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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

DK-Technologies Shows its New DK T7 Audio Meter at NAB 2014

Danish manufacturer DK-Technologies is using the NAB 2014 platform to highlight its new DK T7 Audio and Loudness meter, which will be on show for the first time in the USA (Booth N1201, in conjunction with Ward-Beck).

Launched to enormous critical acclaim at IBC 2013, the ‘everything included’ DK T7 is now shipping with the first units already installed into two Calrec consoles destined for Al Jazeera London.

Designed as a cost-effective, one-box solution for broadcast and post production engineers, the 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. 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.

“The DK T7 allows end-users to adapt to virtually any format including 3G SDI I/O,” says Uffe Kjems Hansen, Product Marketing Director at DK-Technologies. “The unit also offers 8 AES/EBU input/output channels, 2ch Analogue input channels, headphone output and HDMI monitor output. 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.”
At NAB 2014, DK-Technologies will show a new Theatrical Mixing 7.1 Surround display feature for the DK T7, which will have particular relevance to engineers working on big motion picture productions. Also on show is a new 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 adds. “The DK T7 was already the most comprehensive audio meter on the market but with these new features it can deliver functionality that no other audio meter can offer.”

DK-Technologies will also be using the NAB 2014 platform to launch its new Matrix PC application, which allows complete audio routing, preset handling, backup and overall management of an audio meter from the end user’s computer. Designed to work with all DK meters including the new DK T7, the Matrix PC application gives users a much better graphical overview of their meters – and significantly easier setup and handling.

Also on show for the first time will be the new DK T7 Stereo – an entry level version of the DK T& meter that is designed for engineers working in stereo.

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About DK-Technologies
DK-Technologies develops and produces a wide range of audio meters, video sync and test signal generators and video waveform monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

DK-Technologies Appoints A New ‘Budee’ In China

Audio and video metering specialist DK-Technologies has expanded its sales potential in China by appointing Beijing-based Budee Technology Development Company as its new distribution partner.

Founded by Mao Yanjun in 2002, Budee is now one of the country’s fastest-growing professional audio companies with over 100 employees and two branch offices and five provincial offices in mainland China.

Mr. Cheng Zhongjun, vice president and head of Budee’s Technical Division, says Budee’s new cooperation with DK-Technologies will allow the company to offer customers technology-driven metering products that deliver the right solutions for the broadcast and pro audio industries.

“We are very impressed by the reliaility of DK-Tecnologies’ products and their long standing reputation within the broadcast and pro audio industries,” Mr Zhongjun says. “DK-Technologies’ products cover numerous applications, from video to audio, and from radio to TV and post production. Budee’s business also covers a wide range of installations and we are very interested in expanding into new markets. Our cooperation with DK-Technologies gives us our first core brand in the broadast industry, and it certainly won’t be the only one. Working with an advanced and well respected brand like DK will allow Budee to build its own reputation in the broadcast field.”

Mr. Zhongjun adds that DK-Technologies and Budee both share the same core values of respect for customers and professionalism.

“We believe in always putting customers first and only recommending products and systems that are best suited to their needs,” he says. “Trust and friendship are very important and are central to the way both Budee and DK-Technologies do business. We also believe in long term brand management and we look forward to developing a firm friendship and long relationship with DK-Technologies.”

Uffe Kjems Hansen, of Product Marketing Director at DK-Technologies, says: “Budee is already well established in the pro audio and post production markets and is now expanding its remit into the broadcast sector. This perfectly suits our product line, which includes high end audio and video monitoring and metering products that are renowned for their extreme accuracy and quality. We see China as a major new market for DK, particularly for our Award-winning portable and affordable Loudness metering solutions, and we are very excited to be working with a distribution partner that is so obviously technology-oriented.”

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About DK-Technologies
DK-Technologies develop and produce audio meters, video sync, test signal generators and video waveform monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

Junger Audio Helps Polish Broadcasters Get To Grips With Audio Loudness

The issues surrounding audio loudness control were highlighted recently as a training seminar and workshop organised by Polish broadcaster TVP.

Dynamics processing specialist, Jünger Audio, in conjunction with its local distributor, Profi Audio, helped TVP organise and deliver the content for the seminar, which took place at TVP’s headquarters in Warsaw. 60 delegates attended the day-long session, including many from TVP, Polish Radio and private Polish television stations. As well as seminars, there was also lively debate between the delegates and panellists.

“Loudness is obviously a topic that Polish broadcasters are very interested in and we were thrilled by the response to the seminar,” said Jünger Audio’s International Sales Manager Christoph Harm who chaired the event.

Speakers at the seminar included Barbara Turowska, Director of the Department of Monitoring KRRiTV (Poland’s National Broadcasting Countil), who explained the impact on Polish broadcasters of EBU R128-based Loudness regulations that were introduced in 2011. Turowska also stated that KRRiTV is keeping a close eye on the loudness situation in order to satisfy local viewers who complain if commercials are louder than programme material. She added that more restrictive loudness regulations are due to be implemented later in 2014 to combat this issue.

Also on the podium was Peter Pörs, CEO of Jünger Audio, who defined audio loudness and discussed applicable standards including EBU R128, and all versions of ITU 1770. Pörs also highlighted the practical solutions broadcasters can take to control, measure and record audio loudness so that they are prepared for any future legislation that might be introduced.

The seminar ended with a presentation by Christoph Harm who introduced specific Jünger Audio products that are relevant to this topic, including the Voice Processor D*AP4 VAP edition, a unique unit that includes Spectral Signature™ dynamic EQ. He also highlighted the D*AP 8 MAP Monitoring Processor – the only loudness processor that can act as a successor to the Dolby® DP570 tool, which was discontinued in 2013.

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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

New Endemol Sport Studios Back HARMAN Studer Vista 5 Digital Consoles

AMSTERDAM, The Netherlands –Situated at the MediArena in Amsterdam, the new Endemol Sport studios have been equipped with two 42-fader HARMAN Studer Vista 5 digital mixing consoles as part of an innovative production design, involving three studios and three galleries on the same fiber backbone.

The consoles were supplied by Heynen, Studer’s Dutch distributors, and installed by system integrator DutchView. These form the audio control of a sophisticated fit-out initiated by Eredivisie Media & Marketing to mark the start of the 2013-2014 Dutch football season. Three new HD studios and production galleries, dedicated to match-day programming and highlights, have been built and equipped for this purpose.

The project’s primary objectives were to improve both the quality of content contribution across multiple platforms and the overall experience for viewers tuning in to the Fox Sports Eredivisie football pay-TV channels.

Undertaking the conceptual design and specification was a team comprising Victor Winkelhage (head of production Endemol Sport), Jinne Tania (consultant Fox/Eredivisie) and SjaakVreeburg (Resources Manager Endemol). It was Vreeburg who produced the tender document, and later acted as project manager for the construction of the studios.

The aim was to achieve an innovative mix of cutting-edge studio technology and IP-based platforms, with direct access from, and full integration between, technology and editing using Riedel MediorNet media networking.

“We can now handle three different live programmes on three different channels, using one video/audio router for the three studios, one intercom system, Virtual studio manager and other software solutions,” said Vreeburg. “The workflow from EVS is directly streamed to the storage facility. We can start editing instantly on up to 12 sets for direct playback in the studio by IP-directory or file transfer to the Fox play-out facility and master control room in Hilversum.”

The conceptual difference of the sports studios is that the content sits right at the center—not only for TV but also for Internet streaming (and C-Cast) of mobile devices and tablets. “This enables us to deal more with sport and less with technical issues,” Vreeburg added. “The combination of incoming lines and the connection to the Studer mixer and the intercom givers us so much more flexibility.”

The Studer solution was adopted on the recommendation of DutchView, supplier of technical facilities and crew, working with Dutch system integrator D&MS. “We knew the quality and flexibility of Studer’s Vista series and were deliberating between the Vista 1 or Vista 5. Jinne and I visited the Integrated Systems Europe Show to satisfy questions about the MADI router, number of faders and stage boxes, Input/Output boards, de-embedding and routing. Niels [Mijnlieff, product specialist from distributors, Heynenbv] provided all the answers we needed and DutchView advised us to opt for the Vista 5 in view of the configuration required.”

The Studer platform was recommended for its audio quality, ease of setup, control and operation, the analog approach of the console and the experience DutchView has in working with the consoles. “We have lots of trained audio engineers who are extremely familiar with Studer Vista consoles and operating systems,” stated DutchView’s Robert Reparon. “There is also the possible expansion of the system with additional Studer preamp stageboxes from our own stock.”

Although DutchView has historically been the house supplier for Endemol, and supplied the facilities for the Eredivisies Studio (Dutch Premier League League channel) it nevertheless had to participate in a 3-way tender process. Having nominated DutchView, Endemol and Fox then addressed the configuration details—namely to build three complete new studios (designated 4, 5, and 6) each with four cameras and LED lighting, while Studio 5 and 6 each have six projectors for background projection in the set. The two Vista 5 consoles will mix programs in Studio 5 and 6, alongside Grass Valley vision mixers, Vizrt studio and match graphics.

