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Fairlight Showcases 3D Audio Workspace at IBC 2014

At IBC 2014, Fairlight will showcase 3D Audio Workspace (3DAW), a new platform for immersive and object oriented 3D Sound Production.

Aimed at the film and television post production market, 3D Audio Workspace reinforces the industry’s drive for the ultimate in cinematic and immersive sound delivery by providing a comprehensive and diverse environment for 3D audio production.

“Fairlight has always had a reputation for pushing the boundaries of technology, but even by our high standards 3DAW is one of the most exciting products we have launched in many years,” says Tino Fibaek, Fairlight’s CTO.

One of the features that make 3DAW so unique is AirPan – a brand new concept that allows operators to use a Virtual Reality (VR) style input to position and control images in a 3D space.

“This feature is incredibly cool because you can literally reach out into the airspace monitored by the controller and by just moving your fingers in the air, you can pan, rotate, tilt and spread your sound in space,” Fibaek adds.

Fairlight’s 3DAW adds immersive sound capabilities to an existing digital audio workstation, whilst remaining fully compatible with an established workflow. This open platform configuration support VST® and RTAS® plugins, as well as ASIO® for I/O and sync sharing.

“The philosophy behind Fairlight’s 3DAW is to give sound mixers a post production solution that works with all platforms,” Tino Fibaek adds. “Different deliverables require different technologies, so Fairlight’s immersive platform provides the best of both worlds, supporting object orientated implementations such as Dolby’s Atmos and DTS’ MDA and fixed bus formats in 2D and 3D, from stereo through to 5.1 and all the way up to NHK’s impressive 22.2 format.”

Fairlight has ensured post production facilities can easily connect to their studio workspace. Integrated, user definable B-chain processing supports up to 34 discrete speaker outputs allowing sound mixers to switch instantly between different surround formats, different speaker sets, speaker muting and soloing and comprehensive metering.

For more information about Fairlight’s 3D Audio Workspace and other innovations in the Fairlight range, please visit us at IBC 2014 – Hall 7, Stand H17. Or visit the company’s website –www.fairlight.com.au

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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

Southwestern Assembly of God U Installs Yamaha NUAGE DAW System

BUENA PARK, Calif.—Located in Waxahachie, TX, Southwestern Assemblies of God University (SAGU) began as a regional bible school and later, added a junior college program. The university has experienced phenomenal enrollment increases from 596 students in 1991 to approximately 2,200 today. In 2013, the academic divisions of the university realigned into three colleges: the College of Bible & Church Ministries, the College of Business and Education, and the College of Music and Communication Arts. All colleges maintain Bible-based curriculum to fulfill the mission of SAGU. Since 2000, SAGU has added 24 new academic programs, bringing the total to more than 60 programs.

Recently, SAGU added a 48-Fader Yamaha NUAGE Advanced Production DAW System, purchased through Audio DAWG of Irving, Texas. The system is installed in a dedicated studio for commercial production that is available for rental and an academic learning lab for Digital Media Arts students. Internships are being offered for students in the program, but they will also have to complete at least one major audio project using the studio, with staff engineer assistance.

“I started using Nuendo 2.0 in 2003 as an upgrade from Cubase SX which I was strictly using for MIDI programming, states John Cookman, Chief Engineer and Director of Media Services and Production. My DAW at the time was a PARIS system that had been discontinued, and I needed a DAW that could keep up with where I was leaving off. Wow! Nuendo really did that and more.”

Cookman purchased NUAGE primarily because he had grown tired of recording/editing/mixing with a mouse and keyboard. “I always sensed that my creativity was being stifled due to the inefficient ways of keyboard and mouse work flow, Cookman says. I had originally planned to purchase a Euphonix system because of its acclaimed integration with Nuendo, but once I demoed the NUAGE at NAB 2013, I decided it was much more practical to buy a console that was specifically made for the Nuendo platform and would also be supported by Nuendo’s parent company, Yamaha. From the first minute I sat down with the NUAGE, I have felt at home.”

The Digital Media Arts BA degree is the path for all of SAGU media students, and the department is moving toward an audio recording degree path. They do offer an audio recording class that is mandatory for all DMA students. Each student will be doing at least one project on the NUAGE. SAGU averages roughly 20 students in the audio recording class per semester.

Technically, SAGU is not a house of worship but they do have daily chapel services. “My department has started up a live and on-demand outlet to view and listen to services (www.SAGU.tv chapel channel), notes Cookman. This is a multi-camera and multi channel audio mix for broadcast TV using our DMA students as student workers. We also do sports broadcasting as well.”

Two main facilities are used for broadcasting, the largest auditorium seats approximately 2,300. During the school year the auditorium is occupied mostly by students. The other auditorium is a new performing arts theater seating 625. “Our NUAGE system is directly integrated to this room so that we can use it as a sound stage to record from,” adds Cookman.

Cookman appreciates the NUAGE state-of-the-art approach adding in the elements of the analog workflow to a digital non-linear workflow. “Now I am able to access the best of both worlds concerning work flow. Yamaha has done an outstanding job at connecting the user to efficient workflow systems. The way they have integrated NUAGE with the DAW (especially Nuendo) has empowered the engineer with hands-on tools that are unprecedented in our industry.”

Specific features that were attractive in SAGU’s decision process were the motorized faders, one-touch navigation to any parameter, and the ability to edit each parameter microscopically with professional grade encoders. “Faders and buttons impact our work environment everyday. Being able to reach over and instantly access channel data makes workflow so efficient. Now, I don’t have to spend time scrolling with my mouse and keyboard keeping me from really getting into that creative zone. The NUAGE is a “Must Have” for every DAW.”

John Cookman has been in the industry for 30 years, and 18 of those were spent in the non-linear DAW world. “Since I started working with NUAGE, I finally feel like I am tapping into the top layer of my potential as a engineer and producer. In May, we released a Christian music project for an outside artist (I was hired to produce and record/edit/mix). Within 45 days, we charted at #10 on the Billboard Hot Christian charts and the next week, we topped out at #8. The artist was the only independent artist in the top 100 at that time. I attribute a lot of that to the flexibility the NUAGE brought us to use more of our creative brain rather than engineering brain.”

Cookman says he is budgeting for a smaller NUAGE setup for broadcast remix in SAGU’s master control room currently using Nuendo.

For more information on SAGU, visit www.sagu.edu.

For more information on Audio DAWg, visit www.audiodawg.com.

For more information on NUAGE, visit www.yamahaca.com.

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PICTURED: John Cookman

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.

NEUTRIK ANNOUNCES opticamSWITCH® FIBER OPTIC CAMERA SWITCH

**** Photo: Neutrik’s opticamSWITCH ****

Charlotte, NC – August 2014… Neutrik USA, the leading supplier of robust and reliable professional connectivity solutions for audio, video, and data, is pleased to introduce opticamSWITCH, the ultimate solution for fiber optic camera routing within broadcast studios. opticamSWITCH eliminates the need for high-maintenance, risky SMPTE matrix patch fields by automating camera-to-CCU connections, routing both fiber and power. more

Shotoku Broadcast Systems Announces “SMART” IBC Exhibition Plans

IBC Stand # 11.F40

New SmartTrack System Anchors New and Enhanced Studio and Field Camera Support Gear

Staines, UK — Shotoku Broadcast Systems, the well-established leader in manual and robotic camera support, and virtual reality tracking, will anchor its IBC Stand with a new ‘smart’ rail camera system targeting the rigorous demands of daily TV studio use. The SmartTrack system will be at show alongside Shotoku’s advanced and high-performing control solutions, pan & tilt heads, robotic and manual pedestals, and virtual reality products for OB, studio, field production and legislative applications.

“As always, we are totally committed to IBC, which is a major event in our calendar. It allows us to showcase our systems to visitors from Europe and so many other parts of the world. It’s a fantastic opportunity to meet new clients and catch-up with old friends with whom we’ve worked for many years,“ said James Eddershaw, sales director, Shotoku. “This year, as usual, we will be showing a combination of systems from across our entire range of camera supports, including for the first time outside the USA the new SmartTrack rail-based camera system for floor or ceiling use.”

ROBOTIC HIGHLIGHTS

    NEW SmartTrack
    For the first time at IBC, Shotoku will demonstrate the new SmartTrack system, a fully integrated product based on the core track-based technology of MAT, Germany. In combination with Shotoku pan & tilt heads and control systems the MAT system is turned into the perfect solution TV studio use, day after day. It is highly adaptable, supporting floor or ceiling operation and a range of height column configurations, in both upright and inverted modes. The high quality engineering of the MAT and Shotoku systems ensure that the system is robust and stable, designed for long-term use in demanding applications such as 24/7 news or TV Shopping environments.

    ENHANCED TR-XT Control Systems
    Shotoku’s leading advanced control system will be shown once again, incorporating the recent enhancements and expansions in terms of camera capacity and dynamic configuration. The systems on show will be controlling multiple cameras and sharing camera operation across several controller-types.

    ENHANCED Fully Robotic Pedestal
    Shotoku will also be showing the latest developments in fully robotic studio pedestals, providing complete X-Y-H camera positioning with free-roaming capability, where track systems would not be appropriate. Several enhanced features including Virtual Reality tracking and simple referencing make the pedestal ideal for many TV studio applications.

    SEE IT LIVE Orchestra CMS Parliamentary Systems
    Fully automated and with live video touch-screen operation, Shotoku’s world-leading parliamentary TV system will be shown in action. The TG-27 pan and tilt head, becoming a standard among high-end parliaments and legislatures all over the world, will be shown under the control of the TR-S panel.

    MANUAL HIGHLIGHTS
    NEW TTH1502C Carbon Fibre Tripod

    Shotoku’s new 2-stage TTH1502C carbon fibre tripod incorporates the latest technology to give operators a lightweight, yet sturdy tripod system that is perfect for EFP or documentary production. Built to last with carbon fibre legs, the tripod weighs a mere 5.9kg (13 lbs.), features a 150mm bowl base, and stands over 1615mm (5’) tall at its maximum height. Available with a ground spreader or a mid-level spreader, the tripod is ideally paired with Shotoku’s SX300 pan & tilt head for optimal performance.

    TRIED & TRUE SX300 Pan & Tilt Head
    One of Shotoku’s latest mid-weight EFP pan & tilt fluid heads, the SX300 features outstanding balance, a robust build and ergonomic design. With a high capacity 38kg (83 lbs) payload and wide-balance capability, the SX300 supports an array of cameras, lenses and accessories, making it perfectly suited for field production, OB and studio use. The 300 head accommodates flat base or 150mm ball. Operators can not only expect top-class performance and reliability from the SX300’s VISCAM technology for smooth and adjustable pan & tilt drag with reinforced torque, but a continuously adjustable balance system.

    FLEXIBLE SG900 Pan & Tilt Head
    Shotoku’s SG900 manual pan & tilt head offers vibration-free speed in an ergonomically designed sturdy package. Ideal for OB and studio production with Teleprompters or box type lenses, the SG900 supports 90 kg (198 lbs), and features single knob balance adjustment. The unit incorporates the VISCAM ultimate fluid drag system to control smooth pan & tilt movement and REULAUX perfect balance system for maintaining the camera’s centre of gravity. The SG900 fits various pedestals including Shotoku’s TP200 lightweight, 2-stage pneumatic pedestal and both the TP-80 and TP-90 studio models.

    BACKED BY EXPERIENCE Virtual Tracking Systems
    Based on decades of extensive VR experience, Shotoku VR tracking systems offer outstanding design features, robust and reliable platforms for a wide range of camera and lens configurations. High-accuracy, real-time data output with absolutely no loss in manual performance is common to all Shotoku systems as is compatibility with all leading VR graphics systems. Shotoku’s VR range includes the simplest PT head and tripod right up through studio pedestals and high payload heads to state of the art cranes and jibs with total freedom of movement within VR studios small or large. Shotoku will have a sample of these systems on show at IBC.

    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

    Shotoku contact: James Eddershaw
    +44 (0) 1784 224650 / mailto:info@shotoku.co.uk

    Press contact: Desert Moon Communications / Harriet Diener
    +1-845-512-8283 / mailto:Harriet@DesertMoon.tv

Fairlight Demonstrates Ongoing Innovation at IBC 2014

Fairlight’s international reputation for pushing the boundaries of technology will be reinforced at IBC 2014 (7.H17) when the company shows a range of innovative products.

