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New Zealand’s Māori Television Upgrades Its Broadcast Facility with HARMAN’s Studer Vista 5 M3 and OnAir Consoles

NEWMARKET, New Zealand – Māori Television provides a range of local and international programming for New Zealand’s audiences across the country and online. Founded in 2004, the station is dedicated to the revitalization and normalization of the Māori language and culture through high-quality, readily accessible programming in both Māori and English. Reflecting its commitment to quality, Māori Television recently upgraded its studios with the addition of HARMAN’s Studer Vista 5 M3 and OnAir 2500 digital consoles.

HARMAN Professional New Zealand distributor Jands Ltd. installed the 32-fader Vista 5 M3 and 12-fader OnAir 2500 consoles in Māori Television studios. The studio needed to replace its aging analogue mixing desks and make the move to digital. They wanted consoles that were flexible and easy to use. “Our studios are used for a variety of shows, including live news and current affairs programs, talk shows, sports programming and more,” said Kane Dickie, sound team leader. “One of the most challenging requirements is doing the sound for a live music show that requires mixing multiple hosts talking at once plus a live band.”

Māori Television wanted to avoid having to patch the consoles into external effects devices, and chose the Studer consoles because they had enough built-in effects to handle all the processing for all the shows that are produced at Māori Television. Ease of use was equally important – “we wanted consoles that were intuitive to use, so that most of the people in our studio would be able to operate them.” In addition, the consoles had to be able to link together so they could share sources between Māori Televisions two broadcast studios. The Vista 5 M3 offers access of up to 240 channels, ensuring the station would have all the inputs it needs. Along with the Vista 5 M3 and On Air 2500, Māori Television purchased three Studer Compact Stagebox expansion units, a 32-in/16-out and two 16-in/16-out models.

Before Māori TV purchased them, Jands set up the complete system on their premises to allow Kane and his team to try them out. The Māori TV staff took to the consoles immediately, giving high marks to the consoles’ easy, fast and responsive operation, accessible control layouts, convenient Vistonics™ and Touch’n’Action color touch screens, and variety of useful built-in effects. “

Now that the Vista 5 M3 and On Air 2500 are up and running at Māori Television, Kane confirms their initial positive experience with the consoles at Jands. “The transition from analogue to digital consoles went smoothly. In addition to doing everything we need them to and then some, we’ve noticed that the Studer consoles’ preamps have made all of our mics sound much cleaner. In addition, all of the old analogue buzz we could never get rid of in the past has disappeared.”

In Māori it’s called “Kia Tika” – being professional and maintaining high standards. It’s one of Māori Television’s core values, and the Studer Vista 5 M3 and On Air 2500 reflect the station’s commitment to “Kia Tika.”

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the 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 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

HARMAN’s Martin Professional Deployed at 2014 Paralympic Games For Creative Lighting & Midair Effects

ST. PETERSBURG, Russia — To celebrate the historic 2014 Paralympic Games, rental company Euroshow provided HARMAN’s Martin lighting systems for a special program featuring an ice show at Russia’s Yubileny Sport Palace in St. Petersburg. The program was held before the final stage of the Torch Relay. Lighting designer, Alexey Yevstifeyev, who deployed Martin fixtures based on their functionality and brightness, proposed the lighting concept of the show to feature creative lighting and midair effects, consisting of 20 MAC Viper Profiles, 12 Atomic 3000 DMX, 20 RUSH MH3 Beams, 48 MAC 101s and 20 MAC 2000 Wash XB’s.

The ice show took place at the Yubileny Sport Palace’s hockey rink with the main challenge being the limited time for installation. Taking this factor into consideration, Yevstifeyev used a combined truss mounting and floor mounting system.
By placing the MAC 101 fixtures on the floor around the rink, he was able to create a beautiful display with compact and extremely fast LED wash lights, emphasizing the artist’s movements through the reflection effects.

According to Yevstifeyev, ice shows are unique in that the ice surface, together with light projections, becomes an individual element of performance design. Yevstifeyev chose to deploy the MAC Viper to get the maximum out of the space he was given.

“I’ve been acquainted with Martin’s MAC Viper for a very long time already,” Yevstifeyev explained. “They have a brilliant reputation for functionality and light intensity. They have already become a workhorse in the industry. That’s why lighting designers constantly choose them for their projects. Besides, MAC Viper has a very good collection of creative and beautiful gobos. Using them, one can create really interesting pictures. They were really useful for me on this project!”

Additionally, the RUSH MH 3 Beam added a great dynamic to the show and put the accents into the figure skaters’ performance with different styles and themes.

“Although the MH3 Beam belongs to the entry-level line, it is very effective,” said Yevstifeyev. “It proves to be very strong when compared to alternative fixtures when you need to create bright beam effects in midair, so it is no surprise we at Euroshow use these fixtures quite regularly.”

Equipment supplier: Euroshow
Lighting Designer: Alexey Yevstifeyev
Lighting Operator: Dmitriy Shmel’kov

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 designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the 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 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

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From Outdated to Outstanding: Clair Brothers Updates Audio System at NYCB Theatre At Westbury with HARMAN’s JBL Professional Loudspeakers and Crown Amplifiers

WESTBURY, New York – The NYCB Theatre at Westbury is one of Long Island’s best-known music venues, growing from its less-than-glamorous origins in 1956 as an unheated outdoor tent to the premier Live Nation-owned concert hall it is today. Formerly the Westbury Music Fair, the current 3,000-seat venue was built in 1966 and has since undergone multiple renovations—the most recent being an upgrade to its audio system with HARMAN’s JBL Professional VERTEC® line arrays powered by Crown I-Tech HD amplifiers.

“The former audio system was 30 years old, was underpowered and had significant issues in many areas,” noted Dustin Goen, system designer and project manager for systems integrator Clair Brothers. The venue is a theater in the round with 360-degree seating surrounding a circular stage that rotated during most performances. The main loudspeakers, lighting and video screens were mounted on a truss ring hanging above the stage, with fill loudspeakers placed around the front of the stage and at other locations in the hall. The main loudspeakers were pointed downward but because of the design of the truss ring, they could not deliver adequate coverage to all the seats.

“To supplement the main loudspeakers, a kind of patchwork arrangement of fill loudspeakers was installed throughout the venue in an attempt to get adequate coverage,” Goen noted. “As a result, no matter where someone sat they heard a mixture of up to four different loudspeakers, all with different timings and sonic characters.” Patrons in the first row might have scored the best seats to see the show but they heard the worst audio mix—almost no sound from the PA and too much from the stage monitors and amplifiers. The low-frequency reinforcement was inadequate—only four subwoofers mounted on the overhead truss. There were a number of nodes in the room where the bass was almost inaudible.”

“On top of all that,” Goen commented, “the old system didn’t actually cover the front of house mixing position. The engineer had to walk out of the sound booth and down the aisle to hear the mix! You basically had to use your imagination to figure out how things sounded.”

It was no stretch of the imagination for Live Nation’s Dan Schartoff to know something had to be done. As vice president of production for House of Blues/Clubs and Theatres, Schartoff spearheaded the audio system renovation effort and determined that not only would an all-new sound system have to be installed, the overhead cage of trusses would have to go. Goen and crew had to complete the job in two weeks start to finish, from tearing down and installing the new truss to mounting the loudspeakers, lighting and six 80-inch video monitors.

Goen worked with Schartoff and Chris Barbee of lighting contractor Bandit Lites to design and build a new truss ring over the stage with six hangs of six JBL VERTEC VT4887A compact line array loudspeakers, powered by Crown I-Tech 4x3500HD multichannel amplifiers.

Because the theater is in the round, Goen realized distributed cardioid clusters of subwoofers weren’t going to work. “You’d get a response plot that looked like a raspberry instead of an apple,” he said. In response, Clair Brothers opted for a central cluster of six JBL STX828S subwoofers in a triangular stack, driven by three Crown I-Tech 12000HD amps.

Clair Brothers was able to use the existing front and stage fill loudspeakers, which are linked to the main system via a BSS Audio BLU-160 signal processor with digital audio bus. The VT4887A clusters can be used either as three alternating stereo pairs or in mono depending on the preferences of the FOH mixer and artist. An added benefit is that the new truss ring is smaller and doesn’t block the sightlines across the venue, making the hall seem bigger than it was before.

“We wanted every listener to hear one clear and coherent sound source no matter where they were sitting, and that’s what the VT4887A line arrays deliver,” Goen stated. “Thanks to their smooth, controlled dispersion pattern, the coverage is seamless from the first row to the back in 95 percent of the room.”

Goen considers VERTEC and Crown I-Tech HD amplifiers to be a perfect combination since the amps’ DSP incorporates VERTEC V5 preset tunings. “The V5 presets really bring the VERTECs to life and make them sound like a whole new loudspeaker.”

JBL HiQnet Performance Manager™ software is in place to calibrate and control the system. “Performance Manager helped us get everything up and running fast,” Goen said. “We had to be ready in time for a show by Lee Brice so there was no slack. We didn’t get a chance to test the wiring until two days before the show.” The system didn’t require a lot of tweaking—Goen noted that the VERTECs sounded great out of the box and that tuning was more a matter of gain shading than applying EQ. “We had two days to ring out the system, tune it and train the house engineers, and we did it.”

“Horizontal coverage is seamless all around the ring, the low end is solid and even around the room and yes, it sounds great at front of house,” Goen concluded. “In fact, front of house engineer Charlie Trantum has been working at Westbury for more than 20 years and he was very impressed when he first heard the new system.”

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the 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 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

HARMAN’s Lexicon PCM Native Reverb Plug-In Bundle Is Part of the Curriculum at Audio School Online

SALT LAKE CITY, Utah – GRAMMY® award-winning engineer, producer, songwriter and musician Ken Lewis founded Audio School Online (www.audioschoolonline.com) to answer a need. “It used to be that you got out of engineering school, got a studio internship and worked your way up – but now, big studios are closing and there’s limited opportunity to learn your craft in a professional environment.” In response, Lewis started Audio School Online to teach aspiring producers and engineers how to mix music and produce records. Students learn from Lewis through a series of free and affordable online lessons that teach how to use the tools of the trade – including Lewis’ go-to Lexicon PCM Native Reverb Plug-In Bundle.

Ken Lewis knows his craft. His credits include 71 platinum and gold albums and singles, 12 GRAMMY winners and 56 number one records – so far! He notes that “teaching is in my blood – my mom was one and I used to teach bass and guitar.” Before founding Audio School Online, Lewis discovered there was a lack of information online for what he thought budding producers and engineers needed to know. “My inspiration for putting this all together was to give the next wave of audio pros and artists the real-world skills and techniques to make professional recordings.”

The hardware and software Lewis uses in his lessons are the products he uses in his own studio work on a daily basis. “There isn’t a single mix where I don’t use Lexicon for the reverb,” he says. The PCM Native Reverb Plug-In Bundle is the best reverb plug-in he’s heard. “It’s the first time a plug-in has sounded 100 percent as good as the outboard stuff.”

In a course on choosing lead vocal effects, the Lexicon PCM Native Reverb Plug-In Bundle is a key element. “I use every one of the seven reverb plug-ins, all the time – Vintage Plate, Plate, Hall, Room, Random Hall, Concert Hall and Chamber.” Lewis shows students exactly why he uses the particular reverbs he does, for male and female and lead and background vocals. “I go step by step into how I manipulate all the parameters and why, and most importantly, the thought process as a mixer or a producer that goes behind what I’m teaching. Ultimately, the mood of the song dictates why I do something. With Lexicon, I can choose and fine-tune the perfect reverb to fit the mood.”

Another online lesson is called “Plugin Transformers” which emphasizes that ultimately there are no traditional ways to create new sounds. ”I used the Lexicon PCM Native Reverb Plug-In Bundle to show people there are really cool sounds they can achieve they might never have thought of, that they can incorporate into their own palette. Lewis finds the plug-ins to be highly flexible in their editing capabilities, easy to shape sonically and have “tons of presets and choices for starting points.” Most importantly: “They also just sound really good.”

“My style of teaching is very hands-on,” Lewis notes. “The lessons feel like we’re sitting together one on one, not like you’re sitting at a lecture with someone talking at you. When I do a lesson if mistakes happen, fine. I teach the same techniques I use everyday on records you hear, and in a way that’s very easy to understand and duplicate on your own.”

“In audio there is no right and wrong, just what you think sounds good. You need to envision what you want and how to go about getting it. Lexicon helps me teach people to open their mind to the possibilities.”

The feedback we’ve received for Audio School Online has been tremendous so far,” Lewis concluded. “We’ve gotten deep support from pros and amateurs alike. It makes me want to do more.”

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the 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 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

Jünger Audio Bridges A Gap With D*AP8 MAP

Following Dolby’s decision in 2013 to discontinue its DP570 Multichannel Audio Tool, dynamics specialist Jünger Audio is now the sole company in the world that can supply a product to fill the gap.

The company’s D*AP8 MAP Monitoring Audio Processor, which will be on show at Jünger Audio’s NAB 2014 Booth (C2134), is the only Loudness processor on the market capable of offering real-time metadata emulation as standard. This vital feature allows broadcast engineers in post-production, DVD and DTV facilities to check the quality of Dolby Digital AC3-encoded audio prior to transmission so that they can monitor exactly what the consumer will ultimately hear.

“Metadata emulation is very important to the broadcast community, especially those working in the USA where the ATSC has specified that all audio must be Dolby AC3 encoded prior to transmission,” says Jünger Audio’s CEO Peter Pörs. “Every set-top box in the USA – and in many other countries, too – has a Dolby Digital decoder installed as standard. These decoders receive audio metadata, which is the unique ‘data about data’ delivered by Dolby Digital bitstreams.

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

Jünger Audio’s D*AP8 MAP Monitoring Audio Processor combines an audio monitor controller and a loudness measurement device in one unit, thus providing comprehensive quality control and loudness monitoring for anyone working in a production or broadcast environment.

Designed for quality checking surround (5.1) and/or stereo programs, D*AP8 MAP features a built-in Dolby® Metadata generator and an optional Dolby® decoder that allows users to decode Dolby-E, Dolby-D (AC-3) and Dolby Digital plus (E-AC-3). It can also be used for live monitoring and to ensure compliance with today’s standards and regulations (ITU 1770-3, ATSC A/85 or EBU R128).

The unit comes with alarm signals that alert the operator when pre-set loudness thresholds are exceeded, and these signals can be delivered by simple GPOs and/or SNMP traps, which carry actual loudness values. Loudness measurements can be performed over a long run or over a fraction of a program, or both. These measurements can be triggered by automation systems via GPIs or via the network – or even manually by buttons on a remote panel.

Alongside loudness measurements, D*AP8 MAP also offers functionality for acoustical QA. It has eight speaker outputs that allow for A/B checking of stereo compatibility of a surround downmix through alternative speakers, as well as via L/R front speakers.

By incorporating 3G, HD and SD auto detection, D*AP8 MAP gives users the option of dealing with all 16 channels of SDI embedded audio at the same time. This means the engineer can listen to one program while permanently logging the loudness of two (5.1 +2 mode) or four (4×2 mode) programs. It is also possible to send further embedded programs to D*AP8 MAP’s AES outputs to feed a third party instrument for analyzing and/or display.

For no extra cost, the D*AP8 MAP SDI board also acts as an embedder and comes with video delay to compensate for any kind of audio delay. This feature is ideal for those looking to maintain lip sync in QA suites or control rooms.

“Broadcast engineers still a need for a hardware based monitoring controller that combines loudness management and logging features with the ability to monitor Dolby®-E, Dolby®-D (AC-3) and Dolby® Digital plus (E-AC-3), as well as HE-AAC formats,” Pörs explains. “Our D*AP8 MAP is the only unit on the market that can do all of this and we will be using the NAB 2014 platform to ensure that everyone knows about it.”

For more information about Jünger Audio, please visit NAB booth C2134 or visit the company’s website at www.jungeraudio.com

-ends-

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

HARMAN’s Lexicon PCM Total Bundle Is the Go-To Reverb Plug-In for Producer, Trainer and Writer Mo Volans

SALT LAKE CITY, Utah — Mo Volans enjoys a multifaceted career as a producer, musician, writer and product trainer. He got his groove going when he was signed to the UK’s Global Underground and Subversive Records. For 15 years he wrote, produced and remixed records for major and independent labels, including Positiva, Hed Kandi, Skint, AATW and MOS/Data, where he first got his hands on classic HARMAN Lexicon gear like the 480L.

His electronic music production and composing skills led Volans to producing music for TV and around 2006 he was asked to write an article for Remix magazine, which launched a parallel career as a music writer. Since then he’s written countless features and currently contributes to Future Music, AskAudio and Audiotuts+.

Thanks to his thorough understanding of electronic music technology and knack for explaining it clearly, Volans has become an in-demand producer of training videos. He is now the lead trainer at MacProVideo.com and AskVideo and has produced training and promotional material for a number of major computer music platforms, including Ableton, Logic, Reason, Cubase, Maschine and BitWig. Through all his occupational diversity, his preference for Lexicon has remained constant, and it’s no surprise the tech-savvy Volans has adopted the Lexicon PCM Total Bundle plug-in package.

The Lexicon PCM Total Bundle offers a wide variety of legendary Lexicon reverbs and effects like Vintage Plate, Hall, Room, Concert Hall and other hallmark Lexicon reverbs, and effects that run the gamut from Pitch Shift, Chorus, Dual Delay and Resonant Chords to other completely unique sounds. It’s designed to work with popular DAWs like Pro Tools and Logic, as well as with any other VST, Audio Unit or RTAS-compatible platform and with Windows and Macintosh computers.

“I’ve been using Lexicon as long as I can remember,” he said. “I’ve been fortunate to work with almost every model of Lexicon hardware, from flagship products like the 480L in larger studios to my more recent use of the MX and PCM reverb and effects processors in smaller facilities and my own project studios. When I had the opportunity to try the PCM Total Bundle I didn’t hesitate.” Mo quickly found it to be invaluable.

“I’ve been using the PCM Total Bundle as my go-to reverb solution literally since the day it arrived.” Mo uses the plug-in for both his own recordings and in his training courses. “When it comes to demonstrating algorithmic reverbs this is just about as good as it gets for me. If I can call something that’s used in training videos a ‘textbook example’ of something, then the Lexicon is it.”

Anyone interested in electronic dance music (EDM) creation should note that Volans has recently completed what he calls an in-depth six-hour training course for MacProVideo.com on mixing and mastering electronic dance music in Logic Pro X music production software. He used the PCM Total Bundle extensively throughout this course, and for recent online features for Future Music and AskAudio.

Does the PCM Total Bundle live up to what Volans is accustomed to hearing from Lexicon’s industry-standard hardware? “I’ve worked in the studio with Lexicon gear for a long time. Having used the hardware I can say without a doubt that this plug-in is the real deal.” For Mo, Lexicon technology stands out from all other reverb units and plug-ins. “Lexicon manages to create stunning acoustic spaces that no other algorithmic processors seem to be able to touch. The richness of the reverb tails are legendary, and for good reason. I’ve found other processors that can do a good job – but Lexicon consistently nails the non-linear acoustic nature of real-world spaces.”

“Mo has been with Lexicon every step of his highly successful career. The diversity of his work and his consistent use of our plug-ins speaks to the ability of our reverbs to meet the requirements of any style of project he takes on. Furthermore, seeing him using Lexicon to teach a new generation of producers is the best compliment he can give us,” stated Noel Larson, Director of Marketing, HARMAN Signal Processing.

For more information about Mo Volans and his work please visit www.movolans.com.

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the 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 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

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HARMAN Professional and KD’s Southern Cuisine Bring Upscale Dining and Entertainment to Oklahoma City’s Bricktown

OKLAHOMA CITY, Oklahoma – Bricktown, Oklahoma City’s entertainment district, just got a lot more entertaining with the opening of KD’s Southern Cuisine (www.kdsbricktown.com), an elegant dining establishment that serves up Southern culinary favorites for lunch and dinner – and when it’s late in the evening, transforms into a nightclub with DJs, dancing and live music, all served up through a HARMAN Professional audio system.

The design brief given to Norman, OK system integrator Pro Presenters, LLC and its President/CEO, Steve Patrick, was clear: the ownership group wanted KD’s to have an upscale look and feel, and “New York City club-level audio where we could really push some sound pressure levels.” However, to keep the open, contemporary interior design undisturbed, the sound system had to be completely hidden from view.

