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Registration for the 21st HPA Tech Retreat Now Open

The Bellwether Entertainment Technology Event Returns to Indian Wells
HPA Tech Retreat

(Los Angeles, CA) Today at the SMPTE Symposium, produced by the Hollywood Post Alliance (HPA(r), registration for the 2015 HPA Tech Retreat officially opened. For the 21st consecutive year, a veritable who’s who of engineering, technology, creativity and strategic business leaders will gather in the desert to discuss the trends and technologies of the future, while tackling head-on the issues of the present. The HPA Tech Retreat takes place at the Hyatt Regency Indian Wells, near Palm Springs, CA, from February 9th to the 13th, 2015.

The HPA’s preeminent event enjoys a global reach, bringing together the thought leaders and senior practitioners driving the rapidly advancing entertainment technology landscape. The HPA Tech Retreat has consistently proven to be a crucial gathering where technological developments in production, post production and broadcast are unveiled, discussed and debated. During the Tech Retreat, attendees from the media and entertainment industries are uniquely able to share time and ideas with academics from around the world, scientists, and experts in technology from various disciplines. The environment is one of discovery and exploration.

Mark Schubin, who has led the programming for the HPA Tech Retreat for many years, notes, “Each year, we receive submissions from all over the world – about six times more than we can possibly use – and, based on what I’ve seen so far, it’s going to be hard to choose. So many new technologies have been introduced at the Retreat over the years that it’s tough to count them all.”

Over the course of its history, the HPA Tech Retreat has seen a number of breakthrough products and processes previewed in advance of their actual debuts. Surround headphones, full-color full-motion holograms, Sony’s HDCAM SR, SR Memory, targeted-ad production and distribution systems, Panasonic’s Varicam and stereoscopic cameras, Dolby’s high-dynamic-range video monitors, Pencil-beam microphones, and OLED monitors to name just a few of the many “firsts” to be unveiled at the Tech Retreat.

Leon Silverman, President of HPA, notes, “The Tech Retreat is the place you go to see history before it’s made, and to move and shake with the movers and shakers across the technology community. The subjects are always topical, but the real value of this event is the ability to share ideas and challenges, to understand from those who really know and get inspired. While I take away so much from this event each year in program content, an equally important take away comes from mingling with this amazing group – the teachers who teach the teachers. If you have not been to the Tech Retreat, you owe it to yourself to make a pilgrimage to the desert. If you have been, you know exactly what I’m talking about.”

Breakfast roundtables are also a popular part of every HPA Tech Retreat. Schubin comments, “Participants begin hashing out the future of media at the lively breakfast roundtables. Among the topics already confirmed for the 2015 event are net neutrality, content security, workflow complications, and a review of the legislative and regulatory environment.”

The HPA Tech Retreat is a not to be missed opportunity for industry professionals. The five day, multifaceted event includes dynamic conference sessions, a curated Demo Room with leading-edge technologies, networking events, and parties. The session schedule and programming information will be announced soon.

Earlier this year, SMPTE and HPA became official partners, moving forward with plans for full organizational consolidation by May 2015. Today’s Symposium is the first jointly produced HPA/ SMPTE event, an auspicious time to open registration for the HPA Tech Retreat.

The event has a history of selling out, and timely registration for the 2015 HPA Tech Retreat is recommended. Registration at Early Bird rates is now available, REGISTER. For more information on the event and sponsorship opportunities, visit www.hpaonline.com, call the HPA office at (213) 614-0860, or email Eileen Kramer at ekramer@hpaonline.com.

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About the HPA Tech Retreat
The HPA Tech Retreat(r) is an informal gathering, in the Palm Springs area, of the top industry engineering, technical, and creative talent, as well as strategic business leaders focused on technology, from all aspects of digital cinema, post production, film, television, video, broadcast and related technology areas, for the exchange of information. The 2015 HPA Tech Retreat will take place February 9 to 13, in Indian Wells, California.

About the Hollywood Post Alliance(r)
Hollywood Post Alliance (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content. Through their partnership with the Society of Motion Picture and Television Engineers(r) (SMPTE(r)), the leader in the advancement of the art, science and craft of the image, sound, and metadata ecosystem, the HPA continues to extend its support of the community it represents. Information about the HPA is available at ww.hpaonline.com.

Media Contact:
ignite strategic communications
p: 818.980.3473
Christine Purse, chris@ignite.bz or
Mimi Rossi, mimi@ignite.bz

Yamaha NUAGE Ignites Post Market in Spokane

BBB-Nuage 1

BUENA PARK, Calif.—Bing Bang Boom! In Spokane, WA specializes in integrated music and sound design for film, television, advertising, video games, and the Internet. Their award-winning work can be heard on projects for CBS, ABC, NBC, Spike TV, HBO, Warner Bros. Films, and many blockbuster theatrical trailers.

The company recently added a new Yamaha NUAGE Advanced Production DAW System to their production arsenal. CEO Bill Byrne said that up until the purchase of the NUAGE system, he had been recording and mixing using multiple Mackie consoles, until Mackie was no longer providing the unlock
codes for their software, making it impossible to work on them.

“I have been a long time Cubase user and wanted to upgrade for at least the past five years having so many legacy projects in Cubase for Bing Bang
Boom Music and Sound Design Libraries, states Byrne. Even though stereo is still the main delivery format for the libraries, I still get calls to customize tracks, and to switch to ProTools or any other system with thousand of tracks would not have been cost or time effective. There really wasn’t any other system available that was completely integrated like NUAGE, plus it sounds amazingly good!”

Byrne said he’s been doing more and more mixing “in the box” but with most projects having 100+ tracks, navigating with a mouse was becoming impractical. “I had been working with Ron Cheney from RSPE for at least three or four years trying to come up with a suitable system. Every year, we would meet up at NAB in Las Vegas and look at new systems along with trips I would take to the RSPE office every three or four months. While there are a lot of systems out there, I really needed total integration with Cubase, and no other system really offered that but NUAGE.” Last April, Byrne and Cheney met up again at NAB and were given at great run through on NUAGE, heading back to the Yamaha Commercial Audio booth over the course of the show with more questions for the NUAGE team who he said were quite helpful.
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“Ron Cheney was extremely patient and helpful; his goal was to make sure I had the right system for my needs and not to just sell me something, Byrne says. I am very impressed by how hard he worked to make this happen for me. At around the same time, I saw a NUAGE system on a magazine cover with Hans Zimmer and other film industry notables. They were discussing surround sound in headphone mixes, which was quite interesting. So RSPE arranged a private demo with the NUAGE team, and I was impressed to see their level of commitment, a good sign that they would be there to support the product.”

After a basic run through using the RSPE Mac and installing the tools for NUAGE on his Mac Book Pro and hook up the system, Byrne was able to run one of his projects off his laptop. “We spent several hours going through the system and the “what ifs” needed to integrate a large I/O system into the setup. We discussed the Yamaha NIO and RIO boxes and how they could be integrated. At the end of the demo, I knew the NUAGE system was perfect for me. I was also quite excited (for the first time in many years) about all the new creative and productive possibilities.”

One of Byrne’s biggest issues was the need to have at least 32 live inputs and multiple cue mixes for his tracking room as he still records with a lot of real instruments. “I needed something that wouldn’t tax the main CPU as I always have lots of virtual instruments playing in every project that hit the CPU hard. The NIO and RIO boxes totally solved that problem for me, and having remote control over the mic pre-amps through the RIO is fabulous! I’m able to work with a 128 buffer on the main CPU and that makes tracking live players while all my VSTi’s are running too a snap.”

Of course having total integration with Cubase made it a no brainer notes Byrne. “Having the knobs and buttons labeled and dedicated to Cubase/Nuendo functions meant I wouldn’t have to spend any time at all mapping functions like I would have had to do had I purchased a third party system. Getting around my projects is so fast now. When I was mixing “in the box” with a mouse and also my iPad remote, because of the time factor in navigating around or even just automating fader moves, I tended not to try and experiment with different mix options. Now, with the NUAGE and the touch sensitive faders, if I want to try something different, it’s so easy to do and I can instantly get back to where I was if I don’t like it. For Cubase, it’s brilliant!”

“For old school guys that have worked a lot on analog consoles like Tridents, APIs, and Neves,, the seamless integration of the live input NIO and RIO I/Os, channel control, master, and DAW functions really does make it feel like you are working on a console, adds Byrne. The way the knobs and buttons light up to give you hands-on access to the functions and being able to program lots of Quick Controls for the functions I use all the time is great too. The jog wheel
feels great and the transport functions make it a snap to navigate and edit very quickly.”

