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Martin Audio MLA At First FREQ’ender Dance Festival In Singapore

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EXPO AV-INSYNC (EAI) were chosen to provide full technical production for the first ever FREQ’ender dance festival in Singapore, and the company wasted no time in specifying its Martin Audio MLA system for the two day event.

The event was held at Infinite Studios and promoted by Limited Edition Concepts (Singapore), with 4,500 people attending over the weekend.

The festival was split into two distinct days: the first (in conjunction with Halloween) was named Freq’show, which made way on Day 2 for Mekanika, produced by international Trance Festival brand, Godskitchen

EAI managing director, Gerard Rodrigues, confirms that his company had recommended the MLA system. “The end result was that everyone, including the promoters, really felt the music and were amazed at the audio quality. They were really blown away.

“The MLX subs also became a talking point for many of the AV industry professionals who attended the gig as well.”

EAI kept the same rig in place for both days, with hangs of eight elements per side (plus a single MLD Downfill). The 12 MLX subs were ground-stacked in configurations of 2 + 4 + 4 + 2.

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In addition the company supplied eight W8LM Mini line arrays and four WS218X subs as a potent DJ monitor system.

Limited Edition Concepts’ director and co-founder, Godwin Pereira was certainly impressed. “With EXPO AV’s experience, it was easy to get the best out of the MLA system, and the sound behaved superbly in the 18,000 square foot sound stage. It was warm and non-intrusive, producing little in the way of ‘noise’; instead, it delivered purity, clarity and a whole lot of thump!”

In addition to what Rodrigues describes as “the awesome sound”, he says the audience was also treated to lighting and projection mapping during the festival.

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The event featured global acts covering electro, trance, house, techno and many other genres, including Hot Chip, 2ManyDJs, GlowInthedark and Marco V, along with over 20 live performers and dancers from Taiwan, Singapore and Malaysia.

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

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

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Pixcom Installs Matrox Avio KVM Extenders to Facilitate Workstation Centralization Outside of Production Studios

Matrox fiber-optic KVM extenders provide real-time control while eliminating system background noise and heat in video editing studios

Matrox® Graphics Inc. today announced production company Groupe Pixcom Inc. has successfully installed Matrox Avio F120 fiber-optic KVM extenders, which have been running flawlessly since day one. Pixcom has eliminated system background noise and heat in their video editing studios by centralizing systems in a separate machine room with Avio transmitter/receiver pairs, letting video editors maintain real-time control over high-resolution dual-display desktops and peripherals.

Matrox Avio at Pixcom Studio

Moving into new offices, Pixcom required new fiber-optic KVM extenders to securely centralize high-performance workstations up to 100 meters from their video editing studios. Pixcom chose Avio over competitors for its comprehensive feature set, including zero-latency 10Gbps transmission over a single fiber-optic cable. Ease of integration, supported distance (10 km or 6.2 mi), 4K-readiness, and a compact, rack-mountable design also factored into Pixcom’s decision.

“By meeting all of our extension needs in a single box connected by a single fiber-optic cable, Avio let us reduce clutter in the workspace and cut down on the wiring required,” said Dominic Gagné, a member of Pixcom’s technical services team. “Avio is a robust technology we can rely on… to the point where we can even forget it’s there!”

To read the complete story, visit Pixcom Centralizes Video Editing Workstations with Matrox Avio KVM Extenders.

About Matrox Graphics Inc.
Matrox Graphics is a global manufacturer of reliable, high-quality ASICs, boards, appliances, and software. Backed by in-house design expertise and dedicated customer support, Matrox products deliver stellar capture, extension, distribution, and display. Engineering high-quality products since 1976, Matrox technology is trusted by professionals and partners worldwide. Matrox is a privately held company headquartered in Montreal, Canada. For more information, visit www.matrox.com/graphics.

