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Archive of the Audio Playback Category

JOEL HAMILTON RECORDS & MIXES “PUSS N BOOTS” DEBUT USING ATC SCM25A’s

BROOKLYN, NEW YORK – AUGUST 2014: Puss n Boots is a three-piece, all-female, alt-country band led by singer-songwriter Norah Jones and backed by accomplished vocalists Sasha Dobson and Catherine Popper. All three women learned new instruments for five years before recording their debut album with engineer/musician/producer Joel Hamilton (Tom Waits, Black Keys, Sparklehorse, Elvis Costello) at Studio G Brooklyn. Titled No Fools, No Fun, the album was recently released on Blue Note Records. As co-owner of Studio G Brooklyn with Tony Maimone, Hamilton installed ATC SCM25A three-way reference monitors and ATC SCM0.1-15 subwoofers in Studio A, a change that happily coincided with his first Grammy nomination (Pretty Lights, A Color Map of the Sun), a Latin Grammy nomination (Bomba Estereo, Elegancia Tropical), and a Latin Grammy win (Gaby Moreno, Postales). The ATCs were purchased from Audio Power Tools in New York.

“The ATCs have changed the way I work and improved the quality of my work,” said Hamilton. “I’m lucky to have a nicely tuned control room with an SSL and plenty of vintage outboard gear, and with the ATCs, I’m suddenly able to make decisions that are smaller – and yet more critical – than I have ever been able to make before. I have the ability to resolve a finer shade of the colors I’m hurling at the end-listener, and it’s been a revelation. It’s not a small thing, and that’s why I’m reaching for dramatic words like that. It’s tectonic. The entire continent has shifted.”

The glorious harmonies delivered by Jones, Dobson and Popper are a huge part of Puss n Boots’ magic. They form the emotional foreground. “The balance of those harmonies is crucial,” said Hamilton. “You’ve got these three gorgeous women with gorgeous voices, and they’re all coming at you like gangbusters because they can all project. We recorded everything live to analog tape, including the vocals. That gives a particular nuance to how the instruments sit against the vocals. You can feel the beat push and pull so beautifully. I needed to make sure that all of that nuance would come shining through for the listener. Striking the right midrange balance of those harmonies is critical, and I had to make sure all of that beauty would be immediately apparent to, say, my mom!”

While Norah Jones’ existing albums might safely be described as “polished” and most classic country albums might safely be described as “rough,” Hamilton had to walk the line between those extremes. “The balance is deliberately raw, which is perhaps unexpected by traditional Norah Jones standards, but it also has to be informed,” he said. “We were shooting for a tiny bulls eye, but we also had to make sure that everything felt unfettered and natural; just on the edge of scratchy so that it felt rough but didn’t actually hurt people. With the ATCs, I could find that line and make adjustments with confidence. I could tell where I was overcooking it on purpose. I could dial in just the right amount of ‘road house.’”

With the introduction of the ATCs, gone too is the need to translate for the client how a mix will sound outside of the studio. “After spending a lot of time in front of other monitors, I could tell when certain things would sound bad in the studio but fine outside of the studio,” Hamilton said. “The challenge beyond that, however, was convincing the client that those bad things would be fine later on, which is just one more thing to heap onto the already-skittish nature of an attended mix session. And so clients would ask, ‘why don’t you just get monitors that sound like it will sound like?’ It seems so simple, but of course it’s not.”

Hamilton used to switch between a number of monitors and loudspeakers all day long, but now he just hangs out on the ATCs. Depending on the task at hand, he can turn the ATC subwoofer on or not. “With the sub on and the volume cracked, the ATCs rock and serve as ‘mains,’” he said. “When I’m listening closely and resolving small moves, the ATCs are my nearfields. Either way, I now have complete confidence in what I’m hearing and doing. When a mix sounds good on the ATCs, I know it will sound good everywhere else. With Puss n Boots, we were able to make solid decisions that stuck. We totally avoided the hell of endless revisions!”