Byrne said he’s owned a lot of Yamaha products over the years that are still in use, “The fact that they are providing the hardware and also own Steinberg gave me great confidence that the product would continue to develop and be supported. I had been waiting a long time for the NUAGE system and Yamaha/Steinberg have delivered way beyond my expectations!

Bing Bang Boom! recent projects using NUAGE include a music track for the home video release of How To Train Your Dragon 2 and a new BBB trailer sound design library called Arsenal of Awesome.

For more information on Bing Bang Boom! visit www.bingbangboom.net.

For more information on the Yamaha NUAGE Advanced Production System, 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 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.

Media Group International Delivers The Middle East’s First Dedicated Children’s Radio Station

Children's Media Network - PearFM 3

Leading systems integrator Media Group International has built an entire radio station for the Children’s Media Network (CMN) so that the company can broadcast dedicated children’s content to families in the U.A.E.

The project, which took Media Group International (MGI) just three weeks to complete, involved designing and installing two radio studios and a back-up studio that doubles up as a production facility when it isn’t needed for live broadcasts. MGI also installed server rooms where live broadcast material can be stored for up to 60 days.

MGI’s Managing Director, John Aslett, says: “This was an incredibly exciting project to be involved with because we were helping CMN make history. There has never been a dedicated children’s radio station in the Middle East and we are very proud to have played a key role in making this happen.”

Based in Dubai, CMN is committed to establishing a multimedia platform related to children, and to creatively working with them. The company also aims to provide a support network for parents as well as a number of local and international family events.

The initial idea for CMN came about 20 years ago when founding partner Jeff Price was working with Great Ormond Street Hospital Radio in the UK. This life-changing experience inspired Price to join forces with Nick Watson, who champions children’s health awareness campaigns in the U.A.E.

Earlier this year CMN was appointed to launch and manage PearlFM, an English and Arabic language radio station specifically for children and their families. The station will play a significant role in reflecting the vision of His Highness Sheikh Mohammed Bin Rashid Al Maktoum to provide a cultural space in Dubai dedicated to enriching the lives of children through a wide range of cultural learning and artistic programmes.

“Charged with launching a radio station, we recognized that we needed specialist help to install the technical infrastructure,” says CMN’s Jeff Price. “We chose MGI for this project because the company has a reputation for delivering world-class broadcast solutions. As part of our remit is to allow children to present some of our programmes, we needed tough, durable equipment that is also easy to operate. MGI gave us excellent advice and helped us choose equipment that was ideally suited to our needs. They also worked exceptionally fast to complete the radio station and gave us great service and support throughout.”

The equipment chosen for the new station includes Clyde Broadcast Synergy Master Control systems that have been installed in all of the studios. These are complimented by RCS play out systems; microphones from Clyde Broadcast, Shure and Beyerdynamic; Sonifex delay units and a range of production and control software from various manufacturers.

PearlFM launched in October 2014 with a live broadcast from the Al Jalila Cultural Centre for Children in Dubai. Catering for children up to the age of 12, the station will present a wide variety of interactive radio programmes that combine music with discussion topics. It will also give school children the opportunity to get creative by taking over the airwaves and presenting their own shows. PearlFM will also provide a support network for parents who can phone in during talk shows or simply listen to experts discussing a range of topics covering health, wellbeing, education and current affairs.

Once PearlFM is established, CMN plans to launch a sister station, LuluFM – the first all Arabic radio station for children. Ultimately, CMN plans to expand within the Middle East, Europe and Asia by developing its Radio, Television and online brands.

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Notes to the editor:
About Ghanim bin Saad Al Saad & Sons Group Holdings
Ghanim bin Saad Al Saad & Sons Group Holdings (GSSG) was founded by Ghanim bin Saad Al Saad in 1993 and incorporated in 2007. Today it is one of Qatar’s most successful private sector business groups, making a major contribution to the country’s economic growth.
GSSG has enjoyed steady growth and success in many fields and industries locally and internationally. GSSG’s diverse portfolio gives it strength and enables its companies within the group to maximise global business opportunities wherever and whenever they arise.
The founder, Mr. Ghanim bin Saad al Saad, has enabled the group to grow to over 40 companies around the world. As an inspirational business leader, he has steered the group to achieve its success in industries that include aviation, maritime, automobiles, oil & gas, real estate, manufacturing, contracting and trading, finance & asset management, engineering, education, fitness, hotels, hospitality and fashion, information technology and telecommunications.
In addition to its corporate headquarters in Doha, GSSG also has five international offices located in London, Zurich, Cairo, Singapore and Dubai.
www.gssg.com