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RMB Audio Eliminates Reflections With MLA Compact

NC State Fair 2014_3

Raleigh, NC––Tasked with providing audio for 11 concerts in a row at Dorton Arena featuring artists ranging from Vanilla Ice to comedy artist James Gregory, country stalwart Trace Adkins, Gospel luminary Tamela Mann and Christian Rock’s Newsboys, RMB Audio already faced a daunting assignment at this year’s NC State Fair.

Factor in the arena’s demanding acoustic environment, and the task became even more challenging. As RMB’s Systems Engineer Roger Dennis drily points out, “It’s got everything you want; concrete, glass, steel, and hard wooden seats. Plus the arena’s an oval, so it’s reflections galore.”

Fortunately, the RMB Audio team came equipped with a Martin Audio MLA Compact system to better control the sound in the hall and eliminate reflections. “The MLA Compact system allowed us to stop the coverage just before it hits the glass in the rear and on the sides of the room,” Roger specifies. “The system’s output control is really precise. It made our job a lot easier while improving the sound quality for all of the acts and the audience.”

NC State Fair 2014_1

The actual system consisted of a main hang with 12 MLA Compact enclosures per side, a side hang with 8 MLA Compacts per side, and 6 Martin Audio W8LMD (downfill) as lip fill. Ample low end was provided by 12 DSX subs ground-stacked in two rows of 6 standing on end with the two outer enclosures slightly angled out.

Asked about the MLA Compact’s other attributes, Roger points out the enclosure’s lighter weight and wider dispersion, but the main advantage is still its output control capability.

“It used to be when you had someone speaking into a microphone in the arena, the reflections would kill all speech intelligibility. With MLA, that’s not a problem. When we first brought it into Dorton three years ago it was quite a shock. Now that we’ve switched to MLA’s for outfill to kill the reflections coming off the glass, the clarity for spoken word has continued to improve dramatically.

“Everyone was pleased with the system, adds Dennis, “especially Newsboys FOH Engineer John O’Neal who was very impressed with what we could do with the rig because he’s been in Dorton before with an older system. One of his last comments to me during this show was ‘everything from 300Hz and above is completely clear. We could hear everything.’ John and I walked the entire venue during the soundcheck as did several engineers who put their head right next to the glass, and they said it sounded exactly the same as it did down at the mix position.

“That’s one of the key things the MLA does that other systems don’t. It optimizes for the audience, not the room. The quality of the coverage is consistent from the front of the stage all the way to the back of the arena.”

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Summing up, Roger adds, “We’re going to UNC Memorial Hall on the campus of University of North Carolina, a 1600 seat proscenium theater with a really prominent balcony face that is a problem in terms of generating reflections back onto the stage. The MLA Compact allows us to steer around that balcony; we can just slice that section out of the vertical coverage. We’ve been able to make it so accurate that you can literally stand up out of a seat and you’re out of the coverage. It’s really amazing.”

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

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

The Music Producers Guild Announces Its 2015 Awards Shortlist

Jake Gosling, Paul Epworth, Pharrell Williams and T-Bone Burnett are just some of the hugely influential producers who have made it onto the short list for the 2015 Music Producers Guild Awards.

The list, which was announced today, highlights many of the year’s major recording projects with artists such as Paolo Nutini, Ed Sheeran, George Ezra, Royal Blood and Lana del Rey delivering nominations for their respective producers, engineers and remixers.

Steve Levine, chairman of the Music Producers Guild, says: “Once again we had a fantastic response to our request for nominations, with many new names featured in just about every awards category. MPG Full members have now cast their votes to create our shortlist for 2015 and the Award winners will be decided by a panel of judges who will meet before the end of this year.”