Leading the parade is Fairlight’s Live console family, which includes the Award-winning EVO.Live digital audio mixing system – a dual function console that allows engineers to switch between live and post modes at the touch of a button. Designed for the most demanding on-air and live productions, Fairlight’s versatile Live family covers a wide range of consoles, processing and I/O solutions, giving users highly scalable audio processing capabilities. In addition, Fairlight is showing its expanded range of live production tools, which includes the highly acclaimed iCan customisation software.

At IBC 2014, Fairlight will also be reinforcing the industry’s drive towards the ultimate in cinematic and immersive sound delivery by launching a new platform for Object Oriented 3D Sound Production.

This new platform supports traditional standard and custom bussing in simultaneous 2D and 3D, along with NHK’s 22.2, Dolby Atmos (via RMU) and DTS MDA. It also supports third party client applications such as Avid Pro Tools 10.x and Nuendo 6.0.

IBC 2014 will give new and existing Fairlight users their first opportunity to see the company’s fifth major software release, based on the brand new second generation CC-2 FPGA audio engine. The CC-2 audio engine with V5 software is perfectly suited to the demanding delivery requirements of today’s broadcast industry. By providing over 1,000 playback channels, 100 live inputs and 100+ output buses, the system is the most powerful audio engine ever made.

Fairlight will complete its IBC 2014 unveiling by showing how to deliver complex multi-sourced workflows by combining its open platform Media GateWay with its unique iCan workflow automation tools. These Gateways offer a glimpse into the future of broadcast post production by embracing collaborative editing environments such as Quantel’s Qtube, with internet based video source reference, original source audio and faster-than-realtime layback.

To learn more about Fairlight, please visit IBC 2014 Booth 7.H17, or www.fairlight.com.au for English information and www.fairlighteu.com for German information.

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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.fairlightau.com

DPA Helps The Voice Australia Deliver a Great Live Experience

Thanks to DPA’s d:facto™ Vocal Microphone, vocal deliveries for the live broadcast of Australia’s The Voice were significantly improved, ensuring an even more enjoyable experience for TV viewers.

As with many TV singing/talent shows, the culmination of The Voice Australia relied on wireless microphone technology to ensure that the contestants could move freely about the stage. DPA’s award winning d:facto Vocal Microphone fitted the bill perfectly thanks to its state of the art adapter system that allows the high quality condenser capsule to be seamlessly integrated with many professional wireless systems or used in conjunction with DPA’s wired handle.

The decision to try DPA’s d:facto Vocal Microphone on the show was taken by Australian rental company, JPJ Audio.

John Simpson, Senior Audio Director of The Voice, says: “JPJ’s Brad Adamson told me he had DPA’s d:facto’s and we were keen to try them on a couple of TV shows we were working on. DPA has a great reputation for high quality mics and this interested me because I hadn’t been happy with any capsules on the RF systems we were using.”

Simpson knew that, being DPA, their pedigree would shine through the moment he brought up the faders.

“I realised we wouldn’t be needing that old EQ curve anymore,” he says. “The sound was natural, present and uncoloured, like having a top notch studio condenser available as RF. We don’t have to process anywhere near as much as we used to and everything sounds better; vocalists and presenters, male or female. The d:facto’s make it much easier to sit voices in a mix.”

Simpson adds that the Vocal Coach for the programme was also a fan. “He thinks they are a significant step up from anything he has heard and is very impressed, as are the operators at Monitors, FOH and Broadcast.”

“Just keep making them,” implores Simpson. “The capsules are the best thing we’ve heard for RF mics in a long time and have been an asset for us.”

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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

Jünger Audio Launches D*AP8 Codec Edition At IBC 2014

Digital audio specialist Jünger Audio is using the IBC 2014 platform (Hall 10, Stand A49) to launch a new Codec Edition of its D*AP8 Digital Audio Processor.

This unique device has a vital role to play in today’s broadcast environment because it is the only combination of broadcast audio codec and processor on the market that can carry out real-time metadata emulation.

Peter Poers, CEO of Jünger Audio, says: “Following Dolby’s decision in 2013 to discontinue its DP570 Multichannel Audio Tool, we are now the sole company in the world making and supplying a product that fills that gap. Our D*AP8 Codec Edition incorporates a Dolby decoder as standard and with a choice of optional encoders means that broadcast engineers in post-production, DVD and DTV facilities can check the quality of Dolby Digital AC3/E-AC3 encoded audio prior to transmission. Without this product, it is fair to say that broadcast engineers would not be able to carry out precise real-time metadata emulation in recent build production environments and would therefore have no way of checking exactly what television audiences hear at home.”