KD’s is divided into four areas – dining room, bar, private lounge and patio – and the system had to cover the sonic gamut from subtle background music to live bands and DJs pounding out the volume. In the bar area in particular the owners were insistent upon having dance club-capable SPL, but with so much emphasis placed on the décor, there was no room to hang loudspeakers, let alone large ones. There were also some unique architectural challenges and solutions – including a motorized glass window that runs the length of one wall of the dining room. When the window is closed the bar can get loud while the dining room maintains a lower noise level.

For the bar area, Pro Presenters needed a loudspeaker that could fit into the wall behind the bar while delivering the requisite volume. The company went with 12 JBL AC15 ultra-compact loudspeakers, inset into the framework and placed at a height and in locations to ensure even, unbroken coverage throughout the room. The bar has a floating ceiling, which included a cavity where Patrick and his team had room to install four JBL ASB 6112 compact subwoofers.

Adjacent to the bar is a small performance area for DJs and live bands, where four JBL VRX928LA compact constant curvature loudspeakers and two VRX918S subwoofers are mounted on each side of the stage. “These are perfect for this kind of application,” Patrick noted – “they’re small and don’t get in the way of anything but are full-range and sound really good.” Two more VRX928’s and a VRX918 are located in the private lounge.

The main dining room and two private dining areas (which can be combined into a larger private dining room for bigger affairs) required music that could go from a gentle background level to something louder. Patrick wanted to install loudspeakers in the ceiling but had to work around a number of large circular hanging lighting fixtures. However, the ceiling also had several openings in which additional LED lights were installed – and these openings were also large enough to accommodate 14 JBL Control 26C coaxial ceiling loudspeakers and four Control 19CS in-ceiling subwoofers. In addition, two Control 26C loudspeakers were placed in the ceiling in each of the two private dining rooms, and four Control 28 indoor/outdoor loudspeakers are mounted in the outside patio area.

The loudspeakers are powered by a total of nine Crown amplifiers, a mix of DSi 6000, DSi 2000, CDi 1000, CDi 4000, 280A and 180A models. “These amps just made sense for this installation – their onboard processing enabled us to easily tailor their frequency balance, and other parameters to the loudspeakers, subwoofers and room acoustics. The 280A works in conjunction with a push-to-talk mic in the kitchen so the backline workers in the kitchen can hear what’s going on up front, and the 180A is simply one of the best amplifier values out there,” said Patrick.

A Soundcraft Si Performer digital live sound console handles both lighting and sound for the stage and main dining areas. Patrick chose the Performer because “we felt like it was two consoles in one. One person can do it all – mix the sound for both rooms and control all the lights with onboard DMX-based scene recalls. It’s amazing how much capability is built into this console.” He noted that thanks to the console’s built-in reverb, compression and effects, it also eliminated a lot of rack components they would otherwise have needed in the system.

“The ownership group couldn’t be more pleased with the way the KD’s installation turned out,” Patrick concluded. “The system is completely unobtrusive visually, and perfectly suits KD’s dual requirement for a system that can play quieter music during the day and get everybody dancing at night with sound quality that rivals that of any nightclub.”

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, HARMAN Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the 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 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

DK-Technologies Ships First DK T7 Meters To Calrec

Audio and video metering specialist DK-Technologies has fulfilled the first orders for its new DK T7 Audio and Loudness meter, which was launched to much critical acclaim at IBC last year.

The DK T7 began shipping in February with the first two units delivered to UK console manufacturer Calrec. These have now been fitted into 48-fader Artemis Light consoles destined for Al Jazeera in London. Other broadcast and post production customers have chosen either stand-alone DK T7 meters or the new 3U rack mounted variant – the PT0T7. This fits neatly into a Tektronix rack system and can be used separately or in conjunction with a waveform monitor.

“We’re delighted with the number of pre-orders the DK T7 has generated and we’re ramping up production to fulfil them,” says DK-Technologies’ Product Marketing Director, Uffe Kjems Hansen. “The DK T7 is exactly what the market needs – a cost-effective audio meter with an easy to use multi-touch interface that delivers a whole host of useful features at a very cost effective price. At just €3,495 and USD 6,390 MSRP, there is simply nothing else on the market in this price range that gives users access to so much functionality. The nearest competitor product that even comes close to the DK T7′s feature-set is nearly double the price.”

Dubbed as the ‘everything included’ audio meter, the high precision DK T7 incorporates as standard every Audio and Loudness meter function currently offered by the award winning DK Meter range. These functions include Bargraphs, Moving Coil Emulation, DK-Technologies’ proprietary StarFish™ and JellyFish™ display technology, FFT spectrum analysis and, of course, industry compliant Loudness and Logging. The new DK T7 also includes 3G SDI Picture Preview, as well as the ability to read and log against SMPTE time-code – a feature that has only recently been added to the DK Meter range.

“Engineers working in the broadcast and post production industries now have to cope with a complex set of formats, standards and documentation requirements,” Uffe Kjems Hansen adds. “For this reason we felt it was vital to give them an easy to use Audio and Loudness meter that did the job it was bought for as soon as it came out of its box. The DK T7 is the most complete, high precision Audio and Loudness meter on the market today – and the most honest because it does not involve any hidden costs.”

The DK T7 allows end-users to adapt to virtually any format including 3G SDI I/O. The unit also offers 8 AES/EBU input/output channels, 2ch Analogue input channels, headphone output and HDMI monitor output. At just 20 x 135 x 180 mm (depth, height and width), its compact design also allows it to be highly portable and easy to position, while its intuitive multi touch interface makes it very straightforward to use.

Since first showing the DK T7 at IBC 2013, DK-Technologies has incorporated a number of improvements that are now available as standard. These include a pause/resume function for Loudness Logging that will save engineers time when they are adjusting Loudness to hit targets on larger time spans.

“Essentially, this function allows engineers to work step-wise through the entire audio clip, rather than having to go back and measure loudness from the top for every tweak,” Kjems Hansen says. “We’ve also improved our software so that it includes a new 7.1 Surround display feature for Theatrical Mix. This is something no other meter can do and it will have particular relevance to engineers working on big motion picture productions.”

For more information about the DK T7, please visit www.dk-technologies.com. Alternatively, please visit DK’s US distributor Ward-Beck, which will be showing the DK T7 and other DK product at NAB 2014, Booth N1202.

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About DK-Technologies
DK-Technologies develops and produces audio meters, video sync and test signal generators, as well as video waveform monitors and colour analysers both for LCD and CRT monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

Jünger Audio Shows The D*AP4 VAP Voice Processor At NAB 2014

At NAB 2014 (Booth C2134), dynamics processing specialist Jünger Audio will be showing its recently introduced D*AP4 VAP Voice Processor – a unique unit that is designed to make life easier for engineers working in radio stations, TV production voice-over studios and feature film ADR facilities.

What makes this processor so special is the inclusion of Jünger Audio’s proprietary Spectral Signature™ dynamic EQ – a totally new creative tool that offers automatic and dynamic EQ control to balance spectral differences. By analyzing incoming audio and comparing its spectrum with individually predetermined voice ‘fingerprints’, this clever unit can automatically apply dynamic EQ corrections to give a consistent sound.

For people working in TV voice over and feature film ADR, this facility is a Godsend. Imagine, for example, that you have booked an expensive and well-known actress to voice the cute little rabbit in your new children’s TV series. Over the course of the recording sessions you notice that her voice sounds different at different times of the day – maybe because she is tired, or has developed a sore throat, or has had a heavy night and smoked a lot of cigarettes. If you want your rabbit to sound exactly the same every time, how do you overcome this?

Jünger Audio’s D*AP4 VAP Voice Processor is the answer. On day one you record the actress’ best rabbit voice, and then measure it using Spectral Signature. The voice’s tonal characteristics are analyzed and recorded as a curve on a graph, which is used as a template for all future recordings. The next time your actress does her rabbit voice, the unit compares the new recording to the saved version and automatically adjusts the frequency until both voices match. Voilà! A perfect rabbit voice every time, thus saving a fortune in repeated ADR and voice over sessions, not to mention a lot of frustration on all sides.