Media Group International
Media Group International (MGI) is an award-winning media broadcast and communications systems integrator, serving the media, telecommunications, security, education, hospitality and advertising industries in the Gulf region for more than 35 years. Formerly known as Salam Media Cast (SMC), the company joined GSSG Holdings in 2010, with offices in Qatar, UAE, Oman, Bahrain, Saudi Arabia and the UK.
Media Group International is diversifying its business into new technologies. As well as equipping professional television stations and studios, master control rooms, newsrooms, concert stages and theatres providing light and sound technology, the company also equips whole multivendor and multisensory environments. MGI provides solutions from safeguarding national security, such as in government operations, to creating the best educational venues in museums and classrooms, enhancing sports environments and revolutionising health facilities and satellite telecommunications.
Media Group International won the Digital Studio award for ‘System Integrator of the Year’ in March 2014. The company also holds ISO 9001:2008 certification, the world’s most recognised quality management standard. It is the first company of its kind to receive the prestigious accolade within the Middle East region, guaranteeing customers world-class quality assured products.
www.mgi.tv

Atlanta-Based Composer/Sound Designer Feels ‘At Home’ With Yamaha NUAGE

JP-FIlm-mixing_SL-6-14

BUENA PARK, Calif.—John Penn is an independent film/music composer, 3D sound designer, producer, media-tech entrepreneur, and owner of Undercurrent Labs, the company he founded in 2011. Part of the Atlanta tech community, the company is focused on virtual and augmented reality and content development for web and mobile applications. Working with several innovative companies that are pushing the boundaries on immersive surround, a networked infrastructure is key to the Company’s development. A software and content development company, it is focused on enterprise mobile apps for the MedTech and streaming video markets, and also currently developing augmented reality and location aware technology for mobile devices to help medical device manufacturers and hospitals reduce the risk of accidents, complications, and costs of operating complex medical equipment.

“I believe music is an important form of medicine and I’ve been researching the application of 3D sound and music as a more natural application to improve medical conditions that affect the brain, nervous system, and chronic pain conditions. Harnessing song, sound frequencies, and rhythm as another tool in treating physical ailments is an emerging field, states Penn. Fundamentally, our biological existence is closely tied to vibrational energy, and tapping into 3D space and other dimensions that is hard for us to consciously perceive, but our core being understands, can ultimately render medically beneficial outcomes previously not thought possible. There is a connection between dimensional sound vibration, m-theory physics, and medicine that we have barely scratched the surface on.”

Penn says the company’s strategy to provide full-service and on-time delivery is built on the best network infrastructure available for audio and video that helps to scale dynamically to each project with post-production talent, workflow, and equipment. For that reason, Undercurrent Labs purchased the new Yamaha NUAGE Advanced Production DAW System. “I was sharing my studio upgrade plans with my brother Mark, also a Nuendo user, and had just seen the Yamaha announcement for NUAGE. “For years, we waited for the right control surface for Nuendo, so when we saw the pictures and specs for NUAGE, we knew the wait was over.”

NUAGE dealer RSPE recommended a demo, and so Penn reached out to Yamaha’s Chris Hinson for that purpose. “You don’t have a real appreciation of the presence and feel of NUAGE just by looking at pictures until you see it in person, touching the surface and realizing the freedom of not being confined to a box of semiconductors. Sitting at the NUAGE console and looking at the new Nuendo 6, I actually felt at home again, in a musical sense. The design is that good!”

The collaboration of Yamaha and Steinberg to harmonize the workflow of an established DAW like Cubase/Nuendo and Yamaha’s deep portfolio of digital mixers and their combined design and engineering philosophy helped Penn to affirm NUAGE as a great result, since he was already comfortable with Nuendo since Version 2 and the Yamaha 01V and 01V96 mixers. “It is kind of like mixing peanut butter and chocolate, for most folks, you’re going to get something great.”