Mike Babbitt, Senior Manager, Professional Support Dolby Laboratories, Inc., says: “Dolby is happy to partner with Jünger Audio in bringing critical and innovative broadcast-enablement products to the worldwide broadcast community. Through our technical partnerships with valued partners like Jünger Audio, Dolby is continuing to enable current and next-generation broadcast and OTT workflows to provide consumers with the ‘In Dolby’ experience.”

The D*AP8 Codec Edition features a built-in Dolby® Metadata generator and Dolby® decoder that allows users to decode Dolby-E, Dolby-D (AC-3) and Dolby Digital plus (E-AC-3).

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

By incorporating SDI I/O with 3G/HD/SD auto detection, the D*AP8 Codec gives users the option of dealing with all 16 channels of SDI embedded audio at the same time. It is also possible to send further embedded programs to D*AP8 MAP’s AES outputs to feed a third party instrument for analyzing and/or display.

The D*AP8 Codec SDI board also acts as an embedder and comes with video delay to compensate for any kind of audio delay. This feature is ideal for those looking to maintain lip sync before encoding in QA suites or control rooms.

“Now that most of the DP products are no longer available, broadcast engineers still need hardware based solutions that can decode and encode Dolby®-E, Dolby®-D (AC-3) and Dolby® Digital plus (E-AC-3), as well as HE-AAC formats, and provide the essential metadata emulation function” Poers explains. “Our D*AP8 Codec Edition is the latest unit on the market that can offer various combinations of this and is effectively the successor of not just the DP570, but also in combination with the DP564/569 and 571/572.”

For more information about Jünger Audio, please visit IBC stand 10.A49 or visit the company’s website at www.jungeraudio.com

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

Prism Sound Shows New Audio Products at IBC 2014

Prism Sound will be attending this year’s IBC convention (8.E34) with a range of new audio products aimed at post production and broadcaster engineers.

The company’s family of audio interfaces has been extended to include Titan and Atlas, both of which will be on show for the first time in Europe.

Titan and Atlas are multi-channel audio interfaces offering recording professionals ultimate quality analogue and digital I/O for Mac or Windows PC at sample rates up to 192kHz via a simple USB interface. In addition to a USB host interface, both units feature the new MDIO interface expansion slot, which can be used to expand its connectivity, for example by adding a direct connection to Pro Tools|HDX systems.

Titan has four microphone inputs, while Atlas has eight and is aimed at multitrack recording applications. Both are designed with Prism Sound’s latest and award-winning CleverClox clocking technology.

At IBC 2014, Prism Sound will also be showing the latest upgrade to its acclaimed SADiE 6 software, the audio recorder and editor of choice by countless national broadcasters. This new version delivers even greater benefits to the mastering community thanks to the inclusion of a brand new toolset for today’s ‘digital download’ age.

New features include WAV Master, which allows users to create WAV files for an entire album using PQ marks to define the start and end of the WAV file for each album track. Track Titles, Artist Name and other information is automatically incorporated into these files. Prism Sound has also introduced a new high quality Sample Rate conversion algorithm and ensured that resolution changes can be applied during the bounce process used to create WAV files.

The new version of SADiE 6 now caters for engineers who want to work with Broadcast WAV (BWF) files, which incorporate ISRC data. An ISRC in BWF feature is included in SADiE’s WAV Master option and is in the SADIE version 6.1 update as part of the ‘Mastering Suite’ and ‘Sound Suite’ packs.

Finally, SADiE has enhanced video support for BlackMagic Design Decklink cards, as well as timecode support on SADiE Native systems where the ASIO audio hardware used supports timecode functionality.

Finally, Prism Sound is showing its full range of Test & Measurement solutions, including the versatile dScope Series III Audio Analyzer. This award-winning unit features a freely-available test suite that can be used to evaluate the performance and compliance of any loudness meter on the market and ensure that a chosen product can deliver both ATSC and ITU BS.1770 compliance.


To find out more about the Prism Sound/SADiE range and to demo the new Titan and Atlas interfaces, please visit stand 8.E34.

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the award-winning dScope Series III audio analyser system.