Jünger Audio’s D*AP4 VAP Voice Processor is equally interesting to radio broadcasters who want to create an aural identity for their radio stations. By using exactly the same spectral sound management principles, the unit measures specific voice recordings and then uses these sound fingerprints as a reference. The Spectral Signature algorithm matches all subsequent live recordings to these fingerprints, thus creating a dedicated ‘station sound’.

“The D*AP4 VAP draws on our extensive experience with previous Voice Processing devices such as our popular VO2, but adds new tools and algorithms to create an easier and more efficient approach to voice processing with no compromise in sound quality,” says Peter Pörs, CEO of Jünger Audio. “We have also included processing such as HP/LP filtering, versatile dynamics section, full parametric EQ and de-essing, and made the unit really easy to use – even for non-technical radio staff such as producers and journalists.”

Jünger Audio has also provided a dedicated voice leveler combined with an auto-mixer circuit to help mixed voice programs into loudness-based broadcasting on the fly. Using the optional SDI I/O card automated voice over for SDI embedded audio becomes an attractive feature of the D*AP4 VAP.

Available as either an insert into a mixing desk or as a stand-alone unit, D*AP4 VAP offers interfaces that allow integration in existing environments via an AES insert. The unit can also be used with an optional analogue board that adds two high quality mic-preamps.

For more information about Jünger Audio’s D*AP4 VAP, please visit NAB booth C2134 or visit the company’s website at www.jungeraudio.com

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

The Music Producers Guild Introduces Mastering Engineers To Broadcast WAV

As the music industry prepares to adopt the Broadcast WAV file format as the best means of embedding ISRC data into future recordings, the Music Producers Guild is hosting an event to highlight the importance of this initiative and give recording professionals the information they need to make it a success.

The event, which is primarily aimed at Mastering engineers, will take place at the Hospital Club in London on the evening of April 9th, 2014. It is sponsored by digital audio workstation manufacturers Magix/Sequioa, Merging/Pyramix and Prism Sound/SADiE, all of whom have recently announced their support for the initiative by backing file exchange between their systems.

Headed by Alchemy Mastering’s Barry Grint, the MPG has led a strident campaign to get Broadcast WAV accepted by the music industry in place of ordinary WAV files, which don’t contain a method for embedding ISRC information. Their efforts have been successful as the boards of both the BPI and AIM have now recommended to their members that this new format be adopted.

“Our event on April 9th is the only opportunity Mastering engineers will have to understand and prepare for this format change,” Barry Grint explains. “Each of our DAW sponsors will demonstrate how the ISRC embedding process fits within their workflow, and how they are working together to ensure seamless exchange of the data between all of the workstations. This is a massive step forward for the industry and we really hope that Mastering engineers and other recording professionals who are interested in ISRC will take the opportunity to come along and learn more.”

Grint adds that the importance of ISRC cannot be understated. ISRC, which stands for International Standard Recording Code, is uniquely allocated to every song recorded. These codes are then registered with royalty payment agencies, thus ensuring that recording artists and copyright holders are properly remunerated for their work when it is played on radio or TV.

Broadcast WAV, the professional WAV format created by the European Broadcasting Union, can carry ISRC information and this is why MPG is so keen to see is adopted by as the de-facto standard for music interchange in the production process.

“The inclusion of ISRC information will remove the need for it to be re-entered and reduce the opportunity for error,” Grint says. “The new system is simple to implement and, once adopted, it will allow ISRC to flow through the whole production chain.”

The MPG’s aim is to establish ISRC as the cornerstone of every aspect of digital asset management, from tracking and reporting through to royalty reporting and song identification. This will give the entire music industry a robust and secure system for identifying tracks, and who had input into their creation, so that it can safeguard the incomes of all artists and copyright owners.

Ultimately, the adoption of BWF as standard will provide a cornerstone for the MPG’s Credit Where Credit is Due campaign, which aims to highlight the woeful lack of credit information within the digital domain.

“Our overall goal is to ensure that all music creators receive proper credit and proper payment for their work, and having an industry-standard technical solution that allows credit information to be included in the metadata is a major step forward in achieving this ambition,” Barry Grint says.

To register for this event, please visit: http://www.mpg.org.uk/events/279

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About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

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