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Mateo Willis Captures Eagles In Flight With A GearNex Geared Camera Head Supplied By Oxygen DCT

As a highly regarded wildlife cameraman, Mateo Willis is in great demand from blue chip broadcasters such as the BBC and the Discovery Channel, which employ him to work on many of their most prestigious nature documentaries.

Mateo’s speciality is long-lens work and he often spends large amounts of time in remote locations filming everything from small lizards to large carnivores.

In a bid to find a more accurate way of framing shots, particularly when working with heavy cameras and lenses, Mateo has been experimenting with a CineToys GearNex geared camera head, supplied by CineToys’ UK distributor Oxygen DCT.
This unique product was developed by former Hollywood cameraman Bret Allen in response to a significant gap in the market for affordable geared head technology. It is designed to give film makers access to Hollywood-style geared heads without paying Hollywood prices.
“I was going on a shoot to film Verreaux eagles that required very fine precision moves combined with rock-steady stops,” Mateo explains. “Nothing beats the motivation of following an eagle in flight – in wildlife filming there are no repeat takes. Having read about the characteristics of geared heads I thought they were worth experimenting with and when Oxygen DCT offered me a GearNex for a trial run I jumped at the chance.”

Launched at NAB 2008, GearNex immediately won two prestigious awards including a Best of Show and a Creative Cow Blue Ribbon Award. Among the many film makers who have spotted the unit’s potential is director Robert Altman Jr, who has used GearNex with a Redrock DSLR Cinema Bundle.

Steve Hathaway, managing director of Oxygen DCT, says: “Today’s cameramen face the challenge of operating cameras adorned with monitors, matte boxes, power packs and focus-assist products, all of which can make them heavy and unwieldy. What GearNex offers is the ability to smoothly pan and tilt, even when the camera is loaded with additional equipment. It delivers a much smoother panning experience than conventional fluid heads and is ideal for a wide variety of filming tasks including motion pictures, music videos, short films, television documentaries, commercials and corporate videos.”

Mateo Willis used GearNex with a Panasonic Varicam and hopes to try it with different cameras in the future.

“Like other areas in the industry, the introduction of high-end but relatively low-cost digital cinema cameras is creating a fast-changing landscape in wildlife filming,” he explains. “Last year I was working mainly with ENG cameras supplemented with specialist cameras such as the Phantom, but this year I’ve shot almost everything with Red Epic and Arri Alexa although I haven’t had an opportunity to use those with the GearNex yet.”

As a newcomer to geared head technology, Mateo says there was initially a steep learning curve, but once he became comfortable with GearNex he found it incredibly useful and really appreciated the extra control it gave him.

He explains: “The camera I was using was mounted with a long lens and counterbalanced by several batteries, so was fairly hefty. Once the GearNex was in place I was impressed at how little energy, and hence more control, it took to precisely move the camera. Also, I found the Gearnex robust enough to put up with the arduous conditions of the desert; dust, rough roads and heat. Finally, I was impressed with its size and weight – everything fitted into a single Peli. When you’re travelling with thirty cases, the less you have to load in and out of vehicles the better!”

Mateo adds that GearNex has demonstrated that inexpensive but high-quality geared heads can be made and he is looking forward to seeing where CineToys will go with the next generation.

“My next project is filming geese on the side of a cliff in Greenland, for which I am designing a ‘vertical’ tripod to hang on a sheer rock face,” he says. “This will allow me to film while sitting in a climbing harness so only a super-light head will be appropriate. Now if the Gearnex head was motorised……”

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About Oxygen DCT:
Oxygen DCT is a broadcasts systems solutions provider with a deep knowledge and understanding of the broadcast and professional media markets. This dynamic organisation has amassed in just over five years, a very extensive and comprehensive products portfolio of over 3000 carefully designed broadcast and production products that represent the pinnacle of engineering excellence. Oxygen DCT was the first company in the broadcast industry to fully implement online facilities for its customers and its unique, comprehensive online ordering facility automatically configures equipment systems for customers, saving time and provides industry professionals with the convenience of immediate online pricing. The ‘one-stop-shop’ website caters for the smallest requirements whilst also allowing users to prepare their own quotes and place orders online with immediate order confirmation. Oxygen DCT also provides advice, support and expertise as part of its ‘life cycle’ care scheme, ensuring that customers are fully serviced throughout their career life cycles. www.oxygendct.com