Each Vista 5 is equipped with the SCore Live processor and accompanied by a 6U 19” Input Output Frame, with a Studer D21m 3U I/O Frame, each frame equipped with redundant power supply. This is populated with five SCore Live DSP boards; SCore Live Bridge board; Sync Generator board; GPIO Board; 12 Mic/Line inputs; 16 analog Line inputs; 24 analog Line outputs, eight digital AES/EBU inputs (stereo); eight digital AES/EBU outputs (stereo); MADI I/O board; threeMADI input/output board (Hub) optical with single mode fiber I/O; two HD board for link to DSP core; two 19” 1U Fan units and two 19” 1U air deflection panels; two19” 1U air deflection panels with cable feed-through; Serial Merger Card; Vista 5 System Software; and Configuration Editor software.

All the signals coming from the venues, the master control room and local play out servers are merged into MADI streams via a third-party audio router. Local studio audio sources (such as mics) are patchable directly to the Studer D21 I/O frame.

The configuration was undertaken by DutchView, whose senior engineers also provided operational training, while Heynen commissioned the systems. In addition, the systems integrator also provides two OB vans for covering four soccer matches during a weekend—both equipped with Vista consoles and D21 routing systems.

Summarized Robert Reparon, “All our audio engineers are very satisfied with the Vista setup in the studios. They feel comfortable during the shows and are confident with a system on which they rely.”

And SjaakVreeburg concluded, “There is no comparison between the present configuration and the situation before, with usage of all eight audio channels, the incoming lines, live studio production, commentary positions and playback from EVS via the excellent interface between Riedel and Studer. This has given us greater flexibility, speed, multitasking, fewer faults and a better operation/understanding between directors and audio technicians.”

About the broadcasters
Netherlands-based television and digital production company Endemol is the world’s largest independent television and digital production company. Fox Sports Eredivisie is a Dutch premium television service owned by Eredivisie Media & Marketing CV, which in turn is held by Fox International Channels (51%), the Eredivisie CV Football clubs, Endemol and the KNVB (Dutch FA).

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.

White Mark Completes Its First Dolby® Atmos™ Theatre In The UK

Acoustic consultancy White Mark Ltd has designed and installed a Dolby® Atmos™ screening theatre for technology solutions and servicing company the EIKON Group.

The 12-seater theatre, which now forms the centrepiece of EIKON’s 3,000 square foot London post production facility, is the first of its kind that White Mark has built in the UK.

David Bell, White Mark’s Managing Director, says: “The Dolby® Atmos™ Premier film mixing theatre that we built for Cinelab in Moscow was our first experience of designing a facility for this new format. Since then we have seen a significant increase in interest, not only from companies like EIKON that deliver services to the cinema industry, but also from companies that deal with cinema advertising.”

Bell adds that, in terms of cinema sound, Dolby® Atmos™ is the most exciting development to have come along in years.

“The fact that it is a cinema-only format and can’t be replicated in the home makes it very important for the film industry – one that could give it a whole new lease of life,” he says. “You only have to look at the recent Oscar success of Gravity to see how well 3D Atmos sound can complement 3D pictures, and how much cinema audiences appreciate this enhanced experience. EIKON’s screening facility may be the first Atmos theatre we have built in the UK but it certainly won’t be the last as we are already working on designs for six more.”

Located in London’s Poland Street, EIKON specialises in creating foreign versions of feature films for major studios and independent distributors. The company also handles VFX for foreign localisation, soundtrack replacement, censor editing, subtitling and Digital Cinema Package mastering.

Equipped with an Alcons Audio professional sound system, EIKON’s new theatre was completed at the beginning of this year and is already being used as a client screening room and quality control facility for grading and mastering.

Laurence Claydon, EIKON’s Director of Technology, says: “Our screening theatre supports the latest cinema picture and sound formats and was built with optimum viewing quality in mind. As the first ground-up, purpose-built Atmos facility in the UK, we were able to adhere perfectly to the specification set down by Dolby and create the best possible listening and viewing environment for our customers.”

Claydon, who also runs the internationally acclaimed technology consultancy Cinefilm, has worked with White Mark on a number of projects in the past. These include the design and build of two preview theatres at NBC Universal’s international headquarters in London.
“White Mark consistently achieves excellent acoustic isolation on all their builds and I have never been disappointed with any of their facilities,” he says. “Internally, their studios always have incredibly tight bass, and just the right balance of absorption and diffusion for a perfect listening environment. You really can hear every detail.”

Claydon adds that client reaction to EIKON’s screening theatre has been very positive.