The Music Producers Guild Awards recognises the enormous contribution made by recording professionals to the success of the UK’s music industry. The winner of the Music Producers Guild’s Producer of the Year Award also receives a BRIT Award for Best Producer, and both awards will be presented at the Awards ceremony, which takes place at the Park Plaza Riverbank Hotel in Vauxhall, London, on Thursday February 12th. 2015.
The shortlists for each category (in no particular order) are as follows:
• UK Producer of the Year, sponsored by The BRITS 2015:
Paul Epworth
Flood
Alison Goldfrapp & Will Gregory
Jake Gosling

• Recording Engineer of the Year, sponsored by RØDE:
Neil Comber
Cameron Craig
Mark Rankin

• Mix Engineer of the Year, sponsored by Solid State Logic:
Andy Bradfield
Guy Massey
Mark ‘Spike’ Stent

• Mastering Engineer of the Year, sponsored by Apollo & Transco Blanx:
Matt Colton
Mandy Parnell
Tim Young

• UK Album of the Year:
Ed Sheeran – X
Goldfrapp – Tales of Us
London Grammar – If You Wait

• UK Single Song Release of the Year, sponsored by Shure:
Arctic Monkeys – Do I Wanna Know?
Royal Blood – Come On Over
Sam Smith – Stay With Me

• Re-mixer of the Year:
Chvrches
Jon Hopkins
James Rutledge

• Breakthrough Producer of the Year:
Cameron Blackwood
Tom Dalgety
Jungle

• Breakthrough Engineer of the Year, sponsored by Alchemea:
Olga FitzRoy
Robbie Nelson
Alexis Smith

• International Producer of the Year, sponsored by Lewitt Audio & JHS:
Dan Auerbach
T-Bone Burnett
Pharrell Williams

• Studio of the Year, sponsored by KMR Audio:
Abbey Road Studios
AIR Studios
RAK Studios

• The A&R Award:
Chris Briggs
Phil Christie
Korda Marshall

The winner of the Outstanding Contribution to UK Music Award, sponsored by PPL, will be announced in December, while the recipients of the MPG Innovation Award and the MPG Inspiration Award will be announced at the Awards ceremony in February, 2015.
Tickets for the MPG Awards 2015 are now available to order through the website. For full details please visit http://www.mpg.org.uk/mpg-awards/tickets/.

Sponsorship opportunities are also available for the MPG Awards 2015 and any company that would like to be part of this exciting event should contact Joe Edwards. Telephone: +44 (0) 7701 030 513. Email: joe@ilikethesoundofthat.com

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About Music Producers Guild:
The Music Producers Guild 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.

Tightrope Media Systems Accelerates Multichannel Instant Replays for Utah Jazz with ZEPLAY

NBA franchise upgrades control room, adds giant LED displays during recent renovation of Energy Solutions Arena in Salt Lake City

ST. PAUL, MINNESOTA, November 6, 2014
– The Utah Jazz has a storied history as the National Basketball Association (NBA) franchise based in Salt Lake City. To further engage fans attending home games at Energy Solutions Arena, the team is now using Tightrope Media Systems’ ZEPLAY slo-mo instant replay solution to trigger multiple angles of exciting game action.

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Utah Jazz ZEPLAY-2_press

Installed during a recent major renovation of the 19,000-seat arena, ZEPLAY is used during every Utah Jazz home game as well as motocross, monster truck shows, rodeos and other sporting events taking place at the downtown venue. All replays are displayed on giant YESCO LED display boards inside the arena bowl, which were also part of the renovation project.

“Game day entertainment is very important to Jazz fans, and seeing instant replays of key game moments is one of their biggest demands,” said Shawn Brown, director of video productions for the Utah Jazz. While ZEPLAY is recording eight angles of game action (four in, four out), the operator can select and output multiple angles of any replay in just seven frames to accelerate playback. “Within a second or two following a key play, our ZEPLAY operator can cue and run a multi-angle replay,” explained Brown. “That’s how fast and easy it is to do.”

Major advertisers sponsor the replays for a particular quarter during home games, making ZEPLAY’s playback reliability exceptionally important. In the new control room production workflow, ZEPLAY interoperates with Ross switching, graphics and branding systems to display advertiser’s logo in the lower right corner of replays viewed on the LED screens.

“ZEPLAY helps enable this important revenue stream for our operation,” Brown said. “It also contributes to the overall efficiency of our arena show production.”