Baker Audio Installs HARMAN’s JBL VLA Line Arrays at University of North Carolina’s Kenan Memorial Stadium

NORTHRIDGE, California – Baker Audio of Norcross, Georgia, recently upgraded the audio system at the University of North Carolina’s (UNC) Kenan Memorial Stadium, home of Tar Heels football since 1927, with HARMAN’s JBL VLA line arrays. Baker Audio shares strong ties to UNC and installed an innovative sound system to complement the stadium’s new “horseshoe” design.

Keith Hicks, President of Baker Audio, took great pride in revamping the sound in his alma mater’s stadium, where he played four decades ago as a scholarship UNC football player. The 64,000-capacity stadium was renovated from its original shape to the horseshoe pattern, which required a completely upgraded sound system, designed by Jack McCallum of Wrightson, Johnson, Haddon & Williams, Inc. Hanging from the new scoreboard, provided by CBS Sports, Baker Audio supplied 22 JBL VLA601 3-way full-range loudspeakers on each side of the scoreboard, while 23 AM5212 2-way loudspeakers were installed in the “bowl” under the balcony areas, which provided delayed sound coverage.

The system is powered by Crown amplifiers-43 MA-5000i’s, 14 MA-9000i’s and 14 MA-12000i’s accompanied by four CTS2000LITE amplifiers-and is processed through BSS London DSP technology with 11 BLU 800′s as well as 36 BLUCARD-OUT and four BLUCARD-IN analog cards which route all of the audio for the PA, play-by-play and music to achieve that powerful game day sound.

“The JBL system was peaking at 112dB-we’re rocking,” Hicks said. “The VLA line arrays are outstanding. The low-end response is spectacular and we continue to receive compliments on the clarity and coverage of the sound. The UNC athletic staff is pleased with all aspects of the installation and we’ve even received calls from businesses around the city saying they can hear the music during games.”

Working under tight time constraints, Hicks noted one challenge associated with fitting Kenan Memorial Stadium with the new speaker system. While preparing to hoist the VLA speakers, Joe Kimsey, Project Manager for Baker Audio, noticed that the stacks, which each measure more than 25 feet tall, would have less than one foot of clearance within the housing. Baker Audio was able to overcome this challenge by utilizing a 300-foot crane to carefully hang the speakers. Greg Coddington, project engineer for WJHW, was instrumental in the success of the system installation and coordination, says Hicks.

David Rotman of Rotman Architecture added, “In many aspects, it was a very complex construction project; however, due to the dedicated team at Baker, the Kenan Stadium at the University of North Carolina can deliver that ‘wow’ factor with an innovative sound system that, not only works in conjunction with the new, state-of-the-art scoreboard, but provides a state-of-the-art sound system experience at every seating location throughout the building.”

“The VLA line arrays give the stadium much more horsepower than it’s ever had,” Hicks continued. “Every aspect of the installation, from coordinating with the construction, to securing the arrays on the video board was excellent. The entire system is extremely impressive.”

“It was a great opportunity for me, personally, to fit the stadium with sound after years of attending games and even playing football there 100 years ago,” Hicks joked.

For more information on Baker Audio, please visit http://www.bakeraudio.com.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012. The Company’s shares are traded on the New York Stock Exchange under the symbol NYSE:HAR.