“We recently completed mastering work on foreign versions of Robocop, and our client, Sony Pictures, was incredibly happy with the result,” he says. “There is definitely something special about our White Mark room. Another customer commented that, having seen and heard a recent feature film over 50 times in various venues, he’d not heard or seen it better than in here.”

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About White Mark:

Established in 1997 by David Bell, John Dunnill, Derek Buckingham and Alan Cundell, White Mark Ltd specialises in production facilities for music recording and the film and television industries. Over the last fifteen years it has designed and supervised the construction of over 500 production suites worldwide. The company’s impressive client list encompasses some of the world’s most famous music recording facilities including Peter Gabriel’s Real World Studios in the UK, Germano Studios in New York, Hit Factory/Criteria Recording Studios in Miami, Strongroom in London and private studios for producers and musicians such as William Orbit and Damon Albarn. In the area of audio post production, White Mark has completed over 140 audio studios and many broadcast and video editing facilities for more than 60 companies in Soho alone. The list of clients includes Grand Central, Hackenbacker, Envy, De Lane Lea, Scramble, Lipsync, Molinare, DeLuxe, 750mph, NBC/Universal, Wave, Unit and Boom. Advertising agency clients include worldwide facilities for Hogarth International and AMV/BBDO on four continents. www.whitemark.com

Media Group International Appoints New Managing Director For Dubai Office

John Aslett, former Director of Avid Emerging Markets, has joined leading media systems integrator Media Group International as Managing Director of its International operation based in Dubai.

A highly skilled broadcast and technology sales professional with 18 years’ management and board level experience in the Middle East, John is ideally placed to help MGI maximize its recent corporate expansion and drive new business outside of Qatar.

Paul Hennessy, CEO of MGI, says: “John’s strong technical background in broadcast and IT, combined with his regional knowledge and extensive sales experience, makes him a valuable asset for MGI and we are delighted that he is now heading up our Dubai operation.”

As a British Standards Institute ISO 9001 Quality Approved company, MGI is focusing on delivering excellence by introducing a service and support portal that will allow customers to track assets and improve service response times. MGI is also opening a pre-build facility which will give customers the opportunity to experience and comment on their systems in order to enhance workflow. This will be backed by pre-deployment training at MGI’s new Training Academy in Dubai Studio City, where customers can become familiar with new equipment prior to installation.

Hennessy adds that John Aslett’s appointment consolidates MGI’s presence in Dubai. Throughout his career he has worked for some of the best known companies in the broadcast market, including Grass Valley Group, where he rose to the position of Regional Manager for the Middle East and Eastern Europe, Orbit Communications, where he held various roles culminating in Senior Vice President Business Development and Special Projects, and Avid Technology where he spent eight years helping the company develop its business in the Middle East, Africa, Russia and the Indian sub-continent. Under his direction new offices were opened in key territories and substantial sales growth was achieved.

Commenting on his move to MGI, John Aslett says: “I am thrilled to be joining the company at such an exciting point in its development. Business is building fast and there are numerous opportunities in the pipeline. MGI has always put service and support at the heart of its corporate philosophy and I share that vision. I am confident that by focusing on quality and customer service, we can ensure that MGI’s Dubai operation goes from strength to strength.”

Media Group International has over 35 years’ experience of systems integration in the Gulf region and represents many worldwide manufacturers. These include Avid Technology, Quantel, SeaChange, Leitch, Vinten Broadcast Ltd, Telestream, Vizrt and EVS Broadcasting. It also serves TV channels and networks, movie studios and network operators in the region, providing telecommunications, broadcasting, integrated systems and state-of-the-art security.

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Notes to the editor:
About Ghanim bin Saad Al Saad & Sons Group Holdings
Ghanim bin Saad Al Saad & Sons Group Holdings (GSSG) was founded by Ghanim bin Saad Al Saad in 1993 and incorporated in 2007. Today it is one of Qatar’s most successful private sector business groups, making a major contribution to the country’s economic growth.

GSSG has enjoyed steady growth and success in many fields and industries locally and internationally. GSSG’s diverse portfolio gives it strength and enables its companies within the group to maximise global business opportunities wherever and whenever they arise.

The founder, Mr. Ghanim bin Saad al Saad, has enabled the group to grow to over 40 companies around the world. As an inspirational business leader, he has steered the group to achieve its success in industries that include aviation, maritime, automobiles, oil & gas, real estate, manufacturing, contracting and trading, finance & asset management, engineering, education, fitness, hotels, hospitality and fashion, information technology and telecommunications.