Penn said he put NUAGE to the challenge on its maiden voyage in his surround mix room where he served as supervising sound mixer for Hollywood veteran actor and director, Tommy Ford (Martin on Fox; New York Undercover, UPN; The Parkers), editor Kevin Christopher, producer Shannon Nash and executive producer Bryant Scott of Tyscot Films, for a new film being released this year entitled “Switching Lanes”, starring Michael Lerner (GLEE), Marla Maples (Executive Decision), Terri J Vaughn (Steve Harvey Show), Victoria Staley (Raising Izzy), Doc Shaw (House of Payne, Pair of Kings), LisaRaye McCoy (All of Us, Single Ladies), and Fred Hammond, talented gospel artist, musician and friend of Penn’s from the Detroit music scene.

“Nuendo’s ADR mode enables me to accomplish more in vocal and Foley sessions by allowing multiple takes in one batch for scenes, providing more freedom for greater spontaneity in performance by the artist and guidelines from the director or producer, says Penn. “I’m currently test driving Yamaha’s Rio 32-channel I/O box to remotely control the head amplifiers from either the NUAGE Master and Fader control surfaces, by-passing my analog patch bay and cable snakes.”

“Touch is everything to me when I’m in a creative vibe, a real break from flat glass. I love the natural texture of the hand rest, stainless steel jog wheel and the frame accurate precision it provides as I nudge video or audio tracks. Designing in 3D space in real-time on a Sci-Fi Q-Bik Muz soundtrack “PsychoPlasmic” was nearly impossible without JL Cooper’s Surround Panner, enabling three axis of control and automation manipulating audio objects around 9 monitors. The integration of NUAGE to manage 3D audio for real-time 3D motion graphics for live video production, animation, and content branding, using virtual sets, and augmented reality, brings a level of creative collaboration to Georgia usually exclusive to LA and UK studios,” adds Penn.

“One of my film dialog editors, Elliot Glenn, a Pro Tools user said he never thought he’d be able to learn a new DAW using a control surface specifically created for that DAW. The integrated approach Yamaha has perfected not only sped up the learning curve but revealed many features of Nuendo sometimes hidden in software. Believe me when I say that the NUAGE integration with Nuendo is truly seamless.”

Penn is currently working on several projects including music scoring, sound design and technical consulting for his daughter, Maya Penn whose animation series has captivated a vast audience of tweens and adults alike. He is also producing an EP for an indie rock band The Endangered Species, producing and composing the first Q-Bik Muz sci-fi film and music release entitled “Anti-Gravity Machine.” “It’ll be a lot of fun as I’m approaching this music project from the POV of a film director and sound designer focusing on next generation audio that includes both surround, layered height channels, and 3D space including Soundfield, Auro 3D, Dolby Atmos and 3D Link.”

For more information on Undercurrent Labs, visit www.undercurrentlabs.com.

For more information on NUAGE, 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 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.

Technotrix Acquires Martin Audio MLA For Improved Coverage

Technotrix

Chicago, IL––Specialists in Audio, Lighting, Staging and Rigging, Technotrix Inc. recently became a valued member of the growing worldwide MLA Network with the purchase of an MLA System 24.

The System 24, which consists of 14 MLA and 2 MLD (downfill) enclosures and 8 MLX subwoofers, was acquired prior to the summer festival season on July 1st and immediately pressed into service for the Taste of Chicago food and music festival, Summer Set Music & Camping Festival, Riot Fest in Chicago and a concert with The Replacements headlining in Minnesota.

Asked about the impact of the new system, Technotrix Senior Account Executive Kevin Kiefer responds, “The MLA technology is really exceptional. The system coverage is much better than anything we’ve ever used. For The Replacements concert, the last show at Midway Stadium in Minneapolis, we used a larger System 36 and the most noticeable thing was the phase coherence and stereo imaging. We were between 400 and 500 feet away from the PA and it sounded like listening to the concert in your living room.

The Replacements

The Replacements

“Apart from all of the control that you have over the volume and level of sound throughout the listening area,” Kevin adds, “is the area beyond that. With MLA, you can be sitting on a hillside beyond the audience area and the experience is much better than any other system we’ve ever heard.

“I have to say that the MLA system has performed exceptionally well in these outdoor environments so far. It met with a universally positive response this summer, especially at some of these other festivals where we’ve been able to hear the other large format systems that are out there. It’s very apparent with MLA, especially over large distances, how the coverage remains consistent throughout the entire listening area from front to back. This is something we noticed right away when evaluating the rig. MLA doesn’t act like a typical loudspeaker system.