Michael Conner Mixes Three Evenings With Paul Simon and Wynton Marsalis Using HARMAN’s Studer and Soundcraft Consoles

NEW YORK, New York – It’s the kind of extraordinary musical event that happens once in a lifetime: quintessential singer/songwriter Paul Simon got together with iconic jazzman, composer and music educator Wynton Marsalis for a very special three nights of live performances at the Jazz at Lincoln Center in New York City. The event featured Simon and Marsalis performing all-new orchestrations of Simon’s songs with the Jazz at Lincoln Center Orchestra and special guest Aaron Neville. HARMAN’s Studer(r) Vista 5 and Soundcraft(r) Vi6 digital consoles were brought in to handle the considerable mixing requirements for the concert.

“There were more than 100 inputs for this show,” noted Michael Conner, Simon’s front of house engineer and a veteran mixer with more than 25 years’ experience. “We had to mic not only Paul, Wynton and Neville but the entire Jazz at Lincoln Center Orchestra and Simon’s touring band.”

Conner had to combine two different approaches to mixing for these concerts. “Paul is usually mixed more for an arena or theater-type show, while Wynton’s is more of a ‘natural’ sound, combining the room, band and PA as one sonic unit,” he noted. “The sound is less ‘poppy’ and more ‘orchestral’ maybe, compared to Paul. It made this concert more challenging than most because we had to combine those two different styles of mixing together and get something that worked.

“On top of it all, the whole thing was just gigantic. I had to deal with a huge amount of inputs. Having to mic that many people was incredibly daunting. I had overheads everywhere.”

Conner and his team came up with the solution of using the Studer Vista 5 in conjunction with the Soundcraft Vi6 as a sidecar. “I’d had about four years’ experience with the Vista 5, having used it on tours with David Byrne and then with Paul,” Conner added. “Wynton is normally mixed on a Vi6, so using the two together just made sense, along with the fact that they’re both HARMAN products and are easy to interface with each other.”

“One of the best things about the Vista 5 is when you’re looking to access a particular function,” Conner continued. “I came from an analog background. This is not a confusing digital desk. The channel strip is in front of you at all times. You can reach the gain pot; you can reach the EQ; anything you need is always right in front of you. Touch a button and there it is-everything is easy to get to, making it easy to operate and smooth to mix on.”

Such nimbleness is especially handy when mixing Simon. “Paul makes a lot of changes to the arrangements on a daily basis,” Conner said. “In his opinion the song was born when it was put on the album and then it grows up and evolves through time. So we might come into a show and change a song completely, change an arrangement or change a part. That would be tough if it were difficult to move around the desk. Paul also expects that when he makes a change, he’ll hear it quickly. The console allows me to do that because the interface is so straightforward. Paul is an ‘analog guy’ and he’s used to grabbing a knob and hearing something happen. Some of the other consoles out there are great, but are a little cumbersome when it comes to making adjustments or changes. That’s one of the reasons I prefer the Studer.”

The concert was a resounding success, according to Conner. “We were able to achieve a really good sonic blend between all the musicians and performers while maintaining clarity and isolation of the vocalists and instruments,” Conner pointed out. “By the time we were into the concert, I knew we had nailed it.”

Conner started his career in Los Angeles around 25 years ago; learning by working in the area’s recording studios, starting his own sound company and moving to his current position with Clair Global. “I’ve done tour sound, theater sound, the whole nine yards. It’s been a 25-year journey and now I’m really happy with Clair-without them I wouldn’t be sitting here right now doing front of house for Paul.”

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012. The Company’s shares are traded on the New York Stock Exchange under the symbol NYSE:HAR.

TMP Pibrac Theatre Invests in new HARMAN Soundcraft(r) Vi1 Console

PIBRAC, France – Built in 1989, the Théâtre Musical de Pibrac (TMP) is a popular concert and music-based theatre, situated 10 minutes from the centre of Toulouse. With an amphitheatre-style main auditorium, seating 448 (750 standing) it also has a separate lobby, exhibition area, café theatre, rehearsal and reception areas. The theatre receives incoming shows as well as producing its own, with resident company, Figaro & Co.

TMP recently decided to overhaul its distribution network and at the same time upgrade its HARMAN Soundcraft analogue desk to digital, which would be placed on its new Riedel RockNet backbone.

