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Archive of the Case Studies Category

TV Skyline Travels with HARMAN’s Studer Vista 1

MAINZ, Germany – Mainz-based TV Skyline GmbH is one of the largest OB trucks and service providers in Germany, serving public and private TV channels as well as customers in various industries throughout Europe. To meet the increasing customer demand for surround sound productions, TV Skyline upgraded the audio technology of its Ü3HD truck with a HARMAN Studer Vista 1 console. The Vista 1 was sold through Audio Pro, Studer’s German distributor.

The Vista 1 in Ü3HD is equipped with 32 faders and offers 32 mic / line inputs, 32 analog outputs and eight AES / EBU stereo input and output channels, as well as an integrated MADI port. A Riedel RockNet card is installed in the expansion slot of the console, ensuring the integration of the MediorNet system.

One particular advantage to the Vista 1 is that no external hardware is required, according to Jan Saueressig of TV Skyline. “The compact dimensions of the mixer, combined with the fact that no external hardware is needed, was a huge advantage of the Vista 1,” he said. “The easy access to MediorNet was another advantage that made the Vista 1 the obvious choice.”

“The time we had to incorporate the new console into our service was extremely short, but we familiarized ourselves with it very quickly,” Saueressig added. “We already knew about the Vistonics™ interface from using the Soundcraft Vi1, which was in our Ü1HD truck. The Vista 1 has additional options, such as surround sound and configurable DSP allocation.”

The console was first used in an 8-camera production at the start of the season for the Austrian Bundesliga soccer tournament in Innsbruck. The game was produced for the ORF and broadcasted by TV Skyline on behalf of Media Plaza in 5.1 Surround. Other productions followed at the Salzburg Festival for the transmission of the 8th Symphony of Mahler, and at the NHK Symphony Orchestra in Tokyo. Which were also produced in 5.1 Surround.

For more information please contact Tel: 07131 2636-400 or Fax: 07131 2636-430, www.audiopro.de or e-mail: info@audiopro.de.

TV Skyline Film- und Fernsehgesellschaft mbH, is a leading service provider for broadcast and multimedia events. Founded in 1991 and based in Mainz, Germany, they provide clients with turnkey solutions for events ranging from FIFA World Cup to the world famous Wagner festival in Bayreuth. They also support a number of large corporations at their annual shareholder meetings or major product launches around the globe. TV Skyline has 65 staff and a pool of 200 freelancers. A fleet of comfortably furnished and highly equipped OB vans, SNG’s and production vehicles meet all the requirements for 4K, 3G, HD and SD productions, including Dolby 5.1. A growing part of the TV Skylinebusiness is the development and production of a large number of special cameras and tracking systems, built as a result of extensive experience with using cameras in the field. More information can be found at www.tv-skyline.de.

HARMAN (www.HARMAN.com) 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 about 14,000 people across the Americas, Europe, and Asia and reported sales of $4.3 billion for the fiscal year ended June 30, 2013.

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HARMAN Professional and Daktronics Restore Sound at University of Illinois Football Stadium

CHAMPAIGN, Illinois – With a total seating capacity of 60,600, Memorial Stadium at the University of Illinois was built in 1923 and is home to the University’s Fighting Illini football team. While the stadium’s history is a huge part of its charm, the outdated audio system was not. To that end, systems integrator Daktronics recently designed and installed the new audio/video systems at the stadium, implementing HARMAN’s JBL VLA Series loudspeakers along with Crown I-Tech HD amplifiers to power the audio system. The new system is integrated with existing BSS Audio and Crown back-of-house equipment.

The new main bowl audio system is integrated with the new scoreboard and consists of two line arrays, each equipped with six JBL VLA601H and two VLA901H loudspeakers. Two JBL PD5212 loudspeakers are used for downfills. Also, nine AC28’s were installed to fill shadowed areas under the East upper deck.

The system is powered with 12 Crown I-Tech 4×3500 HD and five Crown I-Tech 9000 HD amplifiers. These were installed in accordance with the existing BSS Audio Soundweb London BLU-80 system and Crown CTs amplifiers. The challenge for Daktronics however, was to incorporate the new equipment into the structural appearance of the stadium.

“Daktronics structural engineering had a defined ‘look’ for the entire scoring/audio/video board structure during the beginning design phase of this project. I was tasked with designing a sound system to fit within this look, and thanks to the modular design concept of the JBL VLA Series, this was easily accomplished,” said David Sturzenbecher, Audio Project Engineer for Daktronics.

“The integration with the existing BSS Audio network was crucial to saving cost as there was no need to add additional DSP components. We did provide new user interfaces for the existing BOH system so the customer can easily see any system issues and make quick adjustments,” Sturzenbecher added.

After testing, Sturzenbecher said, “Overall, the system has been performing great. We are experiencing smooth and even coverage across the stadium with plenty of headroom. We have worked with Brad Ricks from JBL and the VLA Series on numerous other projects with great results, and the vertical arrays really fit well within the allotted area.”

HARMAN (www.HARMAN.com) 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 about 14,000 people across the Americas, Europe, and Asia and reported sales of $4.3 billion for the fiscal year ended June 30, 2013.

DPA Microphones Hits the Corporate Limelight

The exceptional comfort offered by DPA’s d:fine™ Headset Microphones has inspired London’s Blitz Communications to place an initial order for 20 units.

Blitz provides audio-visual equipment and services to the live event industry, and the company’s Theatre Production Assistant, Kelly Morris, is the first port of call for support for theatre shows. She acts as a technician on corporate jobs, which is primarily the sector for which Blitz acquired the d:fines.

The company is involved in producing a roster of events in venues such as London’s ExCel where, as Morris explains, “a lapel mic doesn’t always pick up enough level from a presenter. A headset mic gives us that extra help”.

Blitz has been a DPA customer for many years, Morris explains, and had used a large number of DPA’s 4066 omni headset microphones over that time. However, the stock was in need of replacement. Initially, Blitz intended to replace the mics on a like for like basis, but changed its mind after demoing the newer d:fines.

“Put simply, the d:fine Headset Microphones offer our clients a more comfortable solution than they have been used to,” Morris explains. “The audio quality is also very good, which is important consideration because we need to ensure that conference speakers can be heard by everyone in the room.”

Available in both omni and directional versions, DPA’s d:fine range offers accurate, natural voice intelligibility, very high SPL capabilities and intensive protection against pop and wind noise. The microphones come in a range of colours (black, beige, brown and lime green) and with single- or dual-ear mountings. Their tiny size makes them barely visible on the face and they are ergonomically designed to fit easily and adjust to any ear size and head shape. By rotating the boom and the earhook, the mic can be moved from left to right ear, or into the optimum position. The mics can also be used with any professional wireless system.

Blitz Communications bought their d:fine Headset Microphones from DPA’s UK distributor Sound Network.

Adam Pierce, UK Sales and Marketing manager at Sound Network, says: “The corporate and conference sectors are becoming increasingly aware of the importance of delivering great audio, and this is translating into plenty of interest in high quality audio products like DPA microphones. The d:fine Headset Microphones are especially popular because they are so reliable and, thanks to their modular construction, very easy to maintain.”
-ends-

About Blitz Communicaitons
Blitz is the UK’s leading technical supplier to the events industry. Backed by a £12.5m equipment inventory, offering a fully comprehensive service, with technical experts from every discipline including video, sound, lighting, graphics, digital and staging. Blitz delivers events of all sizes in the UK and across Europe, which they aim to make more innovative, interactive, sustainable and ultimately, more cost effective.

About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

Multi-GRAMMY® Award-Winning Engineer Frank Filipetti Lends His Ears to the Development of HARMAN’s JBL M2 Master Reference Monitor

NEW YORK, New York – Frank Filipetti needs little introduction. Since the 1980s, producer, recording and mixing engineer Filipetti has worked with Carly Simon, Luciano Pavarotti, Billy Joel, Elton John, Korn, Barbra Streisand, Meatloaf and countless other top artists. He has mixed chart-topping singles and albums for Foreigner, the Bangles and KISS and in 1998 won GRAMMY® awards for Best Engineered Album and Best Pop Album for James Taylor’s Hourglass.
Filipetti has been a pioneer in mixing for surround sound, earning a 2012 GRAMMY nomination for his 5.1 surround mix of An Evening With: Dave Grusin. Adding to his resume, he played a significant role in the development of HARMAN’s JBL M2 Master Reference Monitor, a 2-way large-format loudspeaker designed to set new standards for sonic accuracy and dynamic range in professional monitoring environments.