ZEPLAY includes a dedicated multiviewer to display four (1080i) HD-SDI signals coming from Ikegami cameras strategically positioned above and alongside the basketball court, as well as the four HD-SDI signals it outputs to arena screens. ZEPLAY’s preview/program video signals also display on a large flat-screen monitor wall at the front of production control to benefit other operators, including the director and technical director.

During its mid-2013 facility renovation, the Utah Jazz placed a massive 4-sided YESCO LED video board above the basketball court and LED ribbon displays around the arena. They also relocated their old production control room to a new suite with four times the space and upgraded equipment, adding a Ross switcher and graphics systems; and digital content production systems from Click Effects. ZEPLAY replaced a legacy Leitch replay system that’s no longer supported, enhancing live production possibilities while increasing reliability.

“Our previous system would lock up or crash right in the middle of games, and there was no tech support available anymore,” Brown said. “So our engineering team researched other replay systems that were on the market and found ZEPLAY to be the ideal fit. Since installation, it’s been very stable and reliable, and the replays just look awesome on our video boards.”

About Tightrope Media Systems

Founded in 1997, Tightrope Media Systems is the pioneer of web-centric digital signage and broadcast automation systems. It provides station automation, video servers, Internet video on demand, live streaming, the Carousel Digital Signage system, and ZEPLAY, a multi-channel instant replay machine for stadiums, arenas and Outside Broadcast vehicles. Tightrope’s award winning systems are used throughout the world. You can reach Tightrope Media Systems at (866) 866-4118 or visit them on the web at http://www.trms.com.

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TNDV Produces CMA Backstage Pass Multi-Camera Streaming Media Experience for the 48th Annual CMA Awards

HD mobile production specialist to produce live real-time, interactive coverage of the CMA Awards Red Carpet and backstage activities

NASHVILLE, November 4, 2014
— At The 48th Annual CMA Awards—airing live on the ABC Television Network tomorrow, November 5, from the Bridgestone Arena in Nashville—mobile production specialist TNDV will take the reins on the production of CMA Backstage Pass. This live, multi-camera streaming media experience will give viewers the ability to use their tablets and mobile devices to get an exclusive look at what’s taking place behind the scenes before and during the live CMA Awards telecast.

With 13 HD cameras dedicated to CMA Backstage Pass, viewers will see many angles of activities off-stage, starting with the Red Carpet from 5pm to 7pm Central Time. From 7pm to 11pm, viewers can switch between cameras backstage, in the main broadcast truck and in the press room where the stars appear after receiving their awards.

“The main goal of CMA Backstage Pass is to give fans an in-depth view into what their favorite celebrities are up to during the show. It also provides an unprecedented look into the behind the scenes workings of a major international awards show,” said Lacey C. Devlin, producer for TNDV and Backstage Pass. “Watching the live broadcast is just one part of the experience fans are searching for. In the age of social media, fans want to know every detail—every inside joke, every off-camera event and other candid moments that make the stars more interesting and relatable.”

This innovative, unique live stream, which will unfold in real-time parallel to the main ABC-TV special, will give viewers additional content about the celebrities—whose fashions they’re wearing, accomplishments and personal moments caught on camera—and let viewers share the experience with others on social media. Viewers can experience CMA Awards Backstage Pass by downloading the WatchABC app, available on iOS, Android, Windows Phone and more.

CMA (Country Music Association) chose TNDV to handle this special national event based on its growing relationship over the past six years. “TNDV is by far the best live production company I have worked with,” said Ben Bennett, director of digital strategy at Country Music Association. “TNDV always brings tons of ideas to the table and, most importantly, always executes flawlessly. Our show has grown into a major national event due in large part to their tireless efforts and willingness to find a way to make things happen.