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

K2 Becomes NYC’s Newest Flying Superhero

See Factor deploys brand new L-ACOUSTICS system at acoustically challenging Javits Center for worldwide premiere of X-Men: Days of Future Past

NEW YORK CITY — For the launch of the summer blockbuster film X-Men: Days of Future Past, 20th Century Fox staged its worldwide premiere at the Jacob K. Javits Convention Center on midtown Manhattan’s west side.

The debut of the $200-million-plus film, attended by Hugh Jackman, Jennifer Lawrence, Patrick Stewart, Halle Berry and other stars, was a huge event filling a hall inside the cavernous Javits Center and illuminating a 75-foot-wide screen hung on the hall’s north wall. The showing also had to be able to reproduce the film’s bombastic 5.1 surround soundtrack, but the Javits is no cinema; the same huge floor-to-ceiling glass wall that offers spectacular views of the Hudson River and New Jersey can also create uncontrollable aural reflections that would turn the hall into an acoustical nightmare.

Event producer Samantha Sackler Productions tapped NYC-based See Factor Industry, its longtime collaborator on east coast events and movie premieres, who called upon the sonic equivalent of a superhero: L-ACOUSTICS’ K2, a lightweight, high-powered, full-range line source array system that made its official debut earlier this year. For the X-Men premiere, the AV specialist deployed 24 K2, 12 SB28 subs and 16 coaxial 115XT HiQ wedges, all powered and processed by L-ACOUSTICS’ LA8 amplified controllers. See Factor also provided all lighting, rigging and management services for the event. more

Biamp Systems Selected for University of Oregon’s Hatfield-Dowlin Football Complex

AudiaFLEX and Nexia(R) CS provide digital signal processing for technologically advanced collegiate sports facility more

Nexidia Releases Dialogue Search v1.6 With New-Third Party Integrations

ATLANTA — Aug. 12, 2014 – Nexidia, a leading developer of dialogue and audio analysis products and technologies, today announced version 1.6 of Nexidia Dialogue Search, the company’s solution that searches for any spoken word or phrase across massive media libraries in seconds. With Dialogue Search v1.6, Nexidia has expanded its third-party integrations for the Dalet Galaxy and Squarebox Systems CatDV media asset management (MAM) systems, making them even more valuable and flexible for media operations of any size. In addition, Vizrt and IPV have now integrated dialog search capabilities into their respective MAM applications using the Dialogue Search API.

“We designed Dialogue Search to be an indispensable tool for any media-centric organization needing to find any clip among thousands — or even hundreds of thousands — of hours of media. We do this independent of, but in conjunction with, any existing metadata,” said Drew Lanham, senior vice president and general manager of Nexidia’s Media and Entertainment division. “At the same time, several new technology partnerships mean users can benefit from Dialogue Search in a broader array of tools to make media immediately accessible without the time and expense of logging or transcription.”

Dialogue Search quickly indexes all of the audio in a media library and then utilizes Nexidia’s patented phonetic search technology to find clips based on what is spoken on the audio tracks.

With v1.6, Dialogue Search has expanded its integrations with several of the industry’s MAM and metadata management systems. In addition to the expanded integrations with Dalet Galaxy and Squarebox Systems CatDV, MAM solutions IPV Curator and Vizrt Viz One have now incorporated the Dialogue Search API — enabling Dialogue Search capabilities to create a unified search experience. The API enables all of the user features of Dialogue Search to be integrated in the third-party application without disrupting the existing user experience or workflows.

Nexidia will demonstrate Dialogue Search v1.6 at the IBC2014 in stand 3.A54 and in the IPV Stand, 8.A33. The product will be available in September.

More information about Dialogue Search and other Nexidia products is available at www.nexidia.tv.

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About Nexidia
Nexidia is the audio and video search company with patented technologies and breakthrough applications that make it quick and easy for customers to gain new insight, boost their competitive advantage, and monetize large volumes of audio and video assets from entertainment, sports, news, education, corporate, government, financial, house of worship, and non-profit organizations. More information is available at www.nexidia.tv.

All trademarks appearing herein are the property of their respective owners.