In developing new loudspeaker systems, JBL has always welcomed input from recording engineers and producers and in the development of JBL’s new flagship M2 master reference monitor, JBL turned to Filipetti for his critical review and astute feedback. Like many industry pros, he’s used a number of JBL studio monitors, including his go-to system, the LSR6300 series monitors. When JBL went into production of the M2 in the spring, Filipetti installed a pair in his studio and has been mixing projects non-stop. “About two years ago JBL invited me to listen to a new studio monitor concept they were excited about,” said Filipetti. However, after listening for more than two hours, the loudspeakers didn’t win him over. Filipetti came away from the initial audition thinking this early iteration of the M2 was good, but not special, and encouraged the JBL team to work hard to elevate it to the next level. His comments did not go unheeded by the JBL team.
Fast-forward to the summer of 2012, when Filipetti got a call to come back and listen again. Within the first 20 seconds of listening he realized he was hearing something very exciting. “I’ve been listening to studio monitors all my life and they’re one of the types of products I pay closest attention to, as they’re so integral to my work.”

It took Filipetti less than a minute to realize this new speaker wasn’t like anything he’d heard before—in his experience, it was revolutionary. “The whole experience of the beauty of the music, the sound and the emotional content of the performance all came through to me in a way I had never heard before. I honestly couldn’t sleep the next few nights.” The JBL engineers made a few final tweaks and the production-version M2 was born.

Filipetti attributes much of the special qualities of the JBL M2 to the new D2 dual diaphragm, dual-voice-coil compression driver and JBL’s new “Image Control” waveguide, a patent-pending horn design that delivers more musical detail and smoothness than he’d ever heard previously in any loudspeaker, and never in a loudspeaker with a horn. In his estimation, most horns sound “peaky” in the midrange and don’t provide the extension a soft-dome tweeter can deliver while the M2 has a smooth midrange, high-frequency response up to 40kHz and wide dispersion. “You can stand halfway between two M2 loudspeakers and hear all the top end you’d hear when you’re sitting right in line with the drivers, along with a deep, strong, focused center image. I’ve never heard that from any speaker before,” Filipetti noted.

“Forget everything you know about horns and monitor speakers. The JBL M2 is different,” he emphasized. “I’ve had people that work in music, film and all different genres come by my studio and listen and they all hear what I hear: the closest thing to a universally accurate studio monitor speaker we’ve ever heard.”

HARMAN (www.HARMAN.com) 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 about 14,000 people across the Americas, Europe, and Asia and reported sales of $4.3 billion for the fiscal year ended June 30, 2013.

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Legendary Engineer and Producer Bruce Botnick Outfits His Studio with Three of HARMAN’s JBL Professional M2 Master Reference Monitors

NEW YORK, New York – To anyone in the pro audio industry, it’s not much of a secret that Bruce Botnick is one of the industry’s most accomplished engineers and producers. He secured his reputation in the 1960s as the producer of the Doors’ classic LA Woman album, engineer of the first two Love albums and co-producer of the band’s masterpiece, Forever Changes. Botnick has worked on records by the Rolling Stones, Eddie Money and many others and as an engineer for film composer Jerry Goldsmith on more than 100 movie soundtracks. Recently, Botnick purchased three JBL M2 Master Reference Monitors for use as Left/Center/Right loudspeakers in his studio. The M2 is a 2-way large-format loudspeaker designed to set new standards for sonic accuracy and dynamic range in professional monitoring environments.

Botnick has always kept an eye on recording technology advancements and first encountered the M2 at the 2012 AES Convention, when it was still in the development stage. “I heard these loudspeakers in a less-than-ideal environment and they still sounded amazing,” said Botnick, who then told JBL’s Peter Chaikin he’d like to try them and judge them in his studio as soon as they were in production. In early 2013, Botnick visited the JBL Professional headquarters in Northridge for a second listen and found the sound exceptional. “At that point I made the decision to simply go ahead and buy them without ever having mixed on them in my studio,” he said. After the M2’s arrived, Botnick immediately began a project to mix the score for the historical drama Parkland. In preparation, his newly installed L,C,R M2 system was tuned by the Dolby staff, accessing the filters in the BSS Soundweb London BLU800 processor which in Botnick’s system, serves as the M2 crossovers and also the system’s room EQ. All parameters in the Soundweb London can be accessed from a laptop using HARMAN London Architect™ software. The M2’s system tune-ability ensures an extremely accurate tonal balance in a broad range of mix environments.

“I loved mixing on the M2 system right off the bat,” Botnick added. “I was able to mix for many hours and not get ear fatigue. The sonic images that came out of the M2 were really big, so when we subsequently went into the main dubbing theater at post-production facility Todd AO in Hollywood and put the music up, it translated incredibly well.” The correlation between the sound heard in Botnick’s studio and the Todd AO sound stage meant he could trust his mixes more than ever before in going from the studio to the cinema.

Another advantage Botnick finds is that he doesn’t have to restrict himself to listening in a narrow sweet spot, thanks to the excellent off-axis response made possible by a new Image Control Waveguide, designed specifically for the M2. The Image Control Waveguide provides a seamless transition between the M2’s newly developed D2 high-frequency driver and the woofer and delivers an accurate tonal balance and superlative imaging and detail to a broad area of the listening room. “I can turn sideways to work on something and still hear the balance. It’s not ‘pointy’ and the speakers don’t buzz on the high end,” Botnick noted.

Botnick can play the M2 at a relatively loud level and still be confident of hearing accurate reproduction. “Film music mixing should be done at an 85dB level and I’m very strict about that,” he said. “The image size of the M2 is just breathtaking, and you don’t’ feel like your hearing the speakers as separate entities in the room—you get the sense that you’re hearing everything in the correct proportions behind the screen as you would in the cinema.”

“The M2 speaks to you effortlessly,” Botnick added. “It’s a much easier loudspeaker to listen to than most and I can get a good balance almost instantly. If it doesn’t sound good on the M2, it doesn’t sound good, period—for me a great speaker also lets me hear if something isn’t working.”

In mixing Parkland, Botnick went into the final mix with 10 5.1 surround sound stems. “Even with 10 stems totaling 60 tracks, the M2 let me hear into the mix, perfectly layered on top of one another no matter how complex the mix became. Hearing that deeply into the score enabled me to tailor all the reverbs and ambient sounds so they translated really well and created the perfect sonic environment for every scene.” Parkland had its theatrical release this month.

Botnick recognizes the engineering effort that went into the JBL M2. “I appreciate the fact that the people who worked on the M2 actually listen to music and know what it’s supposed to sound like, and can trust their ears and not just a measurement graph. They know how a good mix should sound.”

HARMAN (www.HARMAN.com) 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 about 14,000 people across the Americas, Europe, and Asia and reported sales of $4.3 billion for the fiscal year ended June 30, 2013.

CTSI Chooses Martin Audio For W Washington D.C. Hotel Upgrade

The W is a popular luxury stopover in our nation’s capital located “next door to the White House” on 15th Street in the heart of W Washington D.C. The hotel was remodeled in 2009 and designed with contemporary interiors and color schemes that combined seamlessly with the original beaux-arts exterior, which was carefully preserved.

CTSI (Corbett Technology Solutions, Inc.), a leading area integrator based in Chantilly, VA, was originally brought in to work on the hotel’s Crestron lighting systems because they have a master programmer fully certified in the technology.

From that point, CTSI was asked to update the original audio systems put in by a competitor in the W’s celebrated P.O.V rooftop lounge, terrace and lobby. Over recent years the lounge has morphed into a nightclub and CTSI initially began the audio upgrade by modifying the DSP and replacing speakers that had been damaged by DJs.

It soon became apparent that a comprehensive audio system upgrade was required and CTSI specified a range of new equipment including Martin Audio OmniLine arrays and AQ Series speakers for the lounge, terrace and lobby.

Asked about the acoustic challenges for each space in the W Hotel, Mike Wilson, CTSI Director of Systems Engineering explained, “The P.O.V. lounge is on the roof or 11th floor of the building and consists of a nightclub and outdoor terrace area with an awning that faces out onto the Treasury building across the street. The hotel’s VIP suites are right underneath the lounge on the 10th floor and the increased SPL levels would either bounce down to the street or back to the side of the hotel off of the Treasury and disturb the guests on the lower floors.

“Because the sound systems were cranked as loud as they could be, the original wall-mounted speakers and subs throughout the room sent vibrations down through the original plaster walls, which was also a problem. Our clients wanted to maintain a ‘nightclub’ sound within the space without affecting the lower floors below so we chose a Martin Audio OmniLine array because it provides enhanced intelligibility, has a very small, non-intrusive form factor and can be hung from the ceiling without adding a lot of weight.”

“The lounge is a rectangle and the bar is located in the center of the long side of that rectangle,” continues Wilson. “With the help of Martin Audio’s software we designed a system with a left-right array on each side of the bar comprised of an AQ210 sub and an 8-module OmniLine array with optimum splay angles for each cabinet underneath. This gave us the full range we needed to cover the room while controlling the volume and vibrations and keeping sound off the floor and back wall. The AQ cabinets were chosen for their effective mid-bass sound and ultra-compact design.”

Another major challenge for CTSI was carrying the nightclub sound from the lounge outside onto the rooftop terrace while controlling it so guests in the VIP suites below weren’t disturbed. Their solution was mounting eight Martin Audio AQ10 two-way cabinets high up on the exterior brick wall to provide the necessary coverage without overspill problems down the sides of the building. As Wilson points out, “We were able to aim the AQs down using better mounting and alignment techniques while providing improved DSP control with the software. That plus the 10” woofer gave us lower end sound to better simulate the club-like sound from the lounge onto the terrace.”

The majestic W hotel lobby presented another distinct challenge with a 25-foot ceiling, hard plaster walls and ceiling and marble floors. CTSI needed to design a system with exceptional clarity and articulation far beyond the original recessed 70-volt speakers that created non-intelligible sounds at normal listening heights.

Again, Martin Audio OmniLine arrays were selected for their small form-factor design and lighter weight to overcome the drawbacks implicit in older plaster walls. According to Wilson, “Every Friday and Saturday night they put up velvet ropes for entrance to the lounge and feature a guitarist and singer so they wanted a better sound system that would allow guests to enjoy that.

“So the OmniLines were a good choice because of their coverage and range and the music in the lobby was acoustic so we didn’t have to worry about the low end as much. We wall-mounted two hangs of 4-module arrays about 15 feet off the ground and the software helped us figure out the different angles we needed for the room. We supplemented the low end by tweaking the DSP and making the full-range ceiling speakers more midrange to fill out the bass end.”

In addition to the full complement of Martin Audio speakers, the upgrade also included Biamp DSP systems and Lab Gruppen amplification. To make them even less visually intrusive all of the speakers were custom-painted by Custom Refinishing Solutions located in Baltimore, MD to specifically match paint sample numbers provided by the hotel; clean white for the terrace, black for the lounge and off-white for the lobby.

Summing up, Wilson says, “OmniLine was the right choice, mainly because of their small footprint and excellent coverage. The Hotel wanted the upgrade to be as clean and ‘invisible’ as possible. Ultimately, they were very happy with the audio levels, clarity, intelligibility, coverage and overall sound quality of the Martin Audio system we provided.

“As for the lounge itself, the speakers sound great and fit very well into the environment in terms of what they need. They bring in big name DJs and are happy because they now have a real nightclub-sounding environment with a stereo left/right point source as opposed to a 70 volt-distributed system around the room. According to reports from the hotel, even guests have commented positively on the upgrades.”

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

Corbett Technology Solutions, Inc. (CTSI) is a Chantilly, Virginia based corporation that provides communication technology solutions to commercial, government, healthcare and educational settings in the Northern Virginia, Washington DC and Maryland marketplace. Since 1969, Corbett Technology Solutions, Inc. designs, installs and implements customized turnkey communication solutions in audiovisual (AV), healthcare and education technologies, videoconferencing, networking, professional sound, security & fire, and voice systems. By combining innovative, high-performance technologies and dedicated professionals they are able to provide the highest quality in complete customer care. From boardrooms and hospitals to classrooms and command centers, CTSI solutions Engage, Inspire and Deliver. For more information on Corbett Technology Solutions, Inc., please call 703-631-3377 or visit www.ctsi-usa.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.

Christie Technology Defines Performance, Reliability and Value at EDUCAUSE 2013

Christie® is at the forefront of the EDUCAUSE annual conference October 16-17 in Anaheim, California, exhibiting several premium performance visual display solutions for the higher education market. The engaging booth features the new Christie Brio collaboration tool, a selection of Christie projectors from an extensive product line-up, and the multiple award winning Christie® MicroTiles®.

Christie Brio


Christie Brio – Share More
A conference highlight is Christie Brio. This presentation and collaboration solution enables multiple users to easily share video and audio content from their laptop or mobile device by connecting to the meeting room’s video system through a Wi-Fi or Ethernet network. Presentations, video, and other media are displayed without wires, dongles, or special software applications so meeting participants go right to work without setup delays.

Christie Brio makes collaboration across multiple rooms, auditoriums and offices easy and immediate. It can connect to multiple worksites on a college campus or across several campuses. All Brio nodes added to a meeting will be able to see the same content and contribute to the meeting by sharing any presentation.

Christie Brio also takes full advantage of interactive whiteboard technology by turning it into a bi-directional collaboration tool. Any participant in a Brio meeting can use touch-enabled displays to add to or edit whiteboard contents, regardless of geographic location.

Christie DHD775-E with Wireless Connectivity Option
Ideal for classrooms, auditoriums and boardrooms, the Christie DHD775-E has native HD resolution and easily connects – wired or via wireless connectivity option – to today’s computers. The Christie DWU775-E features an optional dual processor warp module for blending of multiple projectors to create a seamless display even on a flat surface.

Christie LW720 – The Brightest Single Lamp WXGA in the Market
Compact and affordable, The Christie LW720 delivers 7200 ANSI lumens and 2500:1 contrast ratio for superior brightness and deep, rich colors. Taking advantage of the broad suite of lenses ranging from 0.5:1 ultra short throw lens to long throw of up to 9.2:1 throw ratio, the Christie LW720 has one of the largest lens shift ranges on the market, which allows customers greater installation flexibility.

Christie FHD551-X Flat Panel with Ultra-Narrow Bezel
The Christie FHD551-X is on display. This full HD 55-inch indoor LCD flat panel features a bezel-to-bezel width of 5.5 mm, LED backlighting, high pixel density and a wide viewing angle, making it suitable for tiled displays in classrooms, meeting rooms, auditoriums or lobbies.

Christie MicroTiles – Ideal for Campus Lobbies, Auditoriums and Collaborative Spaces
Also on display is a 1-unit wide by 5-unit high Christie® MicroTiles® tower. Christie MicroTiles, with their much wider color palette compared to conventional LCD displays, deliver pure, saturated, accurate colors on a nearly seamless, stunning digital canvas. With their modular design, Christie MicroTiles are configurable into any shape or size, creating the perfect blend of architecture and technology. Several higher education facilities including the James B. Hunt Jr. Library at the North Carolina State University and Texas Tech University are enjoying the benefits of Christie MicroTiles video walls.

For more information on the complete line-up of projectors and displays systems, visit Christie at booth # 1260, 1262.

Symetrix Simplicity at Italy’s Opera Universitaria

Opera Universitaria's new theatre in Trento, facing the rake

Opera Universitaria's new theatre in Trento, facing the rake

LAVIS, ITALY: 15 OCTOBER 2013 – Widely regarded as the educational, scientific, financial, and political hub of Northern Italy, Trento is proud to boast of its excellent college – the Opera Universitaria. Ranked as first in the country by the Ministry of Education, Opera’s mission is to ensure that a student’s full potential can be realised – whether that stems from sport, academic work, or the arts. After enlisting the help of AV integrators A&T Multimedia, and distributors, Adeo Group, the college’s new theatre has been equipped with a comprehensive technical installation, enabling complete control over audio, lighting, and video.

Opera’s consultant specified that the theatre must be multi-functional, and that the technical system needed to offer standalone use by anyone, trained or not, without the assistance of the college’s AV department. As a result, A&T was required to design a system which allowed flexible mixing for musicals and plays, whilst also delivering simple and user-intuitive control for lecturers and presenters.

“Our goal was to find a digital signal processor which could directly link to a theatre-sized mixing console” commented Alessandro Baroni of A&T. “This would allow the end-user to control all audio via a simple preset recall, but should more complex mixing be needed, the console could simply be activated and off they’d go.” After discussing the idea with distributor, Adeo, the integrator settled on a combination of Symetrix’ open-architecture Radius 12×8 DSP for ‘standard use’, with a Yamaha LS9-32 looking after performance audio.

As both mixer and DSP feature Audinate’s award-winning Dante protocol, Baroni chose to connect all inputs into the rear of the Radius before channelling them over Cat5e cable into the LS9’s optional MY16-AUD card, and then back to the DSP again for loudspeaker processing. This allows seamless switching between ‘lecture mode’ and ‘performance mode’, and provides the means for non-technical staff to control audio via either the Radius’ front-panel, or through the SymVue touchscreen control software configured by A&T’s Symetrix-certified programmer.

With the new theatre space being designed to handle the most impressive occasion, Adeo recommended Renkus-Heinz’s IC-live loudspeakers (four ICL-FRs and 4 ICL215S-FRs) to provide seamless coverage, with Beyerdynamic wireless microphones (OPUS 910s) enabling wire-free movement. Lorenzo Seneci of Adeo Group states that the system ”needed to provide a very high SPL to cater for the wide range of different events, but to achieve this we would traditionally have to employ point-source loudspeakers or line arrays. However, due to the aesthetic restraints in place, it demanded a beam-steering solution.”

Panasonic projectors were also brought in to handle video content and are controlled by an Extron video distribution unit. “We are totally satisfied with the end-result” remarks the university’s spokesperson. “The Radius’ preset recall is very simple and completely suitable for the range of different situations we encounter.” The performance space is seeing rave reviews by the student body and the general public, both of which appreciate the careful design and installation work carried out to enhance Trento’s latest shows.

www.symetrix.co

Clearwing Productions Chooses Technomad for Phoenix Zoo Audio Improvements

Technomad loudspeakers enliven “water lagoon experience” for visitors while giving zoo long-term outdoor audio solution

BOSTON, October 16, 2013 – The systems design and integration experts at Clearwing Productions last year overhauled the Phoenix Zoo’s annual seasonal spectacular “ZooLights,” transforming a linear roadside display into an immersive, 360-degree audio and lighting experience that encircled the zoo’s central water lagoon. The advanced audio system from Technomad performed so well that zoo officials opted to use the system year round, delivering multi-zone background and event music to visitors across the lagoon area.

The Phoenix Zoo initially hired Clearwing Productions to increase the production value of the annual lighting show, though the two teams quickly determined that the audio system was underperforming ¬– not to mention falling apart.

“The Phoenix area is inundated with sun and UV rays, which is very tough on outdoor products,” said Nick Pitman, service and systems engineer, Clearwing Productions. “The previous speakers were dry rotted or full of water, and most had cracks from UV rays. They wanted something that would produce great audio and last more than a year. That’s when we looked at Technomad.”

Technomad delivered an advanced outdoor audio solution comprising 24 loudspeakers, 12 subwoofers and multiple wired power amplifiers, all fully weatherproof to protect against UV rays and other outdoor elements. The Clearwing design included 12 speaker poles surrounding the lagoon, each with two Paris weatherproof loudspeakers pointing in opposite directions from a height of 16 feet. One Technomad Chicago subwoofer and two PowerChiton amplifiers were added to the base of the pole.

The PowerChiton amplifier modules simplified the installation for the Clearwing team and ultimately reduced project costs for the Phoenix Zoo, eliminating lengthy complex underwater wiring jobs to connect traditional indoor amplifiers to outdoor loudspeakers.

“We knew that we wanted an outdoor amplifier that was simple in design but offered longevity,” said Pitman. “This solution gives us 120 volts and a speaker line output in a compact, outdoor-rated package. One PowerChiton feeds the Paris loudspeakers and another feeds the subwoofer on each pole. Most importantly, the PowerChiton design has no fans, eliminating any heat-related performance problems. They just keep working.”

The end-to-end distributed audio architecture includes Harman or BSS equipment to route, zone and delay signals for everyday use or special events as required. Network protocol signals are converted back to balanced audio en route to the PowerChitons. From there, the Paris loudspeakers deliver full-range musical reproduction with broad dispersion across the entire lagoon, with the Chicago subwoofers filling in the low end with additional bass output.

“The zoo had previously used rock speakers, and after the lighting upgrade they made it clear they wanted to add real audio,” said Pitman. “The Paris loudspeakers cover the area thoroughly, while the subs emphasize specific points in the music or dramatic show scenes without pushing the bass to nightclub levels. Everyone involved agrees that this was the most effective outdoor audio solution for the job.”

ABOUT TECHNOMAD
Technomad LLC, founded in 1995, designs and manufactures loudspeaker systems for the professional audio and security/military technology industries. The company invented the first reliable full-range weatherproof loudspeaker and now offers nine models ranging in power from 60-watt loudspeakers to 1250-watt subwoofers — most available in Turnkey PA System packages featuring amplifiers, mixers and other signal processing equipment in pre-wired racks. The company also manufactures a variety of audio infrastructure and communications equipment including playback and recording systems, weatherproof power amplifiers and turnkey remote audio systems. Contact Technomad at 617-275-8898 or visit www.technomad.com for more information.

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Historic Italian Venue Gets Martin Audio MLA Upgrade

Paul McCartney’s Out There tour recently landed in the Arena di Verona, the historic amphitheatre that has provided entertainment spectacles for the people of Verona for thousands of years.

Touring logistics meant that Paul McCartney’s regular PA system could not make the Verona date, so local supplier Amandla Productions stepped in to provide a Martin Audio MLA system, supported by All Access, the owners of Italy’s largest MLA rig.

Paul McCartney’s long-standing FOH engineer Paul ‘Pab’ Boothroyd was at the helm for the show, ably assisted by his touring system tech Chris Nicholls. Both were impressed by the system’s performance.

“I had heard a lot of good things about the new Martin Audio rig and was happy to use it for this show,” said Boothroyd. “Everybody was really happy with the show, the coverage was great and the detail and clarity in the system made it an enjoyable show to mix. It’s great to see Martin Audio right at the front of new design––the first systems I mixed on were Martin Audio Philishave rigs and that powerful musical sound got me going in my career.”

All Access system tech, Red, was able to demonstrate the unique control of the MLA to Chris Nicholls: “The way the system was able to cover a steeply raked venue with relatively few boxes was very impressive. It didn’t look as though they had enough curve on the array, and we gave them a really tight weight target to hit so they couldn’t add more boxes; yet the flatter array shape was great for the throw required. With a quick adjustment in the software they had the system covering great right up to the back seat without adjusting its angles and that’s something I’ve never heard a system do before.”

The system deployed in Verona included 12 MLA per side for main hangs, six MLA per side for out hangs and two MLD in the orchestra pit for front fill. The out hangs were particularly challenging, as they had to be flown from the ancient stepped seating within a scaffolding structure. The manageable weight and size of the MLA cabinets made this difficult maneuver possible. “The MLA is less than 194 lbs,” reported Red, “and being based around horn loaded 12’s meant we could physically lift the cabinets and fit them in between the steps and the scaffold structure; anything heavier or taller simply would not have been possible in the space available.”

The Out There tour continued on to Vienna before returning for a run of shows in America. “We’re back to our normal touring PA after this show but I’ll look forward to mixing on MLA again––this rig is right up there with the best in the world,” said Boothroyd at the end of the spectacular two and a half hour set that featured a huge selection of songs from the McCartney, Wings and Beatles back catalogue.

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

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