For more information: www.prismsound.com

Clearwing Holds Top Manufacturers, One Event Showcase

BUENA PARK, Calif.—Yamaha Commercial Audio Systems, Inc. is one of many manufacturers that will be on hand at Clearwing’s Vendor Showcase on Tuesday, August 26, 2014 between 10:00 am – 4:00 pm. Mike Eiseman, District Manager, will be on hand bringing along the new Yamaha QL5 Digital Audio Console as well as a CL1 digital console, Rio3224-D input/output box, and DXR12 speakers. He will also demonstrate the Yamaha StageMix application and Nuendo Live v1.1.

Manufacturers include Robe, Clay Paky, Shure, Rane and others.

The event is free of charge and will be held at Clearwing, 11101 West Mitchell Street, Milwaukee. For more information, telephone 414-258-6333.

RSVP: http://clearwing.com/html_email/cw_event_vendor_MKE_2014/vendor_MKE_2014_landing.html

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Montreal Jazz Festival Front Loaded With Yamaha Consoles

Guy Vincent

BUENA PARK, Calif.—From June 26-July 5 at venues across Montreal, the annual Montreal Jazz Festival featured a boat load of musical guests from Earth, Wind & Fire, B.B. King, Tony Bennett, and Diana Krall, to Aretha Franklin, Diana Ross, Terence Blanchard, and Nikki Yanofsky to name a few.

Solotech of Montreal provided the majority of the audio production for the 30 stages and stacked them with Yamaha digital audio consoles. Yamaha Commercial Audio Systems pitched in for five of the stages: Scene TD, the main outdoor stage, was outfitted with two Yamaha CL5 digital consoles and three Rio-3224D input/output boxes. Two CL5s and two Rio-3224Ds were in position at Theatre Maisonneuve, Lounge Heineken used a QL5 and one Rio-3224D, and Club Soda and Savoy both had new Yamaha QL5 digital audio consoles. The Savoy also used a Rio-3224D.

Front of House engineer, Guy Vincent, has been mixing sound for over 30 years and says he has worked with a lot of digital boards but his favorite is the Yamaha CL5. “The feature I like the most Is the Premium Rack. It is amazing how warm the sound is by activating any of the plug-ins. I also like the custom faders.” Vincent used a CL5 at the Maisonneuve Theater during the Festival mixing Terence Blanchard and others. He is currently on tour with Florence K using a CL5.

Front of house engineer, Richie Forte, used his own personal Yamaha LS9-32 console at the Metropolis during the Festival for artist Nikki Yanofsky. “According to my dear friends at Yamaha, my LS9 was one of the very first in eastern Canada, a fact I’m very proud of,” states Forte. “I’ve taken this little workhouse and pushed it beyond its limits. With the use of a fiber optic snake capable of transporting 32X8 of the LS9′s 32X16 i/o, plus one channel of bi-directional high speed EtherSound transport built in, I am able to use the two MY card slots on the LS9 to connect to my two Yamaha SB168-ES stage boxes for a total on stage analog i/o of 64X24.”

Richie Forte

Forte said that his current console as well as the two Yamaha digital consoles he previously owned, have preformed flawlessly and reliably. “It’s this ease of use, size, weight, flexibility, and “bang for buck” price point that has kept me a loyal Yamaha user and owner since 1997.” He’s now in Europe and using a Yamaha CL5 and says he’s “truly blown away by the sound of the console” and equally happy that its flexibility and workflow has been greatly refined and fulfills everything on his wish list. “I’m looking forward to upgrading to a QL5, my fourth Yamaha console very soon!”

Stephane Grimm

Stephane Grimm, who mixed The Jordan Officer Trio and Betty Bonifassi Chants on a new Yamaha QL console at both Club Soda and Club Savoy, said he’s really into the new QL and has used a Yamaha CL a number of times. “I was really impressed by the QL, and having the touch screen makes it totally easy to use, Grimm says. The four user layers is a wonderful feature especially now that you are able to color identify the faders, making it impossible to miss the channel you’re looking for. I also like the fact that it is fully compatible with the CL series, without even having to convert the file. WOW!” Grimm also said the new plug-ins is a great feature. “The 2-band Dynamic EQ, works very well especially on vocals and other instruments that change tones.”

For more information on Yamaha digital consoles, visit www.yamahaca.com.

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

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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