“What I tell everybody is that the cellular drive in the design of the MLA is the technology destined to replace current line arrays as we know them. The system looks and rigs like a line array, but much the same way line arrays replaced conventional PA systems for over 95% of the large shows these days, cellular drive will eventually replace line arrays. Once you do festivals with MLA, other systems just don’t sound right.

“We’re trying to educate our clients as to all the stuff we can do with this system that no one else can do,” Kevin concludes, “and it takes time to have people understand these capabilities are even available to them because they’re so advanced.”

Technotrix team photo caption:
From the left: Brian Levy, Andy Kuhlmann, Rosie, Matt McQuaid, Kevin Kiefer, Michael Schroeder, Brent Bernhardt, Beau and Chris Bonifas

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

Foo Fighters Headline With Martin Audio MLA At Invictus Games

Invictus Games - Closing Ceremony 14th September 2014

Martin Audio’s award-winning MLA (Multi-cellular Loudspeaker Array) PA system enjoyed its busiest weekend of the year, with two huge simultaneous London events on either side of the capital.

While rental/production company Capital Sound was fielding no fewer than 170 enclosures at the perennial Proms in the Park (Hyde Park), over in the east at the Queen Elizabeth Olympic Park, the Prince Harry inspired Jaguar Land Rover Invictus Games Closing Concert also featured MLA.

The five hour extravaganza combined a celebration of medallion presentations to the wounded, injured and sick servicemen and women who competed in the Games, backed by a full concert line up with Foo Fighters headlining and supporting acts Kaiser Chiefs, Ellie Goulding, Ryan Adams, Bryan Adams, The Vamps, Rizzle Kicks and James Blunt.

A crowd of over 25,000 people heard Prince Harry deliver a heartfelt speech that roused the spirits of the crowd, culminating in a Mexican wave, before introducing the Foo Fighters for their triumphant return to London.

Invictus Games - Closing Ceremony 14th September 2014

The event was promoted by AEG Live, with Capital working for site managers, Loudsound, with whom they have enjoyed a long relationship (most recently at British Summer Time in Hyde Park).

But unlike Hyde Park where sound leakage is at its most sensitive, there was optimism MLA would be able to produce an even bigger sound. “This was a totally new situation and the promoters were keen to see what we could get out of it, sound wise,” commented Paul Timmins, Capital Sound Account manager. “[Loudsound site production manager] Dan Craig really understands audio and was confident he could achieve proper rock and roll levels.”

With the closest residence still within 850 ft. of the stage and with Vanguardia measuring propagation at four separate offsite locations, the production team was still able to hit the FOH SPL’s demanded by the Foo Fighters, playing at well over 100dB(A) as the level ramped up incrementally through the day; at the same time the sound comfortably tapered off below the offsite restriction of 75dB(A) at the nearest measurement point — and recorded values as low as the mid 60’s.

The main front facing PA comprised two hangs of 14 MLA per side and two MLD Downfills, while for sidefills, because of the site topography, Capital was able to field 12 MLA Compacts on one flank and 16 on the other—an asymmetric solution that worked particularly well. This enabled the shorter hang to fire into the VIP grandstand without straying beyond into the large block of apartment buildings behind.

Two Martin Audio W8LCs were deployed for center front fills and there were two masts of delays, set 245 ft. back from the stage (midway from the site perimeter), each containing eight Martin Audio W8L Longbow enclosures. Meanwhile, 12 Martin Audio LE1200 low profile wedge monitors were provided as floor monitors onstage.

Invictus Games - Closing Ceremony 14th September 2014

The real customization came in the 32-enclosure MLX sub array. In order to meet the Foo Fighters tour spec they deployed Philip Reynolds, who has worked extensively with Martin Audio US partner Delicate Productions and is familiar with MLA.
Along with Martin Audio R&D director, Jason Baird, and Capital Sound technical manager, Ian Colville, Reynolds adapted the sub array into a Left/Center/Right design, which included cardioid elements to contain coverage, while bringing even more low-end transient attack to the central section.

Having been involved with the Foo Fighters since their Wasting Light album back in 2011, Reynolds confirmed: “That sub design was exactly as I wanted and for the band it delivered the high impact in the mix” — a mix that was delivered by veteran sound engineer Craig Overbay, piloting a DiGiCo SD10.

But the planning of the event was to throw a final curve at the Capital Sound team as Paul Timmins explained. “Although we had designed the audio for the closing concert, since we had the infrastructure already in place, at short notice we were asked to also handle the Invictus Games Opening Ceremony. We had to come up with a system we could change in a day, and throughout the opening ceremony there was an element of rapid reconfiguration as we had to make it work for every dignitary on stage.”

Marty Beath, a seasoned MLA tech, was part of the crew, and this is where his MLA experience, and knowledge of the audience geometry in the MLA software, was brought to bear. “The area that became the audience zone at the Closing Concert was set out like a military tattoo,” he explained. “We needed a new solution for MLA which covered the competitors’ section—set 20ft in front of the stage—so we optimized the system in the software to use the bottom part of the main PA to cover the front.

(left to right): Jason Baird, Marty Beath; Philip Reynolds

(left to right): Jason Baird, Marty Beath; Philip Reynolds

“When Prince Harry was at a lectern in the PA zone I loaded a new snapshot in MLA which enabled us to get another 8dB of gain before feedback; so by using MLA’s software to set a hard avoid I could direct the sound over the lectern, which was fantastic.”

The entire production seemed more than satisfied with the levels and quality achieved. Phil Reynolds was enthusiastic: “I enjoy how far MLA has come. I was happy with the deployment, everything matched Foo Fighter specs, the PA did exactly as planned, and it’s been exciting hearing the band today playing through a full MLA for the first time.”

Dan Craig added, “Once again MLA displayed all we know and love about the system and delivered effective, even coverage. It’s my third major park event of the summer and yet again MLA has demonstrated its flexibility to create a system design network.

“Since I have been using the system it has solved three very different problems and I am happy to be working with Ian [Colville] and the Capital team to provide the solutions which MLA enables us to implement.”

And describing the concert as “a fitting end to an inspirational four days of Games,” Jim King, Director of Events, AEG Live said: “AEG are very proud to have played our part in producing the Invictus Games Closing Concert.”

Or as the Foo Fighters put it, “What a perfect way to finally return to the UK for the first time in years…it’s been waaaay too long! Thanks for having us; it is truly an honor to come play for these incredible men and women….”

For more about Martin Audio, please click to www.martin-audio.com.

Photo credit: Jessica Gilbert

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.

-END-

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.

Prism Sound Announces A Drum Masterclass In Germany

Gavin Harrison

Internationally acclaimed drummer Gavin Harrison is collaborating with Prism Sound to deliver a unique Drum Masterclass, which will take place at KMR Audio in Berlin on Saturday November 1, 2014.

Harrison has worked with a wide range of artists including Iggy Pop, Porcupine Tree, Sam Brown and King Crimson. His Masterclass in Germany will focus on techniques for recording drums in a studio and will give those attending the opportunity to record a track on his Sonor drum kit.

Harrison recently gave a similar Masterclass at Ananda Studios in the UK, which was hugely successful. Prism Sound supported that event by providing audio interface equipment.

Bernard Nocker, Prism Sound’s sales representative in Germany, says: “We were so inspired by it that we decided to host another event in Germany where there is enormous demand for this kind of hands-on workshop. Gavin is an inspiring teacher and during the Masterclass he will focus on the demands of being a session player and how to deliver a great performance, even when under pressure. He will also give each attendee individual feedback so that they can raise their game to another level.”

To ensure the highest possible audio quality throughout the recording chain, Prism Sound will once again deploy a number of its Atlas USB audio interfaces to track the microphones from the drum kit into Logic. Aimed squarely at multitrack recording applications, Atlas benefits from Prism Sound’s 27 year history in digital audio processing and interface design. It incorporates the company’s latest award-winning CleverClox dual hybrid clocking technology and offers recording professionals ultimate quality analogue and digital I/O for Mac or Windows PC at sample rates up to 192kHz. In addition to the USB host interface, Atlas also features Prism Sound’s new MDIO interface expansion slot. With eight acclaimed Prism Sound microphone preamplifiers as standard, Atlas is ideally suited to the needs of drummers.

Gavin Harrison’s Prism Sound Drum Masterclass runs for three hours and is not suitable for beginners. Capacity is limited to a maximum of 12 participants and the cost of the session is €150 per person. Anyone wanting to attend should visit:

http://www.prismsound.com/music_recording/store/store_offers3.php?lng=de

-ends-

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 de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

SALZBRENNER ANNOUNCES POLARIS EVOLUTION NETWORK AUDIO MIXING SYSTEM

**** Photo: Polaris Evolution ****

**** Photo: Polaris Evolution ****

Los Angeles, CA – AES Booth 1547… Salzbrenner is pleased to announce the North American debut of the network controlled Polaris Evolution cloud-based digital audio mixing system with the Polaris Scala audio DSP unit. Polaris Scala is the node where all aspects of the Evolution system’s simultaneous audio processing operations originate and come together. The Polaris Scala is where controllers are connected via Ethernet or Wi-Fi, resources are allocated for the tasks at hand, and where signal sources and output devices are connected. The system’s radically new cloud-based operations and flexibility usher in a new era in digital audio mixing and processing. more

3G Productions Supports Juan Gabriel With Martin Audio MLA

Photo: Robert Hacman

Photo: Robert Hacman

When Mexican singer/songwriter Juan Gabriel had to interrupt his U.S. “Volver 2014” tour for two weeks due to illness, his engineering staff prevailed upon 3G Productions to switch over to a Martin Audio MLA system for the remaining arena dates.

As 3G’s System Engineer Manny Perez describes the changeover, “The other system was working just fine, but Juan’s FOH Engineer Rodrigo Lopez had attended an MLA demo in Mexico and was really interested to see how it would perform.”

Gabriel, an internationally acclaimed Latin American musician who’s sold over 100 million albums, resumed the second leg of his sold-out tour at Miami’s American Airlines Arena, which presented some challenges of its own.

According to Perez, “As soon as I walked into the arena, their staff expressed concerns that they’d been having trouble covering the top rows of the nosebleed section for the last few shows and had to provide refunds. We assured them that we had it covered and the show would sound great everywhere. Then we put the MLA system up and tuned it really quickly even though it was a big rig designed to provide 270-degree coverage. Rodrigo, the band’s music consultant and I all walked the room from top to bottom and front to back, and there were absolutely no problems in terms of coverage and balanced sound.”

The 270-degree system for American Airlines Arena consisted of a main hang with 32 MLA and 4 MLD; side hangs with 36 MLA Compacts; a third hang with 24 MLA Compacts; 10 ground-stacked MLX subs, and 4 DD12s on the front of the stage for front-fill to the first six rows.

Photo: Robert Hacman

Photo: Robert Hacman

Describing the system in greater detail Manny points out, “The ratio of MLX to the rest of the system seems a bit light, but Rodrigo didn’t want a bass-heavy mix for the show because of all the acoustic instruments and high end frequencies. Also, we were using the new two-way DD12 powered speakers from Martin Audio for the first time and they’re really good. I would usually have to do a lot of cleaning up with EQ because they’re positioned so close to the subs, but they didn’t need a thing. The DD12s throw further than we needed them to and were more than perfect for what they had to do.”

The rest of the system consists of SSL and Avid Profile consoles for FOH and monitors, LM44 Lake processing, Smaart 7 software, Shure UFH-RD wireless and DPA microphones.

Asked about mixing on MLA, Rodrigo Lopez responds, “For me, it’s definitely the best speaker out there with more control of the sound and how it projects to the audience. The system provides the same amount of sound pressure and coverage from the front seat to the back with correct phasing throughout the arena.

“It’s been perfect for the tour,” Lopez continues. “The audience hears exactly what I’m getting out of the console. It’s challenging with Juan Gabriel because he’s playing with a lot of Mariachi and there are a lot of acoustic instruments that don’t have as much power. But with MLA, the audience can hear all of those instruments clearly, as if the musicians are playing right in front of them.”

Photo: Robert Hacman

Photo: Robert Hacman

Summing up, Perez adds, “I like the MLA’s clarity and imaging which is amazing when you pan the percussion and keyboards left to right. The speakers sound 30 feet wide where the sound moves across the space. The high end and high mids for vocals and snares are so clear; you can really hear the sizzle of the snare bottoms and high hats.

“A lot of people keep telling me how MLA is a really smooth, natural-sounding system that’s very satisfying to the ear. The staff and production crew, Juan’s musicians and his music consultant are stoked. Everybody really likes it which has been a real plus for the tour.”

Photo credit: Robert Hacman www.roberthacman.com

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

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