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Martin Audio MLA Mini Lifts Spirits At IDC Church

Chicago, IL––Encompass AV recently installed a Martin Audio MLA Mini loudspeaker system at the Inspirational Deliverance Center Church of God in Christ as part of a major technical upgrade for its 500-seat worship center.

Tim Pickett, President of Encompass AV, explains that his company was chosen because “the church liked the fact that we could deliver a turnkey system with sound, lighting and a video network, the whole package.

“And they insisted on really good sound,” Tim adds. “The church has a very energetic Gospel choir and two Leslie cabinets hooked up to the Hammond organ that really push the audio system to the limits. Plus the worship center has highly reflective surfaces so they needed a system with exceptional output control.

“We specified several systems for them and they chose the Martin Audio MLA Mini because of the system’s state of the art technology and phenomenal sound quality. Also, the coverage had a nice tight pattern to it, and that was a huge selling point for MLA. In fact, we set up a demo and they liked it so much, they bought the demo units!”

The installed audio system includes two four-block MLA Mini arrays driven by MSX mini sub power plants. Two Martin Audio AQ8s provide additional fill with four C6.8T ceiling speakers installed in the low ceiling above the choir as monitors. Two Behringer S16 digital snakes supplement a Behringer X32 digital console with programmable MIDAS preamps.

There are three video displays in the sanctuary, two 80” Sharp LEDs left and right and a 70” Sharp LED facing the choir, with two Sony 1080P PTZ HD cameras driving the video network system. Lighting is provided by 60 Elation LED PAR-style lighting systems with six Elation LED architectural floods.

Asked about the MLA Mini’s performance, Tim enthuses, “I love it. The sound quality is amazing. Everybody that’s heard it comments on how crystal clear it is and the Church is ecstatic about the system.”

Rob Hofkamp, Martin Audio Director of North American Operations adds, “The MLA Compact has already made significant inroads in Church installations and the MLA Mini should also enjoy considerable success in the House of Worship market given its compact size, control and exceptional performance.”

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.

Steely Dan’s Pursuit of Perfection with MLA

Rock and Roll Hall of Famers Walter Becker and Donald Fagen took Steely Dan’s “Jamalot Ever After” tour across the U.S. and Canada this summer, with OSA International, Inc. providing Martin Audio’s Multi-cellular Loudspeaker Array (MLA) sound system.

Steely Dan has a reputation among audiophiles and throughout Pro Audio for their fastidious attention to sound production, so much so that many FOH engineers and system techs use a Steely Dan track to tune a system. When it comes to live sound, their expectations for the PA are no less demanding.

Returning to mix Steely Dan is Mark Dowdle, whose extensive credits include Elton John, Gloria Estefan, Fleetwood Mac, Tina Turner and Jackson Browne, to name just a few. Last year’s tour included a stop at Ravinia Festival in Chicago, where Dowdle mixed on two 7-box MLA arrays, the first year of a new OSA installation and the first new PA in a decade at North America’s oldest music festival.

Mark Dowdle

Late last year, Steely Dan’s road manager, tour sound icon Robert ‘Nitebob’ Czaykowski, introduced Walter Becker to MLA at a demonstration at New York’s Manhattan Center, where they were able to walk around and hear the evenness of its response and coverage. Steely Dan often plays theaters, where the mix position is usually at the back, beneath a balcony. “I go out there every day and listen to it; that’s part of my gig,” Czaykowski said. “What really knocks me out about MLA is that you can really control it so it’s not splattering off a back wall or cluttering up in the lower balcony.”

Present also at the NYC demo was Jim Risgin, Vice President for OSA –owners of the largest inventory of MLA in North America. With offices in Chicago, Las Vegas and now also Nashville, OSA have built an impressive reputation and client list providing complete technical services to some of the largest corporate, sporting events and concert tours in the U.S. The NYC demo was followed by extensive research from Mark Dowdle to confirm that the system would deliver the desired performance, and as a result Steely Dan added MLA to their tour.

Across the demanding 56-stop tour, MLA showed its versatility, control and overall sound performance credentials. Dowdle points out that the MLA provides extremely even front-to-back SPL as well as evenness of frequency response throughout the listening area. “The coverage is very smooth, especially its shading,” he said. “You can walk up on the PA in the front and it sounds just like it does in the back of the room.”