“The two- to three-hour window right before our TV special is the most critical time when viewers are making decisions about what to watch that night,” Bennett continued. “The live stream creates a ton of chatter online during those critical hours. The more fans we can get talking about the red carpet and thusly, the CMA Awards, the more chance we have at getting a bigger audience to tune in. The same goes for during the show. The live stream will help drive the social media conversation, and should drive more viewers to the ABC broadcast.”

TNDV will switch between 13 cameras from its 40-foot HD truck, Aspiration, which will park next to the main broadcast production truck producing the CMA Awards. The CMA Backstage Pass camera inside that main mobile unit will let viewers watch the CMA Awards from the perspective of the main truck producing the live show. Additionally, TNDV is also producing special, behind the scenes packages to give fans an exclusive look at how the stage was built, the stars’ dressing rooms and how the City of Nashville prepared for the CMA Awards, the biggest night in country music.

“This year’s Backstage Pass will be unlike anything ever done for the CMA Awards,” said Nic Dugger, owner and president of TNDV. “While TNDV was integrally involved in last year’s second-screen experience, called CMA 360, this year we plan to ‘kick it up a notch’ by adding more cameras, more talent and more unfettered access to the Red Carpet and candid backstage moments. Our multi-camera webcast, which takes place right alongside the main broadcast, includes a 20-member crew, an expanding side HD truck, and a complex single-mode fiber optic infrastructure dedicated solely to Backstage Pass.”

ABOUT TNDV: Television
Formed in 2004, TNDV: Television represents the culmination of over 22 years of broadcast and live production for Nic Dugger, owner and president; and his staff of full time engineers. TNDV produces events from small single-camera productions all the way up to multi-million dollar international TV events, and takes pride in building custom solutions for challenging productions of any size, in any situation. Recent projects include the opportunity to provide both remote audio and HD video facilities for the live season 3 premiere of ABC’s NASHVILLE, the live concert productions at the NCAA Final Four, and for the first time in broadcasting history TNDV produced the 2014 Hat Trick of Country Music Award show red carpet specials, including the CMA Awards, the CMT Awards, and the ACM Awards. Please call 615-585-6528 or visit www.tndv.com for more information.

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DPA Microphones Capture the Sound of The Girl From Nagasaki

Burhan Ocal in Girl From Nagasaki

One of the highlights of this year’s Sundance Film Festival was The Girl from Nagasaki, a feature-length directorial debut by celebrated photographer Michel Comte. This dazzling retelling of Madame Butterfly reframes the familiar haunting story of romance and loss through the lens of a Nagasaki survivor married to an American astronaut.

It’s a bravura debut which, as you would expect from Comte, has won plaudits for its visually sumptuous style and structure. But equally impressive is the superb audio work throughout the title from sound designer Maurizio Argentieri and a battalion of DPA microphones.

DPA’s d:dicate™ 4041-SP Large Diaphragm, 4011 Cardiod and 4006 Omnidirectional Recording Microphones were all used in the sound production of the film. Argentieri also used a DPA d:screet™ 4091 Omnidirectional Microphone and a d:dicate™ 5006-11 Matched Microphone Kit with an S5 surround mount. He was so impressed by the performance of the latter that he decided to invest in one for his own microphone collection.

“All of the DPA microphones I used sounded amazingly good,” he says with disarming simplicity. “I need a microphone capable of handling high SPL but one that still delivers a fantastic sound: this is why I chose DPA.”

The project itself, however, was anything but simple and pushed both his skills and the capabilities of the DPA microphones to the limit. Maurizio was first briefed by Michel at his home in Los Angeles where it was decided that there would be no ADR.

“There was not a word in the movie that was to be replaced, so all the actors’ performances in the movie are real and original,” says Argentieri. “There were a lot of challenging situations. We had a band with a singer performing a couple of songs live while the actors were speaking; a long dialogue scene filmed on the top of Stromboli, an active volcano in Sicily with a very strong wind and real eruptions going off in the background; dialogue under real rain and the sound of the cockpit of a jet fighter while it was flying. This last scene we filmed for real: I put a couple of d:dicate 4006 Omnidirectional Recording Microphones in the jet and hit the record button. The rest is in the movie.”

After initially training in classical guitar, Argentieri started his career as a sound engineer in the music industry. After a couple of years though he realised that being shut away in a studio was no longer for him and, with the aid of a friend who was working as an assistant film editor at the time, they began to pull images out of the trash can and put them together on a Moviola with the music they loved.

“Sometimes we would stay long into the night at the studio, just him and me; we were like kids at home without parents. He was mostly working on documentaries at that time and we had plenty of huge nature shots and beautiful images. For me it was like an illumination: I realised the power and the magic of sound to change the meaning of an image simply by changing the music.”

Argentieri quit his job in the recording studio and became a sound mixer for documentaries. Several years of projects followed, including work for Greenpeace, before he got his break on movies. And he’s certainly made the most of it since, working with the likes of Mario Monicelli, Marco Bellocchio, Bernardo Bertolucci, Giuseppe Bertolucci, Woody Allen, Mel Gibson, Spike Lee, Ridley Scott, and now Michel Comte.

The Girl From Nagasaki was shot in Los Angeles, Berlin, Rome, Stromboli, and Japan.

“As sound designer I’ve had different roles: production sound mixer, sound editor, and re-recording mixer,” he explains. “I recorded the production sound always using a stereo couple or a surround rig to bring home the ambience, then I had a second moment all by myself going around just with the surround kit recording all the necessary ambient sound to put in the movie. And then we had all the recording of the music to do.”

Argentieri adds that the DPA surround kit was really useful when he and the film crew were tackling a scene in Sofia that involved recording an orchestra.

“We placed the kit right in the middle of the orchestra to have a different point of view,” he explains. “From the very beginning Michel wanted to give the audience an extraordinary aural experience, so everything was recorded in a way that allowed the microphones to be surrounded by music and sound. Of course we had to do a lot of sound editing and mixing to achieve that.”

The DPA microphones were also used extensively in recording the dialogue of the film. Argentieri used two boom operators mounting DPA d:dicate 4017 Shotgun Microphones that fed into a Manley dual microphone Tube preamplifier.

“If you want to get an idea of the quality of these microphones you only have to listen to the long dialogue scene at the beginning of the movie between Sir Christopher Lee and the older Gheisha,” he says. “Hearing that, you will be absolutely astonished.”

The DPA microphones even have a starring role in one of the key opening scenes, where Burhan Öcal is playing Japanese percussion.

“This scene is visually like a beautiful art installation and again Michel wanted to give the audience the sensation of being seated close to the percussionist himself, so I had to record his performance live while we were filming,” Argentieri says. “That meant the microphones needed to be part of the installation and the elegance and sobriety of the DPA microphones allowed them to be completely integral to the scene.”

Commenting on his decision to invest in his own DPA d:dicate™ 5006-11 Matched Microphone Kit with S5 surround mount, Argentieri says: “DPA’s surround kit is perfect for modern sound design. In this kit you have three beautiful omnis and two beautiful pure cardioids that you can use together or as singles in other situations. Given the quality of these microphones, why would you want to send them back?”

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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

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Encompass AV Outfits Irish Alehouse With Martin Audio

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The product of a complete renovation and remodeling on the site of an old restaurant near Orland Park Mall in suburban Chicago, the Square Celt Alehouse and Grill features an extensive Martin Audio sound system courtesy of Encompass AV.

A popular sports bar, restaurant and part-time club destination, the Square Celt is run by a family that owns seven other Irish-themed bar/restaurants around Chicago, all known for exceptional audio and video capability.

Encompass AV President Tim Pickett describes the layout: “There are two major rooms, a large bar area, and a dining room with another big bar and lots of booths with tables. We were tasked with providing the sound and video systems, as well as security cameras and some of the architectural lighting.

Square Celt_3 web

“The owners insisted on Martin Audio from the get-go because they wanted a very high quality sound that was reliable and would last,” Tim explains.

“We used 26 Martin Audio AQ8’s mounted on the walls and beams throughout the site. The whole place has lowered ceilings with lots of trim, soffits and beams to give it the feel of an old Irish pub. We mounted the speakers strategically in the best places we could put them for optimal sound quality.

Square Celt_2 web

“There are also two AQ28s where the owners planned a dance area in the main dining room. We supplemented those with two AQ210 subs plus two F12+ and four S15+ subs for maximum low energy reinforcement in that area. They bring in a DJ on Friday and Saturday nights, so they wanted the place to have a nightlife with a system they could crank up and really feel the music, which we accomplished with the Martin Audio subs.”

Square Celt_4 web

The audio system also includes Lab Gruppen E12:2 and E4:2 power amplifiers along with Symetrix Jupiter 8 standalone DSP processing. Square Celt’s expansive video system, so critical to any modern sports bar, starts with a four-panel video wall consisting of large Philips 55” displays in the bar/dining room and an eight-panel video wall made up of Philips 46” displays in the bar area. There are also 14 Sharp 70” displays and 16 55” LG displays with the whole system run by a Vivitek D5190HD 1080p 3D multimedia projector.

Summing up the audio system’s impact, Tim adds, “The owners think the sound is ‘even, clean and crisp.’ They definitely got more than they expected with Martin Audio and it’s flexible enough to give them everything they need in terms of volume, coverage and sound quality. Plus the system is easily capable of transforming the dance area into a real nightclub just by cranking up the volume. They couldn’t be any happier with the choice they’ve made.”

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

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

Italian Superstar Pino Daniele Chooses DPA Microphones

Pino Daniele with DPA 1

Pino Daniele, one of Italy’s best known singer/songwriters and a man whose career spans both genres and decades, has recently started using a range of DPA microphones, including the company’s ground-breaking d:facto™ Vocal Microphone.

Fabrizio Facioni, Daniele’s sound engineer, jumped at the chance of using d:facto when the opportunity presented itself.

“I like its sound. It’s so ‘present’ and natural,” he says. “This microphone reproduces exactly what it is given in terms of the vocal, and that greatly simplifies my job.”

The d:facto Vocal Microphone joined a range of DPA mics that were used over the summer for the NERO A META’ tour, which reunited Daniele with band members from the 1980s alongside special guests. For his forthcoming theatre tour, the line-up is more intimate and includes Pino Daniele on vocals and acoustic guitar, a second acoustic guitar, an upright bass, piano and drums played by internationally acclaimed producer and arranger Alfredo Golino, who regularly works with artists such as Laura Pausini.

Facioni says: “The decision to use DPA microphones initially came about when I needed a microphone for Pino’s acoustic guitar. I spoke to Agora, our PA rental company, and they recommended DPA’s d:vote™ 4099 Instrument Microphones. After trying one, I knew it was perfect for the task. Both Pino and I were so impressed that we decided to use d:vote 4099s on his guitar and on the second acoustic guitar.”

Facioni adds that the improvement in sound made him question the microphones he was using on the other instruments in Daniele’s intimate line-up. It was at this point that Alfredo Golino suggested he got in touch with Salvatore Zocco from DPA’s Italian distributor M. Casale Bauer for more advice on the DPA range.

Salvatore Zocco says: “Alfredo is a great ambassador for DPA and has used the company’s microphones for a long time, so it was perfectly natural for him to put Fabrizio in touch with me. I was able to recommend the most appropriate microphones for Fabrizio’s requirements.”

The final choice came down to d:vote 4099 Instrument Microphones for the high hat, snare (top and bottom) and toms. DPA d:dicate™ ST4011C and ST4015C Recording Microphones were respectively chosen to handle overheads and percussion. The acoustic guitars and upright bass are also miked with d:vote 4099s, while Pino Daniele has two d:facto Vocal Microphones – one for when he’s standing and the other for when he performs with his acoustic guitar.