“We needed a desk both to run our own shows and for the incoming productions-and therefore it needed to be one that would be familiar to the bulk of technicians,” said theatre director, Stéphane Novak. “In particular we were looking for a compact desk, with good de-esser and compatibility with the RockNet card for the stage preamp.”

Before making their choice, three of the theatre’s technical team reviewed several of the market leaders, but following a demonstration, placed their order for a Soundcraft Vi1 with local dealers, Spotco. This was delivered in January this year, accompanied by after-sales training from the supplier-and pressed straight into service.

The Vi1 is the smallest sibling of Soundcraft’s popular Vi digital range, which began with the Vi6. This takes the platform to a more affordable level with a reduced footprint that retains the acclaimed Vistonics(tm) user interface and signature Vi sound quality. The Vi1 represents a complete standalone console package with 32 channels of analogue input (64 channels to mix when attached to stagebox) to 27 analogue outputs, plus six digital inputs, four stereo FX returns and six digital outputs in one chassis.

“We are satisfied that we made the correct purchase,” Novak said. “We particularly like the quality of the EQ, the onboard dynamics and the routing.”

Pibrac itself may only have a population of 8,500 but they can be proud that the local commune has invested in a facility that is so highly appreciated.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012. The Company’s shares are traded on the New York Stock Exchange under the symbol NYSE:HAR.

Independent Studios Calls Fairlight Constellation The “Fastest Editor In The World”

MILWAUKEE, Wisconsin- For greater flexibility in providing advertising agencies with audio and video post-production services for high-end clients such as Tax Act, Ski Do and West Bend Insurance, Milwaukee, Wisconsin based Independent Studios uses Fairlight’s 3-bay Constellation XCS console.

Randy Bobo, Owner at Independent Studios, made the switch to Fairlight almost 12 years ago to have the “fastest editor in the world. “All of our clients come from ad agencies, therefore we need to be ready to handle any project that comes our way,” Randy explained.

Most of the work the Independent team does is short-form commercial work for regional and national campaigns. Recently, Independent completed a commercial for Tax Act, which aired during Super Bowl XLVI. Independent has also been highlighted for its work with independent films and documentaries, including Sweet Land, which won the 2007 Independent Spirit Award and starred Elizabeth Reaser.

“Budgets are being cut everywhere, but we haven’t missed a step,” Randy says. “We were able to build the entire film using our Fairlight system and pre mixed it so it could be exported through an OMF, we even had time to spare. Our work to organize and prep the soundtrack made it even easier for the final mixing process to be done in four days after we passed it on”

By upgrading the entire Independent Studio’s facility to Fairlight, “It really opens up our options and allows us much more flexibility in how projects can get done,” Randy explains. “We can swap projects between mixers and rooms without any hold up.”

The ability to get everything done using Fairlight without the need for a third-party console makes things easier at Independent as Randy explained. “It’s great when we have to revise a project or do additional versions especially for commercials, everything is in one box and we can be confident that all the data and tools are there. Now that picture and effects are integrated it makes it even nicer.”

With Independent’s own in-house server, sending files back and forth between mixers and clients is simple and stress-free. “Everything comes in and out through the server and we can store everything there for easy access. It makes workflow constant and we never waste time looking for files or plugins,” said Randy.

Randy mentioned that the sound quality of the console is superb and at times he will compare a dynamic plugin to the onboard dynamics, and most of the time he’ll end up using the onboard plugin because it sounds so great. “It’s great to have all the plugins. We use them mostly as sound effects rather than cleaning up the audio, but it’s nice to have the ability to use different reverbs and effects if needed.”

“Everyone who enters Independent is instantly blown away by the way we work,” adds Randy. “To get another console or system to do what Fairlight does would cost way too much money. It’s amazing how people are drawn to the system after a short time working on the console. There isn’t a better tool out there for what we do,” Randy summed up.

For more information on Independent Studios, please visit: www.independentstudios.tv

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About FairlightUS:
FairlightUS is headquartered in New Jersey USA and is the exclusive distributor for Fairlight products in the North American market. Fairlight has been at the forefront of digital audio development since its inception in 1975. Fairlight designs and manufactures media creation tools including digital audio recording, editing and mixing systems for standard and high definition audio post, broadcast and music production applications. www.fairlightus.com

About Fairlight:
Headquartered in Sydney, Australia Fairlight designs and manufactures media production systems powered by the company’s groundbreaking CC-1 FPGA digital processing engine. The Fairlight product range includes EVO, Xynergi and the new PyxisG2, all of which feature in the world’s leading broadcasters, commercial post facilities, music studios and film production studios. Fairlight has a rich tradition of innovation and development and is at the forefront of green computing technology.

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France Television Places A Substantial Order For Jünger Audio Loudness Processing Equipment

The decision by France’s CSA (Conseil Supérieur de l’Audiovisuel) to link the EBU’s Loudness Recommendation R128 to its own audio-visual legislation is now focusing the attention of French broadcasters on purchasing loudness processing equipment that complies with the EBU R128 standard.

One manufacturer that has already benefited is German dynamics specialist Jünger Audio, which recently won a significant order for its loudness processing equipment from the French public broadcaster France Television.

Jünger Audio’s Managing Director Peter Poers says: “Our EBU R128-compliant loudness processing equipment has already been installed at every major broadcast facility in Germany and Switzerland, and we are delighted that France’s public broadcaster has also chosen to endorse our technology. Broadcasters have recognised the benefit of using our proprietary LEVEL MAGIC™ adaptive control algorithm and like the fact that it allows them to adjust the audio level from any source at any time, with no pumping, breathing or distortion. As a result it has become the algorithm of choice for line and real time processing.”

France Television is a state-owned company that consists of a number of channels including France 2, France 3, France 4, France 5 and France Ô. The broadcaster, which is primarily funded by revenue from television license fees, is highly influential with more than 40% of the French population watching its programming every day. As a public broadcaster it is firmly committed to providing high quality news, sports and entertainment programming that reflects a diversity of views.

The order France Television has placed with Jünger Audio is for a total of 73 loudness processors – 22 D*AP LM4 four-channel units and 51 D*AP LM2 two channel units. These are now being rolled out to France Television facilities and will eventually cover all Paris-based channels, plus all 23 regions, with each region having one Jünger Audio processor for its main transmission path and another for back-up.

France’s CSA decision to link with EBU R128 means that previously unenforceable laws on loudness can now be better defined and therefore enforced. This will protect viewers from the unpleasant and unpopular lurches in the volume of programmes and adverts that have resulted worldwide in so many complaints over the years.

In order to comply with the new law, French broadcasters must now ensure that all production and distribution equipment they use is compliant with EBU R128. They must also manage audio correctly and ensure that all material provided by production houses also complies with the new ruling. The new law is being introduced in three phases: normalization of short programmes from 1 January 2012, of live programmes by June 2012, and of all programmes by the end of 2012.

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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.junger-audio.com

HARMAN Soundcraft Vi6(tm) Cuts the Mustard on Cape Verde

PRAIA, Cape Verde – The municipality of Praia, located on the Cape Verde Island of Santiago, isn’t the most obvious place to find a pair of HARMAN Soundcraft Vi6 digital desks. But it is here in the archipelago where Mario Bettencourt has been operating his rental company, MARIUS Produções-the largest pro audio and lighting company on the islands-for the last 13 years, and Soundcraft desks have been a central feature.

The island hosts a population of around 500,000, and although 20 percent live in the Republic’s capital of Praia, events supported by MARIUS take place throughout the country. These include a variety of music festivals, concerts, live TV and radio music shows, theatre and dance, expecting ever higher production values.

Responding to this, and the faster changeover times required by the new standard of shows now appearing on the island, Mario placed the order for the two Vi6s with Portuguese based importers, Tecnimusica, who provide the company with all the support necessary.

“As we are involved in practically all the big events that take place in Cape Verde, the need to make these fast stage changes and keep records of all the soundchecks in order to satisfy the artists’ demands has become paramount,” Bettencourt said. “We can be providing sound reinforcement for up to six bands a night in a festival situation, which is why I chose a sound desk that could enable me to fulfill this.”

But Mario Bettencourt didn’t rush into his purchasing decision lightly-in fact he took some time to decide. “I asked some of my technician friends who had worked with different digital mixers,” he added. “Hardiness, versatility, size, weight, design, ease of use, and quality of the processors were all carefully considered. But the Vi6 is the reference mixer in various riders that I receive.”

Since the population of Cape Verde is made up of Creoles, the recent Kriol Festival, which marked the debut of the Vi6, saw a big turnout. “By organising an event of this magnitude we can make our Festival a real reference for all Creole people,” Mario declared. “With national music headed by Cesária Évora, along with the exposure we get to a lot of world music, Cape Verde is now a real cultural melting pot.”

Before establishing MARIUS, Mario Bettencourt had already worked with a number of Soundcraft platforms, including the Series 5, Delta and Spirit. “I always liked the sound and today own an MH3 and EFX 12, as well as the two new Vi6s,” he said. MARIUS also has various BSS, dbx and Lexicon processors in its inventory, as well as AKG microphones.

But it is the Vi6 that now takes pride of place. “This all-in-one compact desk provides the easiest plug and play operation,” Bettencourt added. “It shows tremendous versatility when only one mixer is needed and the total recall feature is invaluable.”

Bettencourt said that his sound team loves the fact that it is an intuitive platform, offering a superb sound quality “and anyone can quickly familiarise themselves with it.” Having an experienced system engineer as a close associate provides him with a ready Vi6 trainer and system babysitter.

The Vi6s can now expect to be pressed into ever more versatile service as they cover everything from conferences (where MARIUS also provide simultaneous translations) to church weddings and installations.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.2 billion for twelve months ending December 31, 2011.

HARMAN’s Studer Announces Free Studer Broadcast Academy Certification Events in Northridge

NORTHRIDGE, California – HARMAN’s Studer is continuing its free Studer Broadcast Academy certification events with two new dates at the HARMAN International campus in Northridge, California. The sessions will include Vista Foundation and Vista Intermediate modules for training aboard the Soundcraft Studer Truck.

The Studer Broadcast Academy sessions will offer attendees the opportunity to learn on Studer’s flagship Vista 9 console, as well as the new Vista 5 22-fader console. Vista Foundation modules will be held on Tuesday, May 15, 9 AM-noon and repeated 2 PM-6 PM. Vista Intermediate modules will be held on Wednesday, May 16, 9 AM-noon and repeated 2 PM-6 PM.

The Vista Foundation introductory module provides a unique opportunity to work with Studer factory experts to learn the basic operating philosophy and signal flow of the Vista mixing system and provide an overview of the surface. It includes plenty of hands-on time with the consoles to enable students to get comfortable with the renowned Vistonics(tm) user-interface, the layout and operation. Attendees will also learn the role of each segment of the Vista system, from the point of entry at a mic pre, following the signal flow through to bringing that mic to a channel on the surface. This is a perfect module for those completely new to the Vista consoles and even audio, and also for those needing a basic refresher course.

Pushing deeper into the Vista operation and feature set, the Vista Intermediate module takes what has been learned in the Foundation module and applies it to broadcast-specific scenarios. Sessions on the I/O, DSP allocations, and Core technology go those extra steps for engineers looking to fully understand the operation of each and every card and section of the back-end operating system. The Vista Intermediate module will also go much further into the nuances and functions of the Studer software patch-bay.

Those interested can sign up online by clicking the date they wish to attend at: http://usa.studer.ch/support/us_truck_tour.aspx

The HARMAN International campus is located at: 8500 Balboa Blvd, Northridge, CA, 91329.

For more information, please email Studer-usa@harman.com or contact Katy Templeman-Holmes at 818-920-3295.

If interested parties can’t make one of these dates but would like to attend, please contact Studer and request the Studer Broadcast Academy On Demand, and schedule your own private session on the truck for you and or your colleagues.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.2 billion for twelve months ending December 31, 2011.

Christie and RealD Debut Brightest Commercially Available 3D Dual Projection System at CinemaCon

Christie Duo™ combined with the new RealD XL-DP Cinema System today to project Warner Bros. Pictures’ “Sneak Peek” of The Hobbit in 3D, presented at High Frame Rates (HFR) of 48 frames per second, achieving an unprecedented combination of uniformity and brightness. Christie®, a global visual technology company, and RealD, a leading global licensor of 3D technologies, powered today’s major studio presentation in the Colosseum at Caesars Palace.

In the setup for this presentation, projection engineers calibrated the system using brightness measurements taken towards the edges of the screen, rather than at the center. The abundance of light available allowed the center brightness to be reduced considerably and still provided luminance measurements in excess of six foot lamberts (ft-L) across the better part of this massive 70-foot-wide screen. By combining the Christie Duo and the RealD XL-DP 3D Cinema System, exhibitors can actually achieve double the light output over the previous leading large format solutions, and at a significant overall value during regular, commercial movie showings.

“With the new RealD XL-DP Cinema System, there is a technical solution for achieving 3D brightness at 2D light levels on some of the largest movie theater screens in the world,” says Rod Archer, vice-president of Cinema Products, RealD. “RealD technology delivers twice the light of other 3D providers, allowing premium large format screens to demonstrate the true potential of digital 3D cinema with a lifelike and immersive 3D presentation without compromising brightness.”

Says Don Shaw, senior director, Christie’s Entertainment Solutions product management group: “Although it may seem too good to be true, the incredible experience delivered today by RealD and Christie was achieved on a silver screen, using Christie’s Pureformity Color™ Technology to ‘control’ the center brightness, allowing us to obtain the most uniform image possible across this large screen. Standard Christie Solaria® projectors, the Christie Duo integration kit and the RealD XL-DP Cinema System combined to achieve this industry first, which will present a compelling alternative to the more costly, but half as bright, offering from the current large-format market leader.”

The RealD XL-DP Cinema System is a pair of matched left and right eye polarizing filters featuring the patented XL light recovery technology. This Cinema System is designed for use on dual DLP projector installations on large screens, usually over 65 feet in width (20 meters). Early users of this combination of the XL-DP Cinema System and dual DLP projectors report 3D presentation brightness at 2D light levels on screens as large as 92 feet (28 meters).

Christie Duo and Christie Pureformity Color™ Technology Immerse Audiences in the Movies
Introduced in February, the Christie Duo is a new dual–projector integration kit intended to give exhibitors the ability to create and deliver their own, branded premium theater experience. The Christie Duo™ integration kit can be used with either 2K or 4K Christie Solaria® Series digital cinema projectors, purchased with new projectors or purchased as a standalone integration kit for Christie customers who already have Christie projectors. Christie Solaria® Series digital cinema projectors are the world’s best-selling, DCI-compliant digital cinema projectors, with close to 30,000 shipped and installed to date.

The integration kit features the choice of two configurations: a compact and convenient stacking system for 3D installations, or a new, innovative physical configuration that perfectly aligns every pixel on the screen for optimal 2D and 3D presentations. Coupled with automated features that easily calibrate, align and optimize the images from both Christie Solaria® Series 2K or 4K digital cinema projectors, Christie Duo delivers a completely seamless, premium movie experience for the world’s largest screens.

Pureformity Color™ Technology – a contraction of the words Pure and Uniformity – aptly describes Christie’s innovative ability to achieve optimal image color and brightness uniformity. While every Christie projector is built to exact DCI standards, every projection system has inherent color and brightness uniformity variations across the screen, especially towards the left and right hand edges. These effects can sometimes be exacerbated by certain screen materials and auditorium lighting conditions. Christie’s Pureformity Color™ Technology provides an unprecedented level of field optimization for these issues so that image quality perfection can easily be achieved across the whole screen.

I Mix the Songs: Front of House Engineer Ken Newman Chooses a HARMAN Soundcraft Vi6 Digital Console for Barry Manilow Tour

NORTHRIDGE, California – Barry Manilow needs no introduction as one of the most popular and recognizable artists of all time. His hits include “Could It Be Magic,” “Mandy,” Copacabana,” “I Write the Songs,” “Looks Like We Made It,” “Can’t Smile Without You” and many others, with sales of more than 80 million records worldwide. On February 29, Manilow kicked off his first US tour of the decade with a HARMAN Soundcraft Vi6 digital console as the front of house console for the tour. Eighth Day Sound Systems is providing the console for the tour.

“In mixing this show I have to make it sound exactly the way Barry wants it to,” said Ken Newman, FOH engineer for the tour and owner of Newman Audio, Inc. “While some artists leave the sound to their engineers, Barry is very involved in rehearsal and sound check and will sit right next to me and tell me exactly how he wants to hear something. He is very particular about what should be heard because he put together many of the arrangements and wants the audience to feel the music the way it is intended to be felt.”

“We’re using a trimmed-down band setup, but we want it to sound like we have 30 to 40 musicians,” continued Newman, who worked with Manilow from 1992 through 2002 as his FOH mixer. “As a result, the biggest challenge of mixing this show is keeping up with the changes of a very active mix. There’s always something that needs attention. The logical layout and five illuminated touchscreens of the Vi6 make this part of the job much easier.”

“Another key aspect is that the reverb has to be right,” Newman continued. “It’s critically important to him and has to sound good no matter what the venue. If I turn on the console and I don’t have the reverb up, Barry will say it sounds wrong. If the reverb is up and it sounds right, he is happy.”

Newman had to get ready for rehearsals quickly-and use a digital live console for the first time. “The last time I toured with Barry the console was analog, and from 2002 to 2011 when I was working for a corporate events firm I spent most of my time working on analog and smaller digital consoles,” Newman noted. “When I got the call for the tour, I wondered how I was going to be able to do it.”

The console selection process was quite involved, Newman pointed out. “I knew it would be totally impractical to use an analog console for the tour, and I looked at a number of digital consoles and what other music shows were using,” Newman said. “I didn’t feel confident that I’d be able to get the sound I was looking for with some of the consoles, as their internal effects and processing were marginal at best. With others, the control surfaces just weren’t going to cut it for an old analog guy like me. Some consoles seemed too complicated to learn in the short time I had, or were just not the right ‘fit’ for me.”

Newman asked the advice of Dave Lawler of Docktrdave Audio Inc. of Burbank, California. “My friend Dave Lawler suggested the Soundcraft Vi6. I could immediately see how operator-friendly it was with its five display screens, three user-configurable input fader configurations and other features. For me it was like the time I got my first Macintosh computer in 1984 after having used DOS-based computers.”

“I need to see what is going on one channel at a time, and the Vi6 offers great access to everything and not limiting me when I’m mixing, in a console that’s so nicely sized,” Newman added. “The Vi6 is also intuitive enough where if I don’t know exactly how to do something at first, I can figure it out easily enough.”

“I’m using all 64 inputs from the stage, as well as the majority of the local rack inputs and outputs,” Newman pointed out. “I’m using the board’s internal processing for most of the inputs, and I have two external tube audio compressors for the main and spare vocal mics. I’m using some other external effects because they’re the exact same units I had for the 2002 Manilow tour and I’m familiar with them. Given time and rehearsals, I might be able to eliminate some of those effects because the Vi6′s built-in Lexicon effects, compressors and gates sound so great.”

“This tour is the first time I’ve used the Soundcraft Vi6 for anything! Talk about putting something to the test – but I feel like I’ve found a new friend in the Vi6, and I look forward to using it for many years to come.”

For more information on Eighth Day Sound Systems, please visit www.8thdaysound.com

For more information on Newman Audio, Inc., please visit www.newmanaudio.com

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.2 billion for twelve months ending December 31, 2011.

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