Dowdle also mentions an improvement to the stereo field. “Everything is more defined, so that automatically translates into the stereo field being more discernable,” he said. “MLA gives me dynamic range, clarity and definition so that I’m able to position and layer sounds in the stereo field which you can really hear where they all are.” He adds that the MLA’s sound is extremely coherent and is very responsive from a mixing standpoint. “You make a small fader move and it’s immediately noticeable.”

Furthermore, Dowdle is surprised by the constant comments from the audience. “I’ve been mixing for a long time and usually nobody ever says anything. This particular tour I’ve had more response from the audience than any tour I’ve ever done in my entire career, and it’s always been very positive and it’s always been very poignant. That’s in large part because of MLA allowing me to get it exactly how I want everywhere in the room.”

OSA crew chief and MLA system engineer Martyn ‘Ferrit’ Rowe is well known from his tenure at Martin Audio as an MLA product specialist before leaving to work for OSA as Director of Engineering. The Steely Dan tour travels in two trucks, carrying consoles and backline (including a Steinway grand) in one, and lights and PA in the second. “We’re carrying 26 MLA and 2 MLD down-fills, as well as 18 MLA Compacts, plus 8 MLX subs and 6 W8LMD used as front-fills,” Rowe explains.

The tour played Oklahoma City’s Chesapeake Energy Arena and New Orleans’ UNO Lakefront Arena using the 14-box MLA main arrays and 9-box MLA Compact side arrays that they carry. “The LA Forum was the only venue on our 56-show itinerary where we had to add PA,” said Mitchell Keller, Steely Dan’s production manager for the fourth year running. “It’s quite impressive that on a two truck tour we can carry enough PA to do arenas.”

The rest of the itinerary ranged from sheds and theaters to casinos. “The smallest venue was Humphrey’s in San Diego, putting in two subwoofers and ground stacking six MLA per side,” Rowe explains. “We recently did four shows in a row with single point hangs using ten MLA enclosures.”

As well as MLA’s flexibility and scalability, Rowe is keen to point out the simplicity of its operation. “It’s like fly by wire; you tell it what you want and the software produces a custom preset for your system and the room,” he said. “This isn’t auto EQ, you still have control over all the decisions that are being made, but the computer is doing the heavy lifting for you.”

So, coming full circle, what did Fagen and Becker make of the sound quality? According to Dowdle, “Both have come out into the audience on a number of occasions and have always been positive with their feedback and what was going on.

“More often than not Donald will come out and listen and frequently comments, ‘It sounds great,’ which is probably the highest compliment that I could ever receive in my career.”

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

HARMAN’s Martin Professional Lighting Creates Stunning Mountain Backdrop for Verdi’s La Traviata at the 2014 Masada Opera Festival

MASADA, Israel — The fifth annual Masada Opera Festival, held at the foot of Mount Masada—one of Israel’s most popular tourist attractions—featured stunning performances of Giuseppe Verdi’s La Traviata opera for an audience of thousands over the course of six days. With Mount Masada serving as a stage backdrop and the sets incorporating the desert elements of the area, Lighting Director Bogumil Palewicz along with Michal Znaniecki, Stage Director, and Luigi Scoglio, Set Designer, deployed HARMAN’s Martin Professional fixtures to provide stage and effects lighting.

The outdoor stage was created to depict the city of Paris, France rising from desert sand. Working with the stage designer and set designer to ensure the audience’s view was not obstructed, Palewicz created a design that positioned the lighting equipment in the sand and on towers placed away from the main stage. Palewicz used Martin’s MAC Aura LED Wash lights to create a bulb effect for the Paris stage and used Martin’s MAC Quantum Wash fixture for white light washes.

The stage design also featured Martin’s MAC III Performance, MAC Viper Profile, MAC Viper Performance, and MAC Viper Beam moving head lights. “The MAC III Performances are great for big productions like La Traviata or even events on small stages,” said Palewicz. “Despite the long distances from the stage, the fixture’s framing system allows for really precise lighting. Martin’s MAC Viper series has strong output, true colors, and tremendous gobo effects.”

In addition to lighting the stage, Palewicz also used Martin fixtures to light Mount Masada as a backdrop for the production’s set designs and integrate the mountain background seamlessly with a video wall on stage. In order to effectively extend the stage with the mountain, he utilized Martin’s MAC III AirFX fixtures to light a section of the mountain 1,200 meters wide by 500 meters tall.

Not only did the production call for the color of the mountain to change with the performance, but Palewicz also needed to project shapes and images onto the mountain as well. “I needed a powerful fixture capable of producing strong output over a long distance,” said Palewicz. “The mountain had to connect with the video wall on stage and the AirFXs were the perfect solution for creating a flawless backdrop.”