In addition to its corporate headquarters in Doha, GSSG also has five international offices located in London, Zurich, Cairo, Singapore and Dubai.
www.gssg.com

Media Group International

Media Group International (MGI) is a proven media broadcast and communications systems integrator, serving the media, telecommunications, security, education, hospitality and advertising industries in the Gulf region for more than 35 years. Formerly known as Salam Media Cast (SMC), the company joined GSSG Holdings in 2010, with offices in Qatar, UAE, Oman, Bahrain, Saudi Arabia and the UK.

Media Group International is diversifying its business into new technologies. As well as equipping professional television stations and studios, master control rooms, newsrooms, concert stages and theatres providing light and sound technology, the company also equips whole multivendor and multisensory environments. MGI provides solutions from safeguarding national security, such as in government operations, to creating the best educational venues in museums and classrooms, enhancing sports environments and revolutionising health facilities and satellite telecommunications.
Media Group International is ISO 9001:2008 certified, the world’s most recognised quality management standard. It is the first company of its kind to receive the prestigious accolade within the Middle East region, guaranteeing customers world-class quality assured products.

Media Group International recently launched their new website to give customers a better experience online.

www.mgi.tv

Himmelstalundshallen Is Largest Arena In Sweden to Install HARMAN’s Crown DRIVECORE™ Install (DCi) Series Network Amplifiers

NORRKÖPING, Sweden — Himmelstalundshallen is an indoor arena in Norrköping, Sweden that is home to the HC Vita Hasten ice hockey team. The 4,480-seat facility also hosts concerts and other sporting events. The oval-shaped arena opened in 1977 and even then its audio system would hardly be mistaken for state of the art—making it overdue for an upgrade by Sound contractor Micab (www.micab.se) under the direction of installation specialist Mikael Bergvall. The arena is the largest in Sweden to install HARMAN’s Crown DCi Series Network amplifiers.

“In addition to providing clear, intelligible audio we needed to achieve a system that provided equal coverage at every seating area,” said Bergvall. Working with Christer Lidberg and Jan Hedlund at Swedish HARMAN distributor Septon Electronics (www.septon.se), a system was designed based around eight Crown DCi 4|600N and eight DCi 4|300N networkable power amplifiers. The amplifiers are linked together using BSS Audio Soundweb London BLU-101 and BLU-160 devices with BLU-Link. Twenty JBL AM5215 loudspeakers complete the installation.

Bergvall pointed out that the Crown DCi Network amplifiers offer a number of advantages not available from conventional amps. Having both Ethernet and BLU link connectivity enables them to be easily networked over long distances and “using BLU-link to network the audio system is extremely cost effective.” Thanks to their use of energy-efficient DriveCore™ Technology, the Crown DCi Network amplifiers also use less power and take up less space. “All of these factors are major assets in performance, ease of installation and savings on long-term operating cost.”

The DCi Network amplifiers offer networked monitoring and control via HARMAN HiQnet™ Audio Architect system software, and digital audio connectivity using the HARMAN’s proprietary BLU link as well as analog inputs. In addition to the main system, a Crown ComTech DriveCore CT8150 amplifier is used to power the speakers in the spectator’s entrance.

The JBL AM5215 loudspeakers are hung equally spaced around the perimeter of the arena and aimed into the seats, a configuration that directs the output of the loudspeakers to the seating areas while minimizing reflected sound from the walls and ceiling along with any gaps or overlaps in coverage. The 2-way AM5215 employs a 15-inch woofer and a waveguide that can be rotated horizontally or vertically to facilitate installation in a wider variety of applications.

“The system really came together well and more than met the arena manager’s expectations,” said Bergvall. He noted that the support from HARMAN and Septon was “critical” in ensuring that the system’s components all worked together seamlessly and delivered optimum performance. “The quality of the sound in the Himmelstadlundshallen has been completely transformed. Everyone in every seat now enjoys clear, full range reproduction for game announcements, music and audio.” The memory of the previous sound system is now just a fading echo.

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.

Inter-American Development Bank Shares Culture with L-ACOUSTICS

Pershing Technologies specifies KIVA/KILO system at IDB’s Enrique V. Iglesias Conference Center Auditorium

WASHINGTON, D.C. — Headquartered in the heart of the nation’s capitol, Inter-American Development Bank (IDB) is committed to reducing poverty and inequality in Latin America and Caribbean countries by providing much needed loans, grants, technical assistance and research. In 2005, when the organization first opened the IDB Conference Center at 1330 New York Avenue NW in Washington, D.C., its 500-seat Enrique V. Iglesias Auditorium was slated to host films, seminars, lectures, and town hall meetings, so the original PA system was primarily designed to accommodate spoken word and cinema playback.

In 2012, however, the decision was made to better utilize the facility for the presentation of concerts and other cultural events featuring live entertainment by Central and South American artists, musicians, and dancers. more

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