Visit Nexidia at IBC2014, Stand 3.A54

Photo Link: www.wallstcom.com/Nexidia/Nexidia-DialogueSearch-Player-DaletIntegration.jpg
Photo Caption: Nexidia Dialogue Search Integrated Into Dalet

Photo Link: www.wallstcom.com/Nexidia/Nexidia-DialogueSearch-SearchResults.jpg
Photo Caption: Nexidia Dialogue Search – Search Results

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Related Topics: Audio Playback, News, Product Updates |

Digigram’s IBC2014 Product Lineup to Feature Low-Cost, High-Quality AQORD *LINK/LE Video-Over-IP Codec

MONTBONNOT, France — Aug. 12, 2014 – Digigram today announced that at IBC2014, it will demonstrate the new AQORD *LINK/LE codec designed to enable simple, cost-effective transport of high-quality video over IP networks, including fiber, xDSL, and satellite for program contribution applications. With an attractive price tag and the ability to serve either as an encoder or decoder, the easy-to-use AQORD *LINK/LE IP video codec lowers barriers to IP-based video transport without forcing users to compromise on video quality.

“IP video transport offers numerous business and operational benefits, and we have introduced the AQORD *LINK/LE in order to make these benefits accessible to a broader range of users and facilities,” said Laurent Gros, video product manager at Digigram. “With this new product, which rounds out our video product range, we offer the high video quality for which our AQORD IP video codecs are known, as well as fundamental, hardware-based, low-latency encoding and streaming capabilities packaged in an uncomplicated design with straightforward configuration options.”

The AQORD *LINK/LE codec is designed for video contribution in broadcast, live event, and IPTV distribution applications. Housed in a 19-inch encoder/decoder rack, the unit features SDI raw video I/O and network I/O for IP-based live streaming. Ready to use right out of the box with minimal configuration, this latest addition to Digigram’s AQORD family allows users to begin streaming almost immediately. With both H.264 encoding or decoding capabilities, the AQORD *LINK/LE also gives users flexibility in system deployment.

Throughout IBC2014, Digigram’s AQORD line of IP video codecs for contribution and AQILIM IP video codecs for over-the-top applications will be on display on stand 8.C51. The AQORD *LINK/LE will be available for shipping shortly after IBC2014 concludes.

More information about Digigram and the company’s products is available at www.digigram.com or by phone at +33 4 76 52 47 47.

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About Digigram
Positioned at the convergence of professional audio and video with IT, Digigram offers IP-based solutions that enable users worldwide to increase their competitiveness through change.

The company’s products enable the reliable capture, production and delivery of high-quality audio and video over IP networks. Its innovative IP audio codecs, professional sound cards, and audio processing software are used by thousands of journalists, broadcasters, and audio engineers worldwide. Digigram’s all-IP video product line provides advanced contribution and distribution solutions to broadcast, IPTV, Web TV, and OTT operators. The company also delivers key audio/video technologies and OEM solutions to software vendors and manufacturers.

For more than 25 years, through constant innovation and the development of fruitful partnerships, Digigram has been influential in energizing the industry, raising standards, and pushing forward technological development.

Further information on Digigram and its product portfolio is available at www.digigram.com.

Please Visit Digigram at IBC2014, Stand 8.C51

Photo Link: www.wallstcom.com/Digigram/Digigram-AQORD_LINK-LE.jpg
Photo Caption: AQORD *LINK/LE IP Video Encoder/Decoder

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Nexidia QC v2.3 Features Caption Retiming and Expanded Support for International Formats and Languages

ATLANTA — Aug. 5, 2014 — Nexidia, developer of dialogue and audio analysis products and technologies for optimizing audio and video media, today announced Nexidia QC(TM) v2.3, the latest release of its software tool for automating quality control of closed captions, video description, and languages for broadcast and IP workflows. Nexidia QC v2.3 adds caption retiming, additional caption formats, and more languages to meet the needs of international broadcasters and media outlets that are facing increased caption regulations.

“Closed captions and subtitles have long been a challenge for broadcasters, but recent and pending legislation in the U.S. and throughout the world has created renewed motivation to tackle the complexities once and for all,” said Drew Lanham, senior vice president and general manager of Nexidia’s Media and Entertainment division. “We have added automated caption retiming for live captioned content to Nexidia QC, making it the first caption tool to automatically correct live caption-timing issues, ensuring that captions are synchronized with the speech in repurposed content. Also, we are implementing improvements to address the specific needs of international broadcasters with broader support for languages and caption file formats.”

Nexidia QC v2.3 can now test for and repair out-of-sync captions due to drift. Drift occurs when time codes are misinterpreted or changed as a result of a frame rate conversion to meet a delivery specification. For example, a frame rate mismatch of 29.97 DF (drop frame) versus 29.97 NDF (non-drop frame) will produce a caption drift of 3.6 seconds per program hour. This presents a problem for many organizations as the captions at the beginning of the video appear to be correctly timed, when in fact they are not. Nexidia QC compares the captions with speech throughout the entire audio file to detect and report these kinds of timing issues. Nexidia QC can now automatically correct the caption file timing preventing costly re-captioning.

As part of Nexidia QC’s language identification function, Nexidia QC v2.3 has an expanded library of languages and can now distinguish between dialects, such as Latin American Spanish versus Castilian Spanish.

Nexidia QC v2.3 has added support for STL and EBU-TT, the most widely used caption formats in Europe. It also fully supports the iTunes(R) Timed Text (ITT) format used for distribution to iTunes, enabling it to accommodate all types of media organizations around the globe.

Nexidia QC v2.3 can also identify the language of the captions displayed on screen regardless of the audio track or any language metadata included in the caption file. At the same time, a spell-check function has been incorporated to test for the proper spelling of captions.

These enhancements serve to provide the most thorough automated caption QC tool available today, whether used as a stand-alone application or as part of a unified QC system such as Amberfin’s UQC platform and workflow automation tools such as Telestream Vantage.

Nexidia will demonstrate Nexidia QC v2.3 at IBC2014 in stand 3.A54, in Telestream stand 7.C12, and in Dalet stand 8.B77. The product will be available in Q4 2014.

More information about Nexidia QC and other Nexidia products is available at www.nexidia.tv.

# # #

About Nexidia
Nexidia is the audio and video search company with patented technologies and breakthrough applications that make it quick and easy for customers to gain new insight, boost their competitive advantage, and monetize large volumes of audio and video assets from entertainment, sports, news, education, corporate, government, financial, house of worship, and non-profit organizations. More information is available at www.nexidia.tv.

All trademarks appearing herein are the property of their respective owners.

Visit Nexidia at IBC2014, Stand 3.A54

Photo Links:
www.wallstcom.com/Nexidia/Nexidia-NQCJobResult.jpg
www.wallstcom.com/Nexidia/Nexidia-NQCRetimingVisual.jpg

Digigram to Showcase RAVENNA/AES67 Compatibility of IQOYA IP Audio Codec Line at IBC2014

RAVENNA Connectivity Enables Much Greater Levels of Flexibility in Design and Implementation of Radio Broadcasters’ Audio Infrastructures

MONTBONNOT, France — Aug. 5, 2014 – Digigram today announced that it will showcase the addition of RAVENNA/AES67 connectivity to the company’s IQOYA range of audio-over-IP (AoIP) codecs at IBC2014. In enabling radio facilities to take advantage of the technical and cost benefits of high-performance RAVENNA networks and AES67 compatibility, these solutions help ease users’ migration toward greater use of IP audio within their studios and ultimately facilitate more flexible design and use of their audio infrastructures.

“Digigram was among the first members of the RAVENNA consortium launched by ALC NetworX in 2010 and was active in the AES67 standardization committee. We are leveraging the expertise and experience gained to offer an expanding range of products enabled with RAVENNA/AES67 connectivity,” said Pascal Malgouyard, head of product marketing at Digigram. “Our IQOYA products are among the first IP audio codecs to offer RAVENNA and AES67 connectivity, and we look forward to highlighting the significant benefits this product line can bring to radio operations at IBC2014.”

Enabling new levels of performance and flexibility in IP audio transport, RAVENNA is an AES67-compatible open technology standard that represents a major technological advance for low-latency synchronous audio distribution over IP infrastructures. The RAVENNA/AES67-compatible IQOYA solutions being shown at IBC2014 allow users to get audio programs directly from an in-studio RAVENNA network and subsequently encode and stream them over IP to transmitter sites via a WAN in compliance with EBU ACIP (Tech 3326). Users likewise can decode EBU ACIP streams from a WAN to their in-studio RAVENNA network.

Digigram’s IQOYA IP audio codec product range, now equipped with RAVENNA/AES67 support, includes the IQOYA *LINK, IQOYA *LINK/LE, IQOYA *SERV/LINK, and IQOYA *CALL products. These enhanced solutions will be available for demonstration during IBC2014 and available for shipping before the end of 2014.

More information about Digigram and the company’s products is available at www.digigram.com or by phone at +33 4 76 52 47 47.

# # #

About Digigram
Positioned at the convergence of professional audio and video with IT, Digigram offers IP-based solutions that enable users worldwide to increase their competitiveness through change.

The company’s products enable the reliable capture, production and delivery of high-quality audio and video over IP networks. Its innovative IP audio codecs, professional sound cards, and audio processing software are used by thousands of journalists, broadcasters, and audio engineers worldwide. Digigram’s all-IP video product line provides advanced contribution and distribution solutions to broadcast, IPTV, Web TV, and OTT operators. The company also delivers key audio/video technologies and OEM solutions to software vendors and manufacturers.

For more than 25 years, through constant innovation and the development of fruitful partnerships, Digigram has been influential in energizing the industry, raising standards, and pushing forward technological development.

Further information on Digigram and its product portfolio is available at www.digigram.com.

Please Visit Digigram at IBC2014, Stand 8.C51

Photo Link: www.wallstcom.com/Digigram/Digigram-IQOYA_ServLink_1U.jpg
Photo Caption: IQOYA *SERV/LINK Audio-Over-IP Codec

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Archimedia Technology IBC2014 Product Preview, Partnering With Front Porch Digital, Stand 7.D14

Archimedia Technology at IBC2014

Conceived less than 18 months ago out of the need to deliver and read files originating from 4K cameras, Archimedia Technology has rapidly become the new standard for testing and playing master-grade media files. Archimedia offers a range of tools that allow video engineers and archivists to access, play, manage, and test files in all mastering formats, including JPEG 2000, ultimately making content deliverable more quickly at higher quality. Visitors to Archimedia’s stand at IBC2014 will see firsthand the power of this unparalleled line of tools on HD and UHD screens, including the foundation of its product line, the award-winning Archimedia Master Player. Archimedia will also introduce a new player built for everyday business use and a suite of desktop quality-measurement tools that replace existing desktop applications and traditional SDI hardware.

NEW Archimedia Enterprise Player
At IBC2014, Archimedia will demonstrate the Archimedia Enterprise Player, a new player designed for all stakeholders — expert or not — who must be able to view professional video reliably and precisely in order to do their jobs, especially those who need specialized technical support to deal with professional media. Users range from those who lack the technical expertise to use professional video tools, to video experts who simply need to review their work without tying up an edit suite.

The Archimedia Enterprise Player installs easily on any computer equipped with Windows(R) 7 or 8 by simply downloading the software from Archimedia’s website. Users can get media-specific email support from Archimedia, as well as Archimedia’s live online or phone support when needed. The Archimedia Enterprise Player plays all professional and consumer video and audio formats except for JPEG 2000, DPX, and 4K/UHD, which are found only in cinematic or production masters. Like the Master Player, the Enterprise Player can play captions and subtitles in more than 80 external formats and more than 50 embedded formats, and all video can play to a normal TV over HDMI so that what the user sees is real TV rather than a PC approximation of it. The Enterprise Player also delivers accurate audio in all modes — fast forward, rewind, slow, and scrub.

Because the Enterprise Player is designed for either operations budgets or capital budgets, a business can better control the balance sheet by adjusting operations costs based on changes in headcount. This pricing model enables enterprises to provide a sophisticated media player and specialized technical support to a defined number of employees without worrying about auditing licenses or the cost of maintaining in-house technical expertise. Made to run on existing office computers, the player software is free for businesses with an active support account, or can be purchased affordably with annual support included.

Photo Link: www.wallstcom.com/Archimedia/Archimedia-Enterprise-Media-Player.jpg
Photo Caption: Archimedia Enterprise Media Player

NEW Archimedia QuSee(TM) Suite
IBC2014 will see the debut of the Archimedia QuSee(TM) Suite, a family of tools to inspect and measure video, audio, and metadata for broadcast, postproduction, A/V, mastering, and distribution. Working in tandem with the Archimedia Master Player, the Archimedia QuSee Suite brings validation and verification functions to the desktop, allowing users to perform quality tests on files rather than on SDI streams created from files. The Archimedia QuSee Suite replaces aging SDI hardware such as video and audio waveform monitors, vectorscopes, and audio phase meters, as well as their desktop counterparts, which don’t come with a player that supports all of the common professional mastering formats as Archimedia Master Player does.

The Archimedia QuSee Suite contains a traditional video waveform monitor and vectorscope in a desktop floating window, with support for SD, HD, UHD, and 4K video sizes; standards-based frame rates; and all professional video formats including broadcast, cinema, and Web. For audio, a traditional audio waveform monitor and phase meters appear in a desktop floating window. The audio tools support uncompressed PCM and compressed audio formats including Dolby(R). One benefit of integrating desktop validation and verification with the Archimedia Master Player is the player’s unique ability to keep compressed video and compressed audio in perfect sync, even in fast forward, rewind, and slow-motion modes — an important factor in all kinds of media work.

Photo Link: www.wallstcom.com/Archimedia/Archimedia-QuSeeSuiteTeaser.jpg
Photo Caption: Archimedia QuSee(TM) Suite

Archimedia Master Player v2.2
At IBC2014, Archimedia will display the newest version of its inaugural product, the award-winning Archimedia Master Player. Designed for video engineers, producers, directors, manufacturers, and archivists who work with professional video formats, Archimedia Master Player is the first software player to support all common master formats in use today and the first to allow users to view, test, and measure archival-quality files on a standard UHD/HDTV and traditional SDI equipment. This revolutionary capability not only makes content deliverable more quickly at higher quality, but also makes it unnecessary to create and store the content in other formats. The ability to control audio and video remotely using RS-422 jog/shuttle wheels, with smooth scrub sounds for all supported formats in slow-motion, forward, and reverse, is one of the features that makes the player a true 4K-era replacement for videotape machines for master-grade quality control and archiving functions.

Version 2.2 delivers the ultimate set of formats and features to make Archimedia Master Player the player of choice for media professionals. Besides support for the emerging formats HEVC 4K and IMF, version 2.2 has a caption and subtitle viewer/navigator; high-quality scaling into SDI; the ability for nontechnical users such as archivists, directors, producers, and quality control specialists to decrypt digital cinema packages; and folder traversing for sequences such as DPX, TIFF, and EXR, which typically come in folders of thousands of files.

No other master player offers the combination of features and benefits that the Archimedia Master Player does.

Photo Link: www.wallstcom.com/Archimedia/Archimedia-MasterPlayerv2-2.jpg
Photo Caption: Archimedia Master Player v2.2

Archimedia Workstations
Visitors to the Archimedia stand at IBC2014 will get a close look at Archimedia Workstations driven by Archimedia’s breakthrough Master Player software. For QC operators, producers, directors, archivists, managers, and other media professionals in the digital cinema and broadcast industries, Archimedia Workstations take the guesswork and headache out of buying hardware for critical viewing and quality control of master media files. Available in broadcast HD, 2K Digital Cinema, and 4K/UHDTV versions, each Archimedia Workstation comes with a state-of-the-art HDMI output up to 4K@60Hz, 70 alignment test patterns up to 4:4:4 12 bits, and remote control support for the user’s choice of jog/shuttle/scrub device by Sony 9-pin protocol. Optional HD-SDI, 4K-SDI, and Quad 4K-SDI cards are available for SDI monitoring, and an optional Fibre Channel card enables use with a storage area network. Optional advanced test patterns up to 4:4:4 12 bits allow the most sophisticated users to set up critical workflows and systems.

Photo Link: www.wallstcom.com/Archimedia/Archimedia-Workstations-SoftwareIncluded.jpg
Photo Caption: Archimedia Workstation

Archimedia HD-SDI, 4K-SDI, and Quad 4K-SDI Cards
At IBC2014, Archimedia will display the Archimedia HD-SDI, 4K-SDI, and Quad 4K-SDI cards for the Archimedia Master Player. The cards, made by Bluefish444, include a Master Player installer that will flash the cards’ firmware so that they behave properly under control of the Master Player. By deploying the cards, video engineers and archivists can use an Archimedia Workstation as an HD or cinematic-quality videotape player or disk-based SDI video server. (The most sophisticated users could even deploy the cards with the Archimedia Master Player software on a standard Windows(R) 7 or 8 computer.) Under the control of the Archimedia Master Player, the user’s HDTV or UHDTV can display a video file at the same frame rate as the original when in full-screen mode, marking the first time that an HDMI monitor and SDI monitor can be faithfully compared up to 4K resolution alongside a computer desktop. For quality control, the file’s technical metadata can be viewed while the file is playing.

Photo Link: www.wallstcom.com/Archimedia/Archimedia-HDUHDand4KSDICards.jpg
Photo Caption: Archimedia HD-SDI, 4K-SDI, and Quad 4K-SDI Cards

Archimedia Advanced Test Suite
Along with other products that accompany the Archimedia Master Player, Archimedia will demonstrate the Archimedia Advanced Test Suite, including test pattern videos up to 4K designed in cooperation with the Library of Congress and a major global OTT VOD provider. These are a set of advanced test patterns developed by renowned video test and measurement company VideoQ specifically for aligning monitors precisely and pushing codec systems to the limit. Designed for use with the Archimedia Master Player and available in HD and 4K versions, the Archimedia Advanced Test Suite allows users to test, align, configure, troubleshoot, and stress any equipment with an SDI or HDMI input. Such devices include encoders, transmitters, video recorders, monitors, projectors, standards converters, editors, and ingest and capture devices. When combined with partner VideoQ’s VQMA-3 software analyzer and one of Archimedia’s SDI conversion cards, the Master Player and Advanced Test Suite offer the industry’s first full-featured test environment that is far less costly and far easier to transport than previous comparable test environments.

Photo Link: www.wallstcom.com/Archimedia/Archimedia-AdvancedTestSuite.jpg
Photo Caption: Archimedia Advanced Test Suite

Company Quote:

“After winning the STAR Award for the Archimedia Master Player at IBC last year, I’m happy to say that the player has become the reference standard in major movie studios and broadcast networks around the world. We’re excited to show visitors the most sophisticated version of the Master Player yet. We want Enterprise Player to replace free players that can’t offer tech support. And our newest tools move traditional SDI measuring tools onto the desktop and extend the Master Player technology even to nontechnical business users.”
– Mark Gray, President and CEO, Archimedia Technology

About Archimedia Technology
Archimedia Technology specializes in the processing, conversion, and playback of mastering formats, including JPEG 2000 and HEVC, for the professional broadcast, digital cinema, and video archival industries. Its technology and applications bring precise multiformat viewing to the professional’s desktop, TV, UHDTV, and infrastructure. Archimedia’s products fulfill a critical piece of production and archival workflows, encapsulating complex file interchange and quality control processes for mastering and archive formats into practical solutions that give end users a new level of access to their assets. More information is available at www.archimediatech.com.

All trademarks and registered trademarks mentioned herein are the property of their respective owners.

SSE Audio Group Adds HARMAN Soundcraft Vi3000 to Extensive Inventory

Chris Courtney mixing monitors for Travis at the Isle of Wight Festival with SSE’s new Soundcraft Vi3000.

POTTERS BAR, United Kingdom – HARMAN Professional has announced that SSE Audio Group has been appointed a Soundcraft Vi Select Dealer, and immediately purchased one of the first Soundcraft Vi3000 digital consoles off the production line, sold through HARMAN’s UK distributor Sound Technology.

SSE Sales Director, Alex Penn, confirmed, “We have a long history with Soundcraft’s Vi Series. We saw the Vi3000 for the first time at Frankfurt Prolight & Sound; it sits neatly between the Vi1 and Vi4 and offers many new features, which will secure the longevity of this series, which has always been popular with engineers.”

Marking a massive technological upgrade to the groundbreaking Vi Series, the Vi3000 offers many advantages, including the much-requested access to Universal Audio’s plug-ins via Soundcraft’s Realtime Rack plug-in engine—both points picked up on by Penn.

“The Realtime Rack can also be used with our existing Vi6 inventory,” Penn continued. “We have a pool of sound engineers who are existing Vi users and it will be useful to let these guys know about the new facilities on offer with Realtime Rack.”

“We also see a lot of potential in SSE sales and installations for the Vi3000, with its very competitive price point and new facilities,” Penn added. “This is the first time a large-format Vi control surface has been available to the market at this level and the Vi3000 will integrate very neatly and cost-effectively into venues with existing analogue infrastructure via the I/O on the back of the surface. Onboard MADI and Dante interfaces as standard are also a huge bonus as well as upgraded DSP and new graphics.”

SSE’s Vi3000 had had its first major outing at the recent Isle of Wight Festival where it was used by SSE regular Chris Courtney to mix monitors for Travis. Courtney had previously used a Vi6 for the band, but for this festival run, the reduced size and lack of rack requirements made the Vi3000 a more attractive proposition.

For more information on SSE, please visit www.sseaudiogroup.com

For more information on Sound Technology, please visit www.soundtech.co.uk

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

DPA Microphones Capture The Kyteman Orchestra

Front of House engineer Sjoerd Terpstra used a selection of DPA microphones to capture the unique sound of the Kyteman Orchestra when they played six concerts at the Utrecht Tivoli in Holland recently.

The concerts, which took the form of elaborate jam sessions, were all multitrack recorded for subsequent mixing and broadcast on the internet.

“Our aim was to create a library of completely original Kyteman material,” Sjoerd Terpstra says. “None of the songs were written in advance – they were all improvised on the spot.”

Founded by Colin Benders (aka Kyteman), the Kyteman Orchestra plays a mixture of hip-hop, opera and jazz laced with melodies and raw beats. Its first album, The Hermit Sessions, was released in 2009 and was a great success in the Netherlands where it reached the top five of the Dutch Album Charts and sold over 75,000 copies.

Sjoerd Terpstra, who has been working with Kyteman for the last five years, says he chose DPA microphones for this project because he knew they were capable of delivering studio quality from the live stage. The microphones were supplied by Amptec, DPA’s distributor in the Netherlands.

“There are approximately 18 musicians in the orchestra,” Terpstra explains. “We used a lot of DPA d:vote 4099™ Instrument Microphones on strings and horns, a d:dicate 2011A on the drums and percussion and a set of d:screet 4061 Miniature Microphones on the upright piano because they sound amazing, especially at low noise levels. One of the snare drums initially gave me a lot of trouble because it was so low pitched and I just couldn’t get it to sound right, but eventually I used another d:vote 4099 and then it sounded great. The d:vote could handle the low pitch well and gave me enough ‘snap’ to make it cut in the mix.”

Terpstra adds that the d:vote 4099 Instrument Microphones were especially useful because they were able to deliver very isolated sound.

“We were recording on an exceptionally cramped stage so this was an important feature,” he says. “The isolation they achieved gave me tons of possibilities in both the FOH and studio mixes.”

With the latest Kyteman Orchestra project now completed, Sjoerd Terpstra is now working with a number of bands from the Middle East.

“I am hoping to use DPA microphones for some of those projects, too,” he says. “I am always happy with the results I get from DPA so have no hesitation in recommending them to all the bands I work with.”

-ends-

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

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