“Due to the outdoor nature of the performances, the Martin fixtures were subjected to harsh conditions such as dust and extreme heat. Their durable design more than withstood the desert environment, allowing us to have a consistent show throughout the six day festival,” said Palewicz. “I could not have imagined our success without the support from the Martin team and the reliability of their equipment.”

The production company involved with the project was Israel’s Stage Design Israel.

For more information on Martin’s stage lighting solutions, please visit: www.martin.com

As a world leader in the creation of dynamic lighting solutions for the entertainment, architectural, and commercial sectors, Martin lighting and video systems are renowned the world over. Martin also offers a range of advanced lighting controllers and media servers, as well as a complete line of smoke machines as a complement to intelligent lighting. Martin operates the industry’s most complete and capable distributor network with local partners in nearly 100 countries. Founded in 1987 and based in Aarhus, Denmark, Martin is the lighting division of global infotainment and audio company HARMAN International Industries. For more information please visit: http://www.martin.com.

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 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 workforce of approximately 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

InfoComm International ® Announces Roundtable London Event

Audiovisual technology professionals are invited to mark 25 September 2014 in their diaries. The London Roundtable event hosted by InfoComm International® is sponsored by Cisco Systems, Inc. The event takes place from 14:00 to 19:00 at the Royal Institution of Great Britain, London, UK.

Chris Lavelle, Regional Director, UK and Ireland at InfoComm International said: “For those who want to keep up to date on trends, activities and news, we’ll be providing just that in an exciting programme of InfoComm’s activities including key findings from the 2014 Market Definition and Strategy Study.

“In addition, the Rountable event enables AV professionals to share ideas and network with peers.”

Register early by contacting Sarah Carless, scarless@infocomm.org.

About InfoComm International
Now in our 75th year, InfoComm International® is the international trade association representing the professional audiovisual and information communications industries. InfoComm has more than 5,000 members, including manufacturers, systems integrators, dealers and distributors, independent consultants, programmers, rental and staging companies, end-users and multimedia professionals from more than 80 countries. InfoComm International is the leading resource for AV standards, market research and news. Its training, certification and education programs set a standard of excellence for AV professionals. InfoComm International is the founder of InfoComm, the largest annual conference and exhibition for AV buyers and sellers worldwide. InfoComm also produces trade shows in Asia, Europe, Latin America and the Middle East. Additional information is available at infocomm.org.

HARMAN’s Studer, Soundcraft, AKG and JBL Offer World-Leading Audio Tools for Broadcasters at IBC 2014

AMSTERDAM, The Netherlands – At IBC 2014, HARMAN Professional is showcasing an impressive array of new products for the broadcast industry, ranging from Soundcraft and Studer routers, cores and digital consoles to AKG’s professional lines of microphones and headphones and JBL’s studio monitors. Studer is introducing no less than eight new products and updates for its industry-leading line of digital audio consoles.

Studer is adding to the immense power of its Vista X digital console with the next step in processing power and intuitive functionality, the Studer Vista V. The new 52-fader Vista V is based on the same Quad Star technology as its predecessor the Vista X launched earlier this year, but in a more compact footprint ideal for smaller studios, OB trucks and large live productions.

In addition, Studer is introducing the Infinity Core 200, version 5.2 software upgrade to its Vista X, Vista V, Vista 1 and Vista 5 digital consoles and AES67 interfacing via a D23m card. New to the 5.2 software are: the ability to assign Strip Setups as CUE events; support of the Soundcraft Realtime Rack (UAD plug-ins); support of Lexicon PCM96 Surround reverbs with Infinity Core; Input Gain unfold for multi-format channels; Spill Zone for contributing channels; GUI enhancements and new patch groups; A-Line embedded Ethernet; and contribution PAN in stereo channels to mono Aux busses.

Studer will be demonstrating its new D23m I/O system, which features enhanced channel count architecture that allows customers of its Vista X and Vista V digital consoles to transfer a huge number of channels. The D23m works seamlessly with Studer’s new Infinity Core and A-Link interface technology.

Offering continued support of its customer base in the radio broadcast market, Studer is also announcing the release of its OnAir v6.1 software. This new software release is a free update for all owners of Studer OnAir digital mixing consoles. The OnAir v6.1 software offers a wealth of new feature enhancements including: loudness metering; delay function; improved AoIP support with Dante; automated gain calibration; and BSS BLU link support.