“I have been very satisfied with the results these microphones have delivered,” Facioni adds. These were exactly the mics I needed to give me a natural sound. I am a studio engineer as well, so I already knew DPA mics for piano and orchestra and I like them a lot. But this is the first time I have tried them for percussion and bass and I am definitely impressed.”

And perhaps more importantly, Pino Daniele himself has also been impressed with the performance of the d:facto Vocal Microphone which he used consistently during his summer tour of Italy’s sports arenas.

“We are now planning more dates in smaller theatre venues during November and December and the d:facto will once again be part of our microphone set up,” adds. “It has worked for Pino and he really like it. He says he now recognises his own voice!”

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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

Visual Unity Shows vuMedia™ at NAT Expo 2014 and Inter BEE 2014

multiscreen_devices_vu

Leading OTT solutions provider Visual Unity is showing the latest version of its Award-winning vuMedia™ multiscreen platform at NAT Expo in Moscow (November 19-21, 2014) and Inter BEE in Tokyo (November 19-21, 2014). The software will include a new, white label version that gives partners the opportunity to sell the product under their own brand by changing the colours and logos on the user interface.

“Having secured an investment of 7.2 million US$ (5.2 million Euros) from 3TS Capital Partners, we are now able to support the growth of an international customer base for vuMedia™,” says Visual Unity’s CEO Tomas Petru. “We are positioning Visual Unity as the leading provider of OTT and multiscreen solutions and to this end we are very focused on both product development and expanding into previously untapped markets.”

The company, which will be exhibiting on booth B23 at NAT Expo in Moscow, while at InterBEE it will be exhibiting in conjunction with its Japanese distributor DSP-Japan (Booth 5380).

Visual Unity’s updated vuMedia™ platform now includes a raft of new languages that have been incorporated into the software’s administrator user interface. This significant addition broadens its international appeal and reinforces Visual Unity’s plans to expand sales into new geographic territories. Also new is Multi-level account administration, which allows Visual Unity customers to collaborate on OTT projects, share resources or limit access to specific parts of vuMedia™ to dedicated groups. It also allows vuMedia™ to support different re-seller and seller models and relationships.

Introduced in 2011 and the winner of the 2012 ConnectedWorld.TV Award, Visual Unity’s flagship vuMedia™ is an end-to-end OTT platform that allows broadcasters and content owners to control how their brand and assets are managed, delivered and monetized in the multiscreen environment. Highly scalable and flexible, vuMedia™ delivers a cutting-edge live viewing experience on the web or any mobile or connected device. vuMedia™ also enables comprehensive Video on Demand services, social network integration and secures the distribution of content – all of which can be deployed into existing workflows and business processes.

vuMedia™ can be bought in two formats – Platform as a Service (PaaS) or Software as a Service (SaaS) for customers who don’t want to invest in new hardware.

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About Visual Unity

Visual Unity is a global provider of video and digital media solutions, enabling our clients to deliver premium quality video content. Our clients can measure, analyze and optimize their libraries over time and achieve optimal business success. Our platform capabilities inspire our clients to deploy their assets across multiple devices, screens, and media formats. Visual Unity helps clients manage, deliver and monetize their digital content.

Visual Unity is a Multiscreen Solution Provider, bridging the gap between linear broadcast, IT and IPTV to help clients reach and engage audiences on any screen. Since 1991, the team has been designing and delivering turnkey broadcast and complex multiscreen solutions worldwide – from HD outside Broadcast (OB) vehicles and major playout facilities to live internet streaming and Video on Demand services. Visual Unity’s award-winning vuMediaTM platform helps broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment. vuMediaTM is a highly scalable and a modular architecture, delivering a cutting-edge live viewing experience on the web or any mobile or connected device – all of which can be deployed into existing workflows and business processes.

Visual Unity is based in Prague, London, Munich, Moscow, Nairobi, Dubai, Istanbul, Ottawa, Los Angeles and Hong Kong. For further information, please visit www.visualunity.com

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