A virtual press conference from Sound & Video Contractor

Archive of the Case Studies Category

3G Productions Supports Marc Anthony In The Round At Barclays Center

Marc Anthony recently capped off a series of successful engagements at Atlantic City’s Boardwalk Hall, the Mohegan Sun Arena and Prudential Center with a triumphant Valentine’s Day weekend performance in the round at Barclays Center in Brooklyn.

After successfully providing audio for the first three venues, 3G Productions was faced with the task of ensuring even coverage for Anthony and his 15-piece orchestra performing in the round from a revolving stage in the cavernous arena.

Asked about the challenges, 3G Crew Chief Will Taylor explained, “the biggest was taking the tour from a typical end stage configuration with 70 boxes to over 128 enclosures in the round. We used d&b J-Series during the tour and for Barclays, we flew four hangs of 14 for the longer throws at the ends of the arena and four hangs of 18 for the sides to get the vertical coverage we needed because the building is so tall, over 110 feet to the top seats. We also had 16 d&b J-sub and 8 J-Infra subwoofers that we combined with the barricades because the concert was sold out and we didn’t have the real estate to put them where we normally would.”

“The show sounded great,” Taylor continues, “but we had so many amps for the 360 degree coverage, we needed about 150 ft. of cable bridge to get from one end of the arena to the other with upwards of 400 ft. cable runs per cluster. But even with all of the musicians, background singers, boxes, cable, inputs and additional techs, the client was very happy with the coverage and how the show turned out.”

In this case, the client was Production Supervisor Roly Garbalosa who oversaw the tour for Marc Anthony and CMN (Cardenas Marketing Network). Roly was also fully aware of the challenge: “This was Marc’s first U.S. performance in the round with an orchestra that included 3 trombones, 2 trumpets, 3 percussionists, 3 background vocalists, keyboard, bass, guitar and piano rotating 360 degrees back and forth all night. Besides the eight J-Series hangs, we had 8 sidefill points hung with 3 d&b Q10s each because Marc relies heavily on those, especially for this situation.”

“I’ve known 3G Productions for a long time and typically they do a great show and are very professional. The key to this concert was the advance planning which we needed because we were hanging over 100 points on the same day. We came in at 5am, marked the floors, started working a six and were still polishing details at doors.

“As it turned out, the show sounded amazing and everyone really enjoyed it, including Marc. He brought us in after the show––which is rare––and gave us all high fives. He loved the sound and had a lot of fun.”

The overall system for this massive undertaking also included “racks and racks” of d&b D12 and D80 amps for house and monitors; d&b M2, M4 and Q1 speakers and B2 subwoofers for monitors; a DiGiCo SD7 for Front of House and SD10 for Monitors; Shure PSM 900 and Sennheiser G2 in-ear monitors; Shure, Sennheiser and Audix wired mics, and Shure Axient and Sennheiser 5200 wireless mics.

In addition to Marc Anthony’s Front of House/Band Engineer Jose Rivera and Monitor Engineer Eric “Pyle” Ramey; the 3G Productions crew included System Engineer/Crew Chief Will Taylor, Assistant Engineer Jon Daly, Monitor systems tech Joe “Big Joe” Ramos, and stage technicians Kevin Fuller, Robert “Boy” Valdez, and Jimmy Ibanez.

Summing up the show, Jose Rivera added: “It sounded a lot better than I expected. I’ve worked the room different times––never in the round––and it’s challenging from a coverage standpoint because it’s very high and steep. We wanted to make sure everyone who pays for a ticket enjoys the show. We went in with a very large rig and 3G made sure their pre-design work was done and we had the right amount of boxes to cover the room correctly.

“I had the opportunity to walk the room and the coverage sounded really good. Before we selected a vendor, we narrowed it down to two speaker systems and we’re happy we chose d&b.