Addressing a specific need in the sports broadcast market, HARMAN’s Studer is unveiling a prototype unit designed to provide a more rewarding audio experience for television viewers. Known as the Studer Ball Chaser, this unique product allows broadcast engineers to use a joystick to open the shotgun microphone closest to the action on the playing area, while keeping the other microphones closed.

Also at the HARMAN stand, Soundcraft will feature the Realtime Rack, a 1U unit compatible with Soundcraft Vi as well as Studer Vista consoles housing Universal Audio’s portfolio of top quality audio plug-ins, plus three Si Performer 1 19” rack-mounted digital consoles. The Si Performer 1 has an input capacity of 80 audio inputs to mix on all models, while featuring the same mix power as the Performer 2 and 3 consoles but with 16 mic pres and 16 faders. Moreover, the unique integration of a DMX512 port offers core lighting control, ideal for single (audio + lighting) operator application.

AKG will be showing a series of professional microphones and headsets that are ideal for broadcast customers. Among these products include the PR4500 ENG multichannel wireless system, the HC577 L reference head-worn microphone, the CK77 WR miniature lavaliere microphone, the C45,the C414 XLII multi-pattern condenser microphone, the C230 dynamic ENG microphone and the HSD 171 and HSD 271 professional headsets.
Finally, JBL will be showing its award winning range of high performance LSR305 and LSR308 monitors featuring the revolutionary Image Control Waveguide.

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 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 workforce of approximately 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

HARMAN’s Studer ‘Expands Infinity’ With New Vista V Digital Console

AMSTERDAM, The Netherlands – At IBC 2014, HARMAN’s Studer is adding to the immense power of its Vista X digital console with the next step in processing power and intuitive functionality, the Studer Vista V. The new 52-fader Vista V is based on the same Quad Star technology as its predecessor the Vista X, but in a more compact footprint ideal for smaller studios, OB trucks and large live productions.

The Vista V features a built-in meter bridge, high-quality motorized faders, and a sophisticated, built-in Dynamic Automation system with DAW remote control. The console is fully surround-sound capable, with versatile panning and monitoring functionality.

At the heart of the Vista V is the Infinity Core, which uses CPU-based processors to deliver an unprecedented 800+ audio channels with superb sonic quality, and more than 5,000 inputs and outputs. The use of CPU-based processors suggests exciting possibilities for scaling up to even larger channel counts, and for running third-party algorithms. Being able to program in high-level languages like C++ speeds up the time of implementing new features—never possible when using DSPs and FPGA processing technology.

Infinity Core provides 12 high-capacity A-Link ports (1,536 channels per port) for D23m I/O integration or direct connection into routing systems from Artel, Evertz, Riedel and more. The Vista V also offers easy integration into most AoIP networks used in broadcast like Dante and Livewire, and AES67.
The Vista V with Quad Star technology uses four processors to achieve aviation-standard levels of redundancy in the control surface, while CPU-based DSP makes it viable to provide two completely independent DSP cores running in parallel with instant changeover, without a single sample of audio dropout.

The Vista V also comes replete with VistaMix, Studer’s proprietary automated microphone mixing algorithm, based on gain sharing ideal for simplifying the mixing task at multi-contributor events like game shows, debates etc.. VistaMix removes the need for an operator to manually adjust all the faders all the time, leaving the microphones of talking participants open, while closing the microphones of silent participants in order to reduce spill and background noise. As VistaMix runs directly on the core, no external boxes are needed.

Vista V mixing engineers are freed from the burden of complex mental mapping, thanks to Studer’s revolutionary Vistonics™ interface, which builds Vista V’s rotary controls and buttons directly into the flat screen displays, providing visual feedback exactly where you operate. Each audio function is always associated with the same colour, e.g. red for EQ and filters, green for dynamics, and so on.

FaderGlow™ combines with assignable channel naming to further reduce stress by illuminating each fader in the colour relating to the relevant Vistonics function, creating an instant overview of console status. Studer’s new Spill Zone feature enables users to line up a group’s contributing channels with the press of just one button. FaderGlow then identifies their affiliation assigning the appropriate illumination.
The Vista V also features a built-in, high-class Loudness meter. The large-scale bargraph meter monitors every channel from mono to surround, plus a history display of up to the last 50 seconds of audio to capture any annoying clicks and overloads that are so hard to find in a multi-mic live show.

Built into the Vista V is the BSS DPR-901 Dynamic EQ Plug-In, assignable to any channel as desired and running directly on the Infinity Core. In addition, up to six Lexicon PCM96 Surround high-quality reverb processors can be connected with their parameters stored in the mixer’s snap shots and accessible directly from the Vistonics interface.

The Vista V also allows users to connect up to four Soundcraft Realtime Racks, providing access to Universal Audio’s (UAD) huge Plug-In library assignable on up to 64 Insert-Channels where their parameters are stored and managed directly in the Mixer’s CUE-List automation.

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 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 workforce of approximately 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

Renewed Vision ProVideoPlayer 2 Delivers High-Impact Multiscreen Presentations for Watermark Church

Dallas-based worship organization enhances services, reduces costs with Renewed Vision software

DALLAS, September 10, 2014
Watermark Community Church, a prominent biblical community with a worship presence in three Texas cities, has chosen Renewed Vision’s ProVideoPlayer 2 (PVP2) to create dynamic, high-impact multiscreen video presentations at its 3,500-seat Dallas worship center. The PVP2 installation is a significant element of a larger technology upgrade, which includes a dedicated fiber network to connect its Dallas location with a 500-seat worship center in Fort Worth; and a third worship center opening in Plano in early 2015.

Les Brown, technical director for Watermark Community Church in Dallas, was seeking a reliable and affordable solution to replace a six-year-old Green Hippo media playback server, which reached end of life and could no longer be upgraded. He researched PVP2 following recommendations from media technicians at other houses of worship and drew on his experience using another Renewed Vision product, ProPresenter 5 softwareimage. Brown notes that ProPresenter has performed flawlessly for years, displaying biblical passages, song lyrics and other media content during services.

“We were confident that PVP2 would perform reliably to foster an inspirational worship experience for everyone,” Brown said. ”PVP2 has played a significant role in our overall upgrade plan, and offers us tremendous cost-savings. It is a fraction of the cost of competing solutions.”

Beyond its reasonable price point, Watermark Church benefits from long-term cost-savings based on its simple configuration and interoperability. Watermark Church has configured PVP2 to run on a Mac Pro, which outputs five video signals to a bank of digital video projectors, including two Christie and three Barco units. PVP2 can be programmed to deliver a different display to each of the five screens or a single display that spans all five screens, as well as a combination of displays in a single presentation.

The decision to buy PVP2 followed a successful software trial that Watermark conducted on Easter 2014. The special musical performance, which featured the house band, soloists, and back-up singers, leveraged PVP2 to project a single video across five separate large displays above the stage. The video, which featured song lyrics, graphics and particle smoke, was created in After Effects to allow the visual elements to use all five screens as if they were one display. Since the band was performing to a click-track, the lyrics would appear on the video in perfect synchronization with the vocalists.

Brown currently controls PVP2 using a Barco FSN router during services, but plans to integrate PVP2 with the church’s DMX lighting control system. This will enable the lighting director to control and synchronize the PVP2 video displays with other staging elements, like theatrical lighting and music, according to pre-programmed cues.

“The Mac Pro’s ability to output five streams at once saves us considerably on additional computer hardware, and we can make the most of our PVP2 investment since the system is easy to maintain and upgrade,” Brown said. “Reliability was a chief concern as we’ll use a DMX lighting board will control the PVP2, and won’t have a second system to cut to in the event of a technical problem. It’s been running reliably since deployment, and we’re confident we can transition to DMX integration.”

PVP2 now sits alongside a professional array of gear across Watermark Church’s infrastructure, including a professional production switcher and multi-resolution broadcast cameras. Viewers can access streaming media of the Dallas worship services at www.live.watermark.org from anywhere using their connected devices.

About Renewed Vision
Founded in 2000, Renewed Vision’s mission is to offer reliable, purpose-built production software that enables organizations—spanning from churches to corporations—to create dynamic media experiences that enhance worship services, meetings and other special events. For more information on our product lines, including ProPresenter, ProVideoPlayer and ProVideoServer, please visit our website at www.renewedvision.com.

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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

Prism Sound Releases SADiE Version 6.1

Prism Sound has announced the release of SADiE Version 6.1, an update to its highly acclaimed SADiE Version 6.0.0 recording and editing software.

With no dedicated proprietary hardware requirements the SADiE v 6.1 software packs are application based and focus on the core SADiE expertise of Mastering, Radio Production, TV/Film Post, Archiving and Restoration, and high level Sound Design.

Prism Sound has also announced a new and exceptionally competitive pricing structure for its SADiE software packs. With the entry level SADiE PRO now starting at UK £445.00 (plus VAT), the product range is even more cost effective, taking the SADiE brand, reputation and advantages into new markets. The extended compatibility will also significantly reinforce its appeal to professional users around the world.

New SADiE Features

WAV Master
With many more consumers now choosing to buy their music via a download, record labels are increasingly asking mastering engineers to deliver mastered audio as digital WAV files so they can be easily supplied to audio download sites such as iTunes, Spotify and Amazon.
SADiE’s newly introduced WAV Master feature 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. As a further extension of its WAV Master feature, SADiE has also introduced a new high quality Sample Rate conversion algorithm. This brings the sample rate conversion process in-line with the high quality processing standards for which SADiE’s parent company, Prism Sound, is famous.

This ultra-efficient workflow allows SADiE’s PQ list to be used as a single source to create the WAVs, DDP and CDs that are required by today’s mastering engineers.

ISRC in BWF Files
Prism Sound has also incorporated ISRC in BWF into SADiE’s new WAV Master option. This feature is included as part of the Mastering Suite and Sound Suite packs.

Created and standardised by the European Broadcasting Union, Broadcast WAV (BWF) is an extended WAV format that allows ISRC data to be embedded in the file. ISRC stands for International Standard Recording Code. Every song released, and every version of that song, is allocated a unique ISRC by the record label. ISRC is then used to ensure that the correct files are used for playback and replication. It also ensures that artists and recording professionals who stand to benefit financially from any playback or replication are identified and compensated.

The UK Music Producer’s Guild has led the initiative to get BWF adopted as standard, and in conjunction with the EBU it has produced a Recommended Practice document that lays out methods by which an ISRC can be embedded into a BWF.

Other updates

These include an extension to SADiE’s Wav Master functionality with support for reading and writing a WAV file’s LIST-INFO chunk, and for Track Name and Artist metadata (included in Mastering Suite and Sound Suite packs). Prism Sound has also incorporated 32bit floating point format for recording or bouncing to WAV or BWF, thus allowing engineers to work at the highest possible resolution throughout. There is also the option of creating a profile when making a DDP Image or importing one.
In addition to these upgrades, Prism Sound is now including SADIE MTR (Multi-Track Recorder) software in the SADIE6 installer. This will run without license when using an LRX2 or Prism Sound Lyra, Titan, and Atlas, interfaces, and requires a license for native operation.
Looking to the future, SADiE will soon be offering enhanced video support for BlackMagic Design Decklink cards, as well as timecode support on SADiE Native systems (where the ASIO audio hardware supports timecode functionality). These extended new features will be included in an imminent service update. The software element of this update will be available to all 6.1 users, although some users may require additional hardware.

To try out the software, please visit http://www.sadie.com/support/download_v6.php

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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 range now includes SADiE digital audio workstations and location recorders. Prism Sound also manufactures audio test and measurement products such as the DSA-1 and the dScope Series III audio analyzer.

For more information please visit www.sadie.com or www.prismsound.com

Satin Sound Deploys Martin Audio For Lady Antebellum Concert

Satin Sound Systems, Inc. recently supported a sold out concert by Lady Antebellum with Martin Audio at the First Niagara Pavilion outdoor amphitheater in Burgettstown, PA during the band’s “Take Me Downtown” tour in support of their album, Golden.

Formed eight years ago in Nashville, Lady Antebellum is made up of Hillary Scott (lead and background vocals), Charles Kelley (lead and background vocals, guitar) and Dave Haywood (lead and background vocals, guitar, piano, mandolin).

The successful country trio has recorded five albums (Lady Antebellum, Need You Now, Own the Night, On This Winter’s Night and Golden), winning a substantial number of Grammy, CMT, CMA and Billboard Awards along the way.

For the show at Niagara Pavilion which has a 23,000 seat capacity, Satin Sound rigged a Martin Sound system consisting of 24 W8L Longbow enclosures for the main hangs, 24 W8LC speakers for the outfills, and 20 WSXA subs. Amplification included Lab Gruppen FP 7000 for the Longbows, PLM 10000Q for the W8LCs and Powersoft K10s for the WSXA subs.

The crew for the show consisted of Brett “Scoop” Blanden (FOH Engineer), Peter Bowman (Monitor Engineer), and John A Durisko and Bill Lowery (Systems Techs).

Asked why they chose Martin Audio, Satin Sound’s Durisko said, “The Martin Audio W8L Longbow/W8LC system gave us great coverage with seamless transition between the main and outfill cabinets. The Longbow rig is incredibly powerful and very musical, and we received many compliments throughout the evening.”

For more about Martin Audio, please click 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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