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Archive of the Case Studies Category

HARMAN Installed Venue Systems and Portable Rental Systems Dovetail For Optimal Audio Performance At Season’s Major Events

NORTHRIDGE, California – In two compelling examples of how HARMAN professional audio systems installed at leading venues can play excellent host to temporary gear from HARMAN-equipped rental system owners, the Halftime Show of Super Bowl XLVI and the 54th Annual GRAMMY(r) Awards both relied upon event sound designs that integrated HARMAN house systems at Lucas Oil Stadium and STAPLES Center respectively, with concert-quality systems supplied by ATK Audiotek of Valencia, CA.

“The high-profile, televised events that we serve place an increasing amount of pressure on the facilities that host them,” observed Mike Stahl, President of ATK Audiotek. “Our engineers must often do extensive quality testing and even reconfiguration of installed house systems when we elect to interface with them. However, when we come across venues with HARMAN equipment installed, we are assured of a certain level of quality and performance that we can work with and rely upon.”

ATK Audiotek provided the main PA system at the GRAMMY Awards, featuring four main arrays each containing 12 JBL VERTEC(r) VT4889 fullsize line array elements, plus two arrays of six VT4880A fullsize arrayable subwoofers each. Additionally, 12 VRX932 Constant Curvature loudspeakers were used for front fill. The newly-installed permanent audio system at the STAPLES Center, based on acoustical design support from Chips Davis Designs and a customized installation by I.P.R. Services, features multiple arrays each containing between 11 and 13 JBL VT4889DP-DA powered line array elements. Two fill clusters each containing four VT4889DP-DA elements, specially positioned to cover the end seating areas were also installed. To extend low frequency performance, the system also features four subwoofer arrays, each containing six VT4880A fullsize arrayable subwoofers.

For Super Bowl XLVI, ATK Audiotek deployed its custom-designed cart system, which allows for easy setup between events, and quick transport of the VERTEC loudspeakers on and off the field. The half-time entertainment featured performances by Madonna, LMFAO, Nicky Minaj and M.I.A. Each of the 18 carts included four JBL VERTEC VT4889 fullsize line array elements and two VT4880A fullsize arrayable subwoofers. The cart system was seamlessly integrated by ATK with the JBL VERTEC and VLA line arrays that comprise the house PA system at Lucas Oil Stadium. ESCO Communications installed the venue’s powerful, full-bandwidth system, which was designed by WJHW, for Lucas Oil Stadium’s opening in 2008.

“Both of these projects posed unique challenges,” Brad Ricks, Application Engineer at JBL noted on the deployment of both HARMAN tour-class sound systems used in concert with HARMAN house systems. Both systems feature many of the same BSS, Crown and JBL product families. “The obstacles were dealt with by some of the most exceptional system design and production professionals, working with the most advanced audio components available. Both projects met their key goal, to comprehensively deliver great sound with rock-solid reliability.”

According to Michael MacDonald, HARMAN Professional Executive Vice President of Marketing and Sales, the deployment and integration of HARMAN fixed and tour systems for these major entertainment events underscores the firm’s unmatched capacity to provide quality sound all around. This is shown through uniform voicing in its JBL loudspeaker products, clean and flexible digital signal processing from BSS, consistent power amplification with its Crown products, optimal system configuration and control via its HiQnet(tm) networking protocol and software, and a single point of accountability and support for advanced, professional-grade audio systems.

“The Super Bowl halftime show and the GRAMMY Awards have consistently represented the pinnacle of live-event production sophistication and artistic achievement,” MacDonald noted. “This year was no exception. With so many viewers watching and listening onsite and at home, such talented artists performing at both shows and so much production time and resources at stake to ensure flawless execution, it’s fitting that HARMAN systems should provide the best possible sound reinforcement support.”

Information about ATK Audiotek can be obtained at http://www.atkcorp.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.

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Networking Switches and 10GbE Cards from Small Tree are “Sexy and They Know It” for Moment Factory

From creating the imagery for Celine Dion’s three-year residency show at Caesars Palace to developing an enhanced, immersive visual environment around Madonna’s 12-minute, five song performance at Super Bowl XLVI, Moment Factory is a new media and entertainment studio specializing in the conception and production of multimedia environments combining video, lighting, architecture, sound and special effects to create remarkable experiences. As the studio’s business continues to grow causing more pressing demands for the production team’s time, Moment Factory installed two Gigabit Ethernet switches and 10GbE cards from Small Tree to improve workflow.

“We originally installed a Small Tree switch for the Celine Dion project,” said Nicolas Syriannis, IT director at Moment Factory. “We needed something over the network that would be able to deliver and stream the content fast and efficiently to the animators working on the project. We also required a solution that we could use onsite when making adjustments to any of the projections. For that, we put one of the two switches from Small Tree in a road case with a Mac server so the team is able connect to a mobile SAN solution in order to make the necessary corrections immediately.”

When looking for a solution to its workflow issues, Moment Factory didn’t want to revamp its entire infrastructure. What it wanted, according to Syriannis, was technology that would fit its current workflow and deliver content fast enough to an expanding team of editors. The studio worked with HumanIT to implement the Small Tree technology into its existing infrastructure.
HumanIT is a 20 year old multi-platform systems integrator that builds bridges between heterogeneous information technology and mobile platforms and technologies to accelerate enterprise-wide business execution and collaboration, securely.

“Before expanding we had three people maximum on a project, so bandwidth wasn’t much of an issue,” Syriannis continued. “But for the Dion and Madonna projects we had up to eight people hitting the server simultaneously, so it was imperative to have technology that would help us meet our needs. The switches and 10GbE cards helped us cut down on the time needed for the animators to sync or stream content from the server.”

At the Super Bowl, Moment Factory utilized an integrated system of 3D animation and editing programs, linked through a “Hippotizer” playback system, 32 HD projectors hung directly over the field combined to create a seamless interaction between the company’s signature visual projections, the dynamic LED stage, a 140-by-80 feet projection surface and the pre-existing stadium ribbon boards.

Since its opening in 2001, Moment Factory has created multimedia experiences for spectators at more than 300 events across the world, including Jay-Z, Cirque du Soleil, Disney, Microsoft and Nine Inch Nails among others.

For more information on Small Tree switches, 10GbE cards and shared storage solutions, visit www.small-tree.com.

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XPAND 3D Continues Partnership With Cannes Film Festival

CANNES, France – XPAND 3D is proud to announce that it is once again the exclusive 3D technical partner for the 65th Cannes Film Festival. XPAND 3D is equipping four screening theaters at the Festival, including the 2,400-seat Lumiére auditorium, and eight screening rooms for the film market.

This marks the fourth year that XPAND 3D has served as the 3D technical partner for the Cannes Film Festival and XPAND 3D has renewed its partnership with the Festival through 2015.

“In addition to being the most prestigious film festival in the world, the Cannes Film Festival has championed 3D innovation, as exemplified by its decision to begin its Opening Ceremony in 2009 with the 3D screening of UP, and last year’s 3D screening of Pirates of the Caribbean: On Stranger Tides,” said Maria Costeira, CEO of XPAND 3D. “Our continued partnership with the Cannes Film Festival also demonstrates the Festival’s commitment to providing the most realistic and immersive 3D experience possible and we are proud to once again bring this experience to audiences at Cannes!”

The 65th Cannes Film Festival marks the continued growing popularity of 3D cinema, with feature films Madagascar 3 and Dracula in official selection. There will also be a tremendous increase of 3D screenings at the film market, with more than 100 3D screenings in total.

For the 65th Cannes Film Festival, XPAND will deploy its high-end Infinity active 3D glasses, which provide the brightest, most vivid and realistic 3D images available. XPAND Infinity glasses are also optimized to work with laser projectors, making it the optimal future-proof 3D system.

The Infinity 3D glasses provide up to 38% transparency and a 3000:1 contrast ratio. The glasses’ lightweight ergonomic designs ensure long-wearing comfort, and their wide 3D viewing angle provides an optimal 3D image across the entire cinema.

In addition, the Infinity glasses are now available in both adult and children sizes.

All new XPAND cinema systems and glasses fully support HFR (High Frame Rate) double and single flash at 96fps, 120fps, 144fps, 192fps, 240fps and even variable fps.

For more information on XPAND 3D, please visit www.xpand.me

About XPAND 3D:
XPAND 3D is the global leader in 3D technologies for cinema, with systems used by over 5,000 3D cinemas in more than 50 countries. XPAND 3D is also the 3D solution of choice for home, business, post-production, education, military, medical and professional 3D applications. XPAND 3D designs, manufactures and OEMs a range of consumer electronics 3D solutions that are driving the 3D revolution. XPAND is committed to advancing the state-of-the art in technology to provide consumers, businesses, educators and medical professionals with the comprehensive advantages of stereoscopic 3D. XPAND provides glasses on a linear scale from the most advanced and feature-packed for sophisticated surgical, training and home theater to more ruggedized and affordable for cinema and mass market use. X6D Limited is a global company whose products and services are marketed under the XPAND brand name.

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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……”

-ends-

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.

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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.

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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.

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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.

-ends-

About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.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.

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