Marc was ecstatic,” Rivera concludes. “There aren’t too many shows where he has the opportunity to listen to the band during soundcheck from the audience. For this show, he came in early to familiarize himself with the stage because he hadn’t done one in 360. And when I turned on the PA he was blown away and really impressed with the sound. He was comfortable and happy knowing the people were going to enjoy the show because the reinforcement represented what he and the band were going to do on stage.”

For more about 3G Productions, please call 702.948.0459 or click to www.3glp.com

Photo Credit: Carlos Escobar

About 3G Productions, Inc.
Founded in 2004, 3G Productions, Inc. is a multifaceted audio company focused on providing the highest quality of service in live production, sound equipment rental, sales, and installed sound. Located in Las Vegas and Los Angeles, the company operates through two divisions: Live and Pro Audio.

It’s Fiber All the Way for Hillsdale College

 

When it comes to broadband AV, it’s optical fiber all the way for Hillsdale College in Michigan. The independent private college started running high-speed, secure optical fiber across its indoor track using audio optical technology by FiberPlex Technologies in May and is now gearing up for another, longer optical run that will shuttle multimedia across its campus.  

In the next few months, the College will roll out FiberPlex’s WDM-16 multiplexer into existing fiber strands for moving large multimedia files from its auditorium and sports fields to a control studio on campus.

Hillsdale’s Director of Technical Media Ted Matko is working with AVI Systems, headquartered in Eden Prairie, Minn., on the project and expects the WDM-16 active wave division multiplexer to save the college the cost of trenching in new fiber in some areas of the campus by reusing existing optical runs which will generate substantial savings.  

“We needed capacity to get video from the athletic fields, the auditorium, the fine arts building and elsewhere to our new control studio about a quarter of a mile away. Multiplexing will make it cost effective to do that,” said Matko, explaining that FiberPlex’s WDM-16 lets him multiplex 16 separate channels at 3Gb/s each onto two fiber pairs used by the campus network.

The additional channels are needed to stream the college’s live volleyball, football and baseball games across a quarter-mile distance from its athletic fields to the control studio, which was originally the College’s bookstore but now serves as the command center for media control and the head-end to the LTN feed picked up by the networks. The College also shuttles media to its control room from its auditorium on a regular basis for guest speaker engagements.

Previously, in May, the College installed FiberPlex LightViper optical audio snakes for its graduation ceremony held in its indoor track facility with 5,000 people in attendance –including commencement speaker U.S. Senator Ted Cruz.  A LightViper snake connected the mics on stage to a mixing console at the back of the field some 265 feet away over fiber optic cabling. Another LightViper optical snake routed the audio channels – via optical cable – from the track to the studio control room across campus.

All audio is controlled and networked through Peavey’s MediaMatrix audio control system.

“This is a standalone digitally networked sound system that can handle just about anything they want to do from the field. If they need to change anything, they just click on a control page from their laptop and now they’re switched over to any device or location they want through optical fiber and the LightViper system,” said Andrew Walker with Avtek AV, who designed the system and recommended the LightViper optical snake instead of copper snake because it can transport audio error-free and transparently over greater distances, by a 400:1 ratio compared to copper.

A typical LightViper system includes a FOH breakout unit and 32×8 stage box connected by optical cable for sending and receiving optical signals to a remote location. One fiber cable weighing less than eight pounds can transmit the same data as two, 40-pair copper cables weighing 700 pounds.

In the next few weeks, the College’s LightVipers will be joined by new WDM-16 multiplexers that will take the school’s multimedia endeavors a step further by routing video over optical fiber to the control studio elsewhere on the campus for full head-end control of media files.   

Hillsdale College is just one example of how fiber optic technology can be leveraged for educational and communication purposes. FiberPlex makes fiber optic products and systems for government agencies as well as for houses of worship, corporate facilities, broadcast applications, and K-12 and higher education.  

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Case Studies, News, Product Applications |

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Case Studies, News, Product Applications |

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.

-ends-

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

About

Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

Calendar

November 2014
M T W T F S S
« Oct    
 12
3456789
10111213141516
17181920212223
24252627282930

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication