Pre EQ, Mic Pre 4, FET II compressor, and FET III stereo compressor, plus all of the Daking 500 Series equalizers, compressors, and preamps.

“Daking has ended its traditional export distributor program and enacted a major price reduction to end users, without changing its designs or its U.S. manufacturing quality,” explained Brad Lunde, president of TransAudio Group, Daking’s U.S. distributor. “We at TransAudio Group think Daking’s value is exceptional at these new price points and will represent a major change to how Daking is perceived in the marketplace.”

THE NEW MAP PRICES ARE AS FOLLOWS:
Mic Pre 500: Was $649 – Now $499
Comp 500: Was $699 – Now $499
EQ 500: Was $949 – Now $699
500 RS: Was $5,019 – Now $3,844
Mic Pre One: Was $845 – Now $599
Mic Pre EQ: Was $1,549 – Now $1,099
Mic Pre 4: Was $2,599 – Now $1,799
FET 2 Compressor: Was $1,549 – Now $1,099
FET 3 Compressor: Was $2,150 – Now $1,549

ABOUT TRANSAUDIO GROUP TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.

www.transaudiogroup.com

STOP BY AND SEE US AT AES 2014 BOOTH #1110

Yamaha QL5 and Dante Networking Used for Reality Tattoo Competition TV Show

Ink Master crew Yamaha QL5 low

BUENA PARK, Calif.—Ink Master is an American reality competition on Spike TV in which 17 tattoo artists from around the country compete in challenges assessing their tattoo and related artistic skills as they perform timed-challenges spanning an array of styles and techniques on willing ‘human canvasses’ battling for the grand prize of $100,000. They are judged by noted tattoo artists and tattoo enthusiasts, rock legend Dave Navarro and tattoo icons Chris Nunez and Oliver Peck, with one or more contestants being eliminated during each episode.

Shooting reality TV is a complicated, fast past, process that requires immense precision. For example, the audio team for Ink Master juggles 40 audio inputs for the contestants, judges, and human canvasses plus 16 plant mics and four boom operators, the show’s host, not to mention, producer mics, stage manager mics, cameras, etc.

Using the Dante™ networking protocol and a custom control surface designed by Peter Schneider co-owner of Gotham Sound and Communications, Inc. (NYC) who designed the show’s entire audio system in collaboration with the show’s film mixer and sound supervisor, the late Martin Kelly who passed away shortly after the new season began. With this custom design, all audio and video is seamlessly juggled and successfully networked together. The mixes are pulled altogether by a new Yamaha QL5 Digital Audio Console, provided by Scharff Weisberg/Worldstage of New York.

“The control room essentially never gets powered down, and shooting takes place around the clock, states Schneider. Marty’s (Kelly) main concern was that the system be absolutely rock solid. We both felt that the Yamaha QL5 and Dante networking could provide that inherent reliability.”

Schneider provided an overview of the signal flow that includes wireless mic sources for the 16 tattoo artists and ‘human canvasses’, the four judges, and four boom operators. 16 wired plant mics are used, one per tattoo booth, along with communication sources for the director and producer/show runner, plus output destinations for recorders and boom recorders, and mix outputs for the director mix, producer mix (via Aviom), including eight mono camera mixes via Lectrosonics DNT.

“With all of these patch points, we needed an audio transport technology that wasn’t an after-thought to the mixer, but rather integrated into the very heart of the mixer, Schneider says. In this way, audio could be converted one time and then distributed, mixed, and processed to all of the needed destinations, all without leaving its native transport stream. The Yamaha QL5 digital audio console met our requirements, and more, including integrating analog I/O that can be seamlessly combined with the Yamaha Rio input/output box preamps and other Dante audio sources. In the Ink Master situation, our 16 plant mics were input via a Rio1608 that was remotely located 200 feet away in the studio. These outputs were used for IFB feeds and LTC time code.”

Since season two of Ink Master, the show has always relied on Yamaha as its mixing solution, starting with the Yamaha LS9-32 (using MADI) followed by a CL5. “We all loved the rock solid reliability of Yamaha’s products, and moving up to the new QL5 was really the only logical choice for the mixing console.”

For more information on Gotham Sound and Communications, visit www.gothamsound.com.

For more information on the Yamaha QL Digital Audio Console and Dante networking, visit www.yamahaca.com.

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Photo ID: L to R: The late Martin Kelly (Sound Supervisor, Ink Master), Peter Schneider (co-Owner, Gotham Sound and Communications), Paul Padilla (Senior Rental Technician, Gotham Sound and Communications)

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of professional audio products offering complete systems solutions for the sound reinforcement, touring, broadcast, commercial recording, and post-production markets with a complete line of digital mixers, amplifiers, speakers, processors, networking capabilities, and NUAGE Advanced Production DAW System. YCAS is also the official North American distributor for NEXO speaker products. With the new CIS Series that includes ceiling and surface mount speakers, mixer and power amplifiers, and matrix processors, the Company furthers is commitment to their commercial installation solutions customers. All market sectors receive comprehensive in-house/field product training, a dedicated dealer network, and 24/7 technical support.

Shotoku Boosts Studio Capabilities of National Spanish Broadcaster

Versatile Robotic Pan/Tilt System Delivers Big For Major Madrid Media Group

Madrid, Spain – Shotoku Broadcast Systems, a leading international manufacturer of advanced camera support products, has announced the recent installation of a robotically controlled system comprising numerous pan and tilt heads and dual 16-camera control systems at Atresmedia Corporación de Medios de Comunicación, S.A. The Madrid-based Spanish media group, a national broadcaster, maintains a significant presence in the television, radio and cinema industries. The sale was made through Shotoku’s regional reseller Datos Media.

After in-depth testing and on-site demonstrations, the Shotoku systems — seven TG-18 robotic pan and tilt heads and two 16-camera TR-T control systems — were selected by Atresmedia Corporación as key pieces of its re-launched and refurbished studio to replace its older gear.

“Since the first test, we were satisfied with the overall capability of Shotoku’s system, both operationally and technically,” says Fernando García del Rey, Head of Studio Operations, Atresmedia. “The system works well, operators find it easy to use, and the support we get from Shotoku, with Datos Media, has been excellent.”

According to James Eddershaw, Shotoku sales director, Atresmedia is a brand new client and the first order with Shotoku’s newly appointed agent in the region, Datos Media, signaling a major win for the company. “I am delighted to be working with Atresmedia – one of Spain’s leading national broadcasters with a long history of experience in robotic camera systems,” says Eddershaw. “To be selected by them after a detailed evaluation, is praise indeed for our systems.”
The Datos team worked very closely with the Atresmedia crew during installation and provided full training on-site once the system was integrated. Now, the station is live and on-air every day.

“We were extremely pleased to be able to supply a large Shotoku system to Atresmedia, especially so soon after partnering with Shotoku in Spain,” says Tomas Nielsen, managing director, Datos Media. “Like Atresmedia, we were happy with the way the project went, with very smooth integration into the existing studio environment and all completed on time.”

The TG-18 has a 56kg payload capacity making it ideal for any ENG camera/lens combinations in typical studio configurations including the usual accessories such as viewfinder, hand controls and teleprompter/preview monitor. The TG-18 offers exceptional pan and tilt control, allowing complete freedom for on-air adjustments from the control systems. The head combines all the features expected of a high performance remote pan and tilt head (i.e. high accuracy, smooth movement, silent operation and high payload) with a full manual override capability.

The completely configurable screen layouts of the TR-T system supports 16 cameras, capable of being controlled by a single operator position, and displayed in any configuration to suit the particular requirements of the program. The TR-T panel style uses multicolored illuminated keys to communicate system status and control settings, with the same high precision joystick for ultra-smooth, on-air control that has become the trademark of a Shotoku system.

About Shotoku Broadcast Systems
Shotoku Broadcast Systems is an international leader in the manufacture and marketing of a full range of camera support products with emphasis on manual and robotic pedestals and pan/tilt heads for the television broadcast industry. The Company also provides robotic camera systems capable of interfacing with third-party equipment. Established as an engineering design firm specializing in advanced mechanics and electronic control systems, Shotoku maintains headquarters in Japan with offices in Staines, UK and Torrance, CA. The Company’s robotic camera systems are designed, developed and manufactured in Staines, UK. For further information: www.Shotoku.co.uk
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Shotoku contact: James Eddershaw
+44 (0) 1784 224650 / mailto:info@shotoku.co.uk

Press contact: Desert Moon Public Relations & Advertising / Harriet Diener
+1-845-512-8283 / mailto:Harriet@DesertMoon.tv

Yamaha Audioversity – Applications Edition Headed to ChiTown

audioversity_logo

Buena Park, Calif.—Yamaha Commercial Audio Systems, Inc. is heading to Chicago with an Applications Edition for Sound Reinforcement/Live Sound of the ever-popular Audioversity, November 3-5, 2014. The company has reformatted the learning experience for a limited time held over three days and consisting of three tracks, with each day focusing on a specific subject. Day 1 will focus on Digital Mixing Consoles for Sound, Day 2 – Digital Audio Networking, and Day 3 – Speaker Systems. Attendees will be eligible to receive CTS credits for each of the three-day sessions.

The Mixing Consoles track on Day 1 will focus on the latest in the Yamaha digital console family – CL and QL Series. Subjects will feature the essentials of the two series, mixing techniques, tips and tricks, and a mixing lab offering attendees hands-on time with assistance from our specialists. You may choose the CL or QL Series track depending on preference Learning material will be consistent in both tracks. A unique course for system techs covering Dante™ networking, Soundcheck Best Practices, Guest/User Management, and much more. For more information and to register, visit https://www.yamaha.com/ycas/training/registration.html?classdate_id=794&course_id=151.

Day 2 focuses on building networking skills applicable for audio engineers. The day will start with fundamentals in the context of a common home network, and expand into features required for full scale Dante™ network provisioning and configurations. Participants will learn by doing with live demonstrations and interactive labs. Popular and thought provoking topics include: Integrating Audio Networks with Existing IT Networks (Including WiFi points and Internet Access), Adding Dante™ to Existing Audio Networks (CobraNet®/EtherSound™), employing Dante™ as a clear, low-latency conferencing solution, using Dante™ for distributed audio or connecting overflow rooms, choosing network switches, WAPs, and other hardware for audio networks. For more information and to register, visit https://www.yamaha.com/ycas/training/registration.html?classdate_id=795&course_id=152.

Day 3 will feature speakers and systems including product listening demos, applications, and the latest in design software. New NEXO products – the GEO M6 Compact Sound Reinforcement System and the versatile STM M28 loudspeaker will be highlighted along with various STM ground-stack configurations. For more information and to register, visit https://www.yamaha.com/ycas/training/registration.html?classdate_id=796&course_id=153.

“Since its inception in 2010, the Audioversity Expo has provided complimentary education to thousands of audio professionals,” states Marc Lopez, Marketing Manager, Yamaha Commercial Audio Systems, Inc. “This one-of-a-kind event is truly a unique offering unlike any other.”

Audioversity – Applications Edition is free-of-charge and open to members of the audio community. Attendance is limited and seats will be filled quickly so register for the tracks at the links above.

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About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of professional audio products offering complete systems solutions for the sound reinforcement, touring, broadcast, commercial recording, and post-production markets with a complete line of digital mixers, amplifiers, speakers, processors, networking capabilities, and NUAGE Advanced Production DAW System. YCAS is also the official North American distributor for NEXO speaker products. With the new CIS Series that includes ceiling and surface mount speakers, mixer and power amplifiers, and matrix processors, the Company furthers is commitment to their commercial installation solutions customers. All market sectors receive comprehensive in-house/field product training, a dedicated dealer network, and 24/7 technical support.

Scheiner, Ainlay, Slovarp and McClain Demo Yamaha NUAGE at AES

Award-winning recording and mix engineers Elliot Scheiner, Chuck Ainlay, Jeremiah Slovarp of Jereco Studios, and John McClain of Dog & Pony Studios, along with Yamaha Commercial Audio Systems technology experts will discuss and demonstrate the NUAGE Advanced Production System and Nuendo 6.5 Software for music and post applications during the AES 2014 Show. The demos will take place at booth #1401 on Friday, Oct. 10: Jeremiah Slovarp at 11:00 am – 12:00, Elliot Scheiner from 3:00 – 4:00 pm, Chuck Ainlay from 4:00 – 5:00 pm, and John McClain from 5:00 – 6:00 pm. On Saturday, October 11: John McClain from 10:00 – 11:00 am, Chuck Ainlay from 12:00 – 1:00 pm, and Jeremiah Slovarp from 3:00 – 4:00 pm.

Also, check out the Yamaha Demo Room, #304C, on Friday, October 10 and Saturday, October 11 for CL and QL Series Basic Operation Tips between 11:00 am – 1:00 pm and CL and QL Series Network Essentials between 3:00 – 5:00 pm. On Sunday, October 12, there will be a CL and QL Series hands-on open lab from 11:00 am – 1:00 pm.

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TC Furlong Hosts Digital Console Expo

LAKE FOREST, Ill.—TC Furlong, Inc. will host a Digital Console Expo on Tuesday, October 21 between 4:00 pm – 8:30 pm. Manufacturers include Yamaha Commercial Audio Systems, Avid, Midas, DigiCo, SSL Live, Soundcraft, Allen & Heath, Mackie, PreSonus, QSC, and several more. The companies will exhibit their latest digital consoles, and manufacturer staff will be on hand to answer questions.

The event is free of charge and will be held at the Moody Church, 1635 N LaSalle Street, Room 107, in Chicago. Food and beverages will be provided along with a raffle for prizes as well as giveaways.

Registration is required as space is limited. To register, visit www.tcfurlong.com/dce.

The Moody Church is easily accessible by public transportation, and there are several pay lots as well as limited street parking in the area.

This is the third Digital Console Expo presented by TC Furlong Inc. TC Furlong is a Chicago-area live sound rental and sales company that has been in business for 41 years.

For more information, visit www.tcfurlong.com/dce or call 888-823-8756.

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Shotoku To Boost Worldwide Sales Initiatives with Appointment of New Technical Sales Manager

Trevor Sword To Focus On Increasing International Customer Base

Staines, United Kingdom – Shotoku Broadcast Systems, a leading international manufacturer of advanced camera support products, has named Trevor Sword its new Technical Sales Manager. James Eddershaw, Shotoku’s sales director, made the announcement from the company’s UK office where Sword will be based.

According to Eddershaw, Sword will be responsible for advancing sales of the company’s full range of robotic camera systems, increasing Shotoku’s customer base around the world, and supporting the company’s agents.

“We are very pleased to welcome Trevor to the Shotoku family,” says Eddershaw. “His technical background and years of experience in the broadcast market make him an ideal fit for our systems-based, technology-focused, sales environment. Trevor’s affiliation comes at an ideal time, just prior to IBC, where he will meet with our customers and be available to discuss his plans for helping Shotoku’s continued move forward.”

Sword brings more than 19 years of broadcast industry experience to Shotoku holding positions with such industry leading companies as Quantel and Snell & Wilcox. In his roles as Customer Support Team Leader and Customer Support Engineer, respectively, he has supported a global customer base throughout his career. Recently he progressed into a more commercial role providing technical solutions for customers.

Sword’s previous positions have required him to prepare technical documentation for internal sales teams, and prepare and present product demonstrations to internal staff and external customers on a regular basis. He was heavily involved in designing, organizing, installing and presenting demonstrations for trade shows around the world including NAB and IBC — a huge undertaking that involved months of planning and a large amount of integration with third-party customers and their equipment.

“I am thrilled to become part of the Shotoku team,” says Sword. “Over the years, I have supported various sales teams and took on many different roles, for a variety of projects, events and sales opportunities all over the world, from France, South Korea, and Sweden to Germany, Norway, Dubai and Denmark. The experience I gained has allowed me a greater understanding of customer requirements and puts me in a great position to further global Shotoku’s presence.”

About Shotoku Broadcast Systems
Shotoku Broadcast Systems is an international leader in the manufacture and marketing of a full range of camera support products with emphasis on manual and robotic pedestals and pan/tilt heads for the television broadcast industry. The Company also provides robotic camera systems capable of interfacing with third-party equipment. Established as an engineering design firm specializing in advanced mechanics and electronic control systems, Shotoku maintains headquarters in Japan with offices in Staines, UK and Torrance, CA. The Company’s robotic camera systems are designed, developed and manufactured in Staines, UK. For further information: www.Shotoku.tv
# # #
Shotoku contact: James Eddershaw
+44 (0) 1784 224650 / mailto:info@shotoku.co.uk

Press contact: Desert Moon Public Relations & Advertising / Harriet Diener
+1-845-512-8283 / mailto:Harriet@DesertMoon.tv

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