A virtual press conference from Sound & Video Contractor

Archive of the Case Studies Category

Visual Unity Confirms its Worldwide Ambitions at IBC 2014

Leading OTT solutions provider Visual Unity will use the IBC 2014 platform (14.F34) to unveil the latest versions of its Award-winning vuMedia™ multiscreen platform and vuEasy™ Online Video Platform.

One of the most important changes will be the introduction of a raft of new languages to vuEasy™’s administrator user interface, including Chinese, Arabic, Spanish and Russian. This significant upgrade broadens vuEasy™’s international appeal and reinforces Visual Unity’s plans to expand sales into new geographic territories.

“Having recently 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 both vuMedia™ and vuEasy™,” says Visual Unity’s CEO Tomas Petru. “Our goal is to be the leading provider of OTT and multiscreen solutions and 3TS’s investment is already helping us to achieve this ambition by enabling us focus on product development and reach previously untapped markets.”

Introduced in 2011 and the winner of the 2012 ConnectedWorld.TV Award for the Best Use of Online Video by a Non-Broadcaster, 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.

In recent months, Visual Unity has upgraded vuMedia™ so that it now features an improved modular architecture and enhanced API integration for faster OTT integration into existing infrastructures. There is also support for Live Time-Shifting so that subscribers can rewind while watching live broadcasts. This user experience is enhanced with the inclusion of a Timeline Thumbnail Preview (vuMedia™ TTP), which makes it faster and easier for consumers to navigate within streamed content.

vuMedia™ is now fully integrated with Visual Unity’s vuEasy™Cloud-based service that allows Enterprise and Media companies to manage and monetize their audio, video and image libraries. vuEasy™ supports live streaming of up to 4K video and allows graphics and other audio and visual material to be associated with video or audio files, for brand promotion or to generate advertising revenue. Quick and easy to use, vuEasy™ alleviates the need for businesses to build an expensive, in-house and resource-intensive media library, by allowing them to publish their content online.

At IBC 2014, Visual Unity will show a new, white label version of vuEasy™ that gives partners the opportunity to sell the product under their own brand by changing the colours and logos on the user interface. 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 vuEasy™ to dedicated groups. It also allows vuEasy™ to support different re-seller and seller models and relationships.

Alongside support of live streams that can easily be added into an OTT trough, vuEasy™ also allows customers to record their own live events, include them in their content management systems and automatically published them on VoD portals.

Since first launching its vuMedia platform, Visual Unity has supported video delivery to iOS and Android devices. At IBC 2014, the comany will show a new, native application for iOS devices that enables delivery of VoDs that are DRM protected. This upgrade, which supports Widevine DRM in iOS applications, will give end users and even better experience.

-ends-

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, Cologne, Moscow, Bratislava, Belgrade, Nairobi and Dubai. For further information, please visit www.visualunity.com

DK-Technologies Steps Up The DK T7 Game At IBC 2014

DK-Technologies has once again upped the functionality of its competitively priced DK T7 audio, loudness and logging meter by adding Loudness Automation, a software update that is free of charge to existing and future DK T7 users.

On show at DK-Technologies’ IBC 2014 stand (8.E60), this latest upgrade is based on SMPTE timecode and allows the DK T7 to instantly recalculate the Integrated Loudness value up to four hours back in time. For audio engineers, this exceptionally useful time saving function is a major improvement as it means they no longer have to re-run programme material to hit their Loudness target value.

Uffe Kjems, Product Marketing Director for DK-Technologies, says: “Every engineer working with broadcast audio knows that hitting the Loudness measure Bulls Eye can be a very tedious and time consuming process. For this reason, we know they will really appreciate our new Loudness Automation feature because it will save them so much time. Loudness Automation adds yet another cool and practical feature to the DK T7 – and at no additional cost – making it the strongest, most competitive and most affordable Loudness meter on the market today.”

DK-Technologies has also added USB mouse operation to the Multi touch screen DK T7, allowing for fast and easy on screen access or operation using the HDMI external monitor output. A number of other improvements have also been incorporated, including headphone volume control and more screen setup functions.

The DK T7 allows end-users to adapt to virtually any format including 3G SDI I/O. The unit also offers 8 AES/EBU input/output channels, 2ch Analogue input channels, headphone output and HDMI monitor output.

At just 20 x 135 x 180 mm (depth, height and width), the DK T7’s compact design allows it to be highly portable and easy to position, while its intuitive multi touch interface makes it very straightforward to use.

The meter is currently available in two different models – the DK T7 costing €3495 and the entry level DK T7 Stereo, costing €2895. Both models are available with or without balanced digital AES inputs as well as in 19” rack mountable versions.

For a demo and more information please visit DK-Technologies at IBC 2014 (8:E60) or visit www.dk-technologies.com.

-ends-

About DK-Technologies
DK-Technologies develops and produces audio meters, video sync and test signal generators, as well as video waveform monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany and USA.

TNDV Upgrades Production Quality for University Graduation Ceremonies

Mobile production specialist captures, magnifies and streams Vanderbilt and University of Virginia commencements in HD

NASHVILLE, July 14, 2014 — Mobile production is most often associated with the world of sports and large entertainment events, but a growing contingent of non-broadcast organizations are looking to outside production teams to increase quality and expand audience reach.

TNDV recently brought its mobile production expertise to the campuses of Vanderbilt University in Nashville and the University of Virginia in Charlottesville, achieving these goals and more for their spring graduation ceremonies. TNDV transitioned both commencement productions to HD for the first time, vastly improving image magnification quality for the large attending crowds. The company also streamed the live ceremonies worldwide to ensure families, friends and alumni could tune in from anywhere.

According to Nic Dugger, owner and president of TNDV, an increasing number of his clients across education, government and corporate verticals are recognizing the quick return on investment that comes with upgrading the production quality and taking the event to an external audience.

“Universities like Vanderbilt and University of Virginia realize that commencement is the most crucial day to a student’s life,” said Dugger. “Graduation day sets the mood and tone to the student’s relationship with that university forever, and potentially influences future donations and ongoing involvement. They want every student’s family to be able to experience the event with them, whether onsite or online, with the visual and audio quality required for total immersion. It takes a professional mobile production crew and technology infrastructure to make that happen, especially when you are serving two very different audiences.”

TNDV built a true mobile production facility for each event, staffed with producers, directors, and a complement of switcher, graphics and playback operators. The staff positioned multiple Hitachi HD5000 cameras around the venues, feeding back to its Inspiration truck. On board, the signals were sweetened with graphics and audio, and routed to large LED screens on either side of the stage. Throughout the productions, TNDV staff monitored multiviewer feeds both on board and outside the truck, the latter of which lent a professional production atmosphere for attendees.

The team also positioned an array of audience microphones throughout the crowd to capture the energy of the event for online audiences. This replicated the in-person experience for those who couldn’t make the ceremonies. Additionally, all camera feeds from the ceremonies, as well as special events surrounding the commencements, were recorded to Aja KiPro banks for future university use.

For Dugger, the tricky nature of producing graduation ceremonies is that unlike a live performance, the emphasis is not on a single artist or small group of performers. Everyone involved is on equal footing, from guest speakers to the entire student body.

“The challenge across both the image magnification and live stream is to make sure that every student gets the recognition they deserve,” he said. “Every student’s name needs to be seen and heard clearly. Taking the leap to HD production makes that experience far more immersive, and ultimately more memorable. And these productions were truly what you would see for a full-blown live broadcast.”

ABOUT TNDV: Television
Formed in 2004, TNDV: Television represents the culmination of many 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 productions include the live concert productions at the NCAA Final Four, the 2013 Re/Max Long Drive Challenge on ESPN, and the inaugural season of Sing for Your Supper on PBS. Please call 615-585-6528 or visit www.tndv.com for more information.

# # #

Martin Audio MLA™ Breaks Record At Glastonbury

Martin Audio’s groundbreaking Multi-Cellular Loudspeaker Array (MLA) system has made Glastonbury history by delivering the highest sound levels to the audience without exceeding noise pollution levels beyond the perimeter.

Making its Glastonbury debut, the system deployed on the Pyramid Stage was impressive in every respect, employing cabinets from the entire MLA™ range of loudspeakers. This comprised a total of 72 MLA for the main hangs, eight MLA Compact for stereo infill at the pit barrier and four delay positions of 14 MLA each. The latest addition to the range, the MLA Mini was also featured, providing stereo infill behind the FOH control structure and onstage coverage of artists’ guest viewing platforms. A massive broadside array of 38 MLX stretched across the entire width of the stage to provide sub-bass support to the entire system.

The company’s unique MLA technology enables very fine control of how each array covers its designated audience area. Their own amplifier and DSP channel, a total of six in each MLA independently control acoustic cells housed within each cabinet. This control allowed RG Jones system engineer Mark Edwards to specify exactly what SPL and frequency response was required across the audience, with the intelligent software automatically controlling the array to produce that result. This amounted to just a 6dB drop off over the 985 ft. long audience area, with incredibly even frequency response.

“We used our proprietary computer software to figure out how to drive each cell in each array to direct sound just at the audience, and then cut it off sharply just beyond the audience to dramatically reduce noise pollution,” says Martin Audio’s R&D Director Jason Baird. “As a result, headliners including Arcade Fire and Metallica could play at 104-105dBA – this is the first time such high levels have been achieved in the history of Glastonbury as noise limits are really strict.”

More than 150,000 fans listened to headline acts Metallica, Arcade Fire, and Kasabian, as well as The 1975, Elbow, Rudimental, Nitin Sawhney, and Dolly Parton, mixed on the MLA system.

Having persuaded the festival production in 2007 that RG Jones Sound Engineering was the right company to run audio services on the Pyramid Stage, Simon Honywill said, “I believed that MLA was the right system for the Pyramid since I first heard its extraordinary fidelity and learned about its unique abilities. Having used it at the past two Glastonbury Abbey shows, it was natural to suggest to Dick Tee and his team that it should take its rightful place on this iconic stage. I think it has more than proved itself here – I spent a considerable amount of time out in the audience and have never heard the field covered so well. And people in the crowd were openly complimentary about the volume and clarity too.”

There was also effervescent praise from the stream of FOH engineers over the weekend.

One of the biggest draws of the weekend was Metallica, engineered by Mick Hughes: “MLA is a new system to me, a new experience. I was surprised how easy it was to get the mix I wanted out of it. When I first used it I thought ‘whoa’ there’s some serious horsepower here. It just sounded really alive; I wouldn’t shy away from using it again.”

One of the most enigmatic performances was from Lana Del Ray, engineered by Max Bisgrove: “In half a song, I could get out what I needed from the MLA system. Great clarity, great power, it’s by far my favorite Glastonbury mixing experience so far.”

Dave McEwan, FOH sound engineer for Nitin Sawhney, remarked: “Glastonbury was the first time I’ve used the big MLA, and I’m really impressed – great imaging, 3D, even 4D sound. You can dive in and enjoy, it’s another sort of PA! I’m hoping to use this at the Royal Albert Hall for Nitin in September. I love it; it’s a great product, a super sounding system, lush and hi-fi, with lots of depth.”

The 1975’s engineer, Jamie McLuckie, adds: “At some festivals you have to tweak the bottom end, but MLA was nice and easy. The system sounded fat, with nice clarity and nice high end too. I couldn’t really fault it.”

For John Carroll, MD of RG Jones Sound Engineering, Glastonbury has been the affirmation of what he’s known for some time: “Martin Audio’s MLA is the next generation and there’s nothing out there to match it. Our continued support from Martin Audio is second to none.”

Summing up, Jason Baird says: “It was my career highlight back in 2008 working on our very first Glastonbury, but with MLA this year, it’s been topped. To see the massive audiences in complete unison front to back enjoying the performances, combined with the constant stream of smiling faces at FOH, it’s been the showcase for everything that Martin Audio and MLA stands for.”

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.

Suburban Community Channels Serves Local Viewers with Tightrope Media Systems

New master control center, production truck benefit from multichannel scheduling and playout, slo-mo instant sports replay

ST. PAUL, MINNESOTA, July 10, 2014 — Many Community TV broadcasters across the United States rely on Tightrope Media Systems to simplify multichannel scheduling and playout, but one Minneapolis-area broadcaster is leveraging the full Tightrope portfolio to establish meaningful community connections beyond master control.

Suburban Community Channels has been the Community TV and media resource connection for the northeast Minneapolis/St. Paul suburbs for more than 30 years, delivering 17 physical channels from its facility. As the local cable franchise authority for Comcast, the PEG broadcaster delivers eight channels of programming across 12 municipalities, including discrete government channels for each community. Suburban Community Channels populates its remaining channels with a variety of imported and locally produced content, the latter of which includes live broadcasts of high school sports.

Suburban Community Channels relies on solutions across Tightrope’s portfolio to manage all content. In master control, Tightrope Cablecast server and automation solutions cost-efficiently deliver high-quality programming to Comcast viewers, simultaneously serving on-demand content to online viewers. Cablecast has played a significant role for the core master control operation, cost-efficiently transitioning Suburban Community Channels from analog to SDI digital while establishing an HD-ready future. On July 16, “On Location TV19” will become the first channel in the cluster to transition to HD.

“It was clear we needed to rebuild master control from the day I was hired,” said Michael Simonds, technical lead for Suburban Community Channels. “We had a 25-year old system based on old analog composite video equipment and relay machine control, along with a massively sized router and automation system. Cablecast quickly and cleanly transitioned us to a digital environment while introducing a large number of operational efficiencies—not to mention returning real estate to our master control center. Tightrope clearly has the community media market in mind for product development, and understands the challenges we face.”

Many of the new operational efficiencies are tied to centralized workflows. Operators can connect to the central Cablecast server from any location with web access, and schedule programming weeks in advance; or make scheduling changes on the fly. Cablecast also allows Suburban Community Channels to quickly add new channels and applications, the most recent of which was a video-on-demand service that offers city council meetings on the website of its member municipalities.

Additionally, Tightrope Carousel digital signage solutions support transitional broadcast feeds, including bulletin boards between programs. The Carousel systems also deliver a bright and lively mix of rotating informational programming for visitors and employees inside its lobby areas, providing an additional public-facing benefit for establishing community connections.

On board its production truck, the broadcaster uses a Tightrope ZEPLAY solution for slo-mo instant replay of highlights from varsity football and other local high school sporting events. ZEPLAY allows production personnel to quickly trigger exciting replays and build highlight packages for viewers who follow local high school sports at home. Adding ZEPLAY to the infrastructure allows the production staff to operate across the workflow with more freedom by eliminating the more labor-intensive replay processes of the past.

“Tightrope makes their equipment very accessible, with no special software or training required to learn their products. The user experience is really much better than competitive products, and that is especially true of ZEPLAY,” said Simonds. “For live sports production, having four inputs and four outputs means that our operators don’t need to do any more intensive switching. We’re no longer doing the old school method of following the puck or the ball and switching angles in real-time. The ZEPLAY records every angle, and we can assemble what we need to enhance our sports programming. It has simplified our live productions dramatically—just as Cablecast has simplified our master control operations.”

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.

# # #

Technotrix and Martin Audio Cover Musical Graduation Ceremonies

Chicago, IL––Because Columbia College Chicago specializes in arts and media, their commencement exercises in the Chicago Theatre and the outdoor arts festival showcase preceding it are characterized by a wide variety of musical styles, ensembles and performances.

This is the 16th year Technotrix of Calumet City, IL has provided audio, stage and lighting for the graduation festivities, depending on Martin Audio to reproduce the music with the accuracy, audio quality and even coverage demanded by the different events.

Held the day before commencement, the Manifest Urban Arts Festival is a showcase for all graduating students on three stages at various locations near the campus in the downtown Chicago Loop.

The outdoor stages feature jazz orchestras, rock bands, performance arts groups, musical theater, stage combat and more. Each has a Martin Audio PA system run by students who function as FOH and Monitors engineers and stage technicians.

Set up under a tent, the main stage had 5 Martin Audio W8LC enclosures a side with 12 ground-stacked WSX subs; 3 W8C, 2 WS218X and 1 WS18X for side fill and 10 LE12JB stage monitors. Stage 2, also under in a tent, used 2 W8C and 2 WSX subs a side with 6 LE12JB stage monitors. The smallest stage was set up in an outdoor garden area with 2 Martin Audio WT3, 2 WS218X subs and 4 LE12JB stage wedges to keep quality high.

Asked about the results, Technotrix’s Kevin Kiefer said, “We’ve been doing the Manifest event for a number of years with a formula that just keeps getting bigger and more complex over the years as they add more bands, musicians and different types of music. The College is very happy with the sound we provide using our Martin Audio system. In fact, they said this year was the best it’s ever been. We just try to raise the bar every time out.”

The graduation ceremony takes place the next day in the historic 3600-seat capacity Chicago Theatre. Featuring two small stages stacked one on top of the other stage left and right with different ensembles, and a 25-piece jazz orchestra and 20-piece gospel choir set up in the pit, coordinating and reproducing all of the music is challenging, to say the least.

“We were up to just over 100 channels of audio this year with the jazz ensembles, commencement choir and all of the small stages,” Kevin explains. “We’d have singers and a horn section on the upper level and keyboards and rhythm section on the lower level, and they all do a variety of different numbers – a constant challenge in terms of the onstage sound. Fortunately, we had a Martin Audio monitor system to help us stay on top of the mix.

Concluding, Kevin adds “We’ve been using Martin Audio for a long time because it differentiates us from our competitors. Martin Audio speakers have a unique voice that allows us to achieve a better end result in terms of audio quality and coverage. Their speakers are accurate and consistent, which is important for events like the commencement and festival where there are so many different types of bands ranging through every type of program material. That’s one of the reasons why we’ve been doing this for 16 years.”

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.

White Mark Designs A New Foley Studio At Moscow’s CineLab

Studio design consultancy White Mark Ltd played an important role in creating a new Foley studio for Russia’s state of the art film sound facility CineLab Ltd. Unashamedly designed to be the best in the world, CineLab’s Foley studio is already attracting projects from both local and international clients.

Based in Moscow and housed in a completely renovated former cold store building on the banks of the Moskva River, CineLab already has 14 studios including three dubbing theatres, a 5.1 mixing room for pre-mixes and TV/DVD work, multiple edit and pre-production suites and sound design rooms. Three of CineLab’s dubbing theatres have Dolby Premier Licenses, and one of these was recently upgraded by White Mark to Dolby Atmos 3D spec.

The facility’s new Foley studio was designed to cater for two very distinctive approaches to Foley recording, says CineLab’s Managing Director Vadim Nerukov.

“Some Foley artists want to close mic everything and then add effects, compression, reverb, etc. afterwards in the control room,” he explains. “Others prefer a more ‘naturalistic’ approach where they use the space and air in the room and real reflections from the walls. In our opinion neither approach is the best – they are simply different. We wanted a room that could cope with both.”

To achieve this result, White Mark worked closely with internationally acclaimed and award-winning Foley artist and sound designer Nicolas Becker, whose credits include Harry Potter and the Goblet of Fire, The Ninth Gate, The Pianist, Oliver Twist, The Ghost and Venus In Furs, all directed by Roman Polanski.

White Mark’s managing director, David Bell says: “We designed and built the room from scratch, including every conceivable kind of indoor and outdoor surface. We also incorporated motorized ceiling panels and wall curtains that can be used to modify the room acoustics, and a special floor mounted on acoustic pads that can be tuned to different frequencies by tightening or loosening screws.

Bell adds that White Mark obviously included a conventional control room in its design but after speaking to Becker and watching him work, the company also positioned an additional mixing and recording area in the centre of the live room with a line of sight into each of the studio’s four working zones.

“This dedicated space allows the artists like Nicolas who prefer to work naturally to move around the studio and create sounds to the picture in real time,” David Bell says. “The picture is projected onto screens and the engineer working with him has five microphone positions at his disposal and can literally mix live, building up each scene, sound by sound.”

White Mark installed a 5.1 surround sound system in the Control Room, while the live room, which has four screens in different positions, has a theatrical-style loudspeaker system (Left-centre-Right) behind the main screen. This allows the Foley artist to work to picture and hear exactly what a cinema audience will ultimately hear.

Naturally the studio is filled with props and devices to create new sounds – and there is a dedicated large storage room with a car access dock so that bigger props can be brought in.

“This is, without doubt, the most impressive Foley room I’ve ever seen – and certainly the most impressive we’ve ever built,” David Bell adds. “Of course, having carte blanche to create something special did help – as did the fact that CineLab was effectively built from the ground up so we could incorporate features like the very thick cast concrete floor, incorporating deep pits and water pools of different depths, and the loading dock very early on in the design process.”

Vadim Nerukov says that completing CineLab’s Foley studio involved the most innovation in terms of ideas, design and workflow.

“As our design partner, White Mark has achieved great results with all of the rooms in the facility,” Nerukov says. “In our view they are the best acoustic design company on the market and we’re thrilled with the Foley room – it is quite simply magnificent.”

Recent projects undertaken at CineLab include the mix for the feature film Stalingrad, carried out by Vincent Arnardi, and the mix for Viy, carried out by four times Oscar winning sound engineer Bob Beemer. CineLab has also recently completed the Russian dub of The Amazing Spiderman 2, one of the first projects to take place in its newly accredited Dolby Atmos theatre.

-ends-

About White Mark:

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

The Chairworks Adds To Its Prism Sound Roster

Castleford-based The Chairworks, the north of England’s largest residential recording studio complex, has bought two more Prism Sound ADA-8XR multi-channel AD/DA converters to add to its growing roster of the units.

“We’ve got six now,” comments Studio Manager Ryan Jarvis. “We have 32 in 64 out, and everyone who comes here uses them and comments that Prism Sound are the best converters they’ve ever heard.”

The Chairworks has invested heavily in its facilities recently and is proud of the fact that its 96 channels of immaculate Prism Sound ADA-8XR conversion help artists to capture their performances perfectly through a large selection of first class microphones and vintage pre-amps. Recent credits include ex Beautiful South members Paul Heaton & Jacqui Abbot’s What Have We Become, Skindred’s Kill the Power, British Steam Power, and even the entire Grimethorpe Brass Band.

Constructed in a late nineteenth century Victorian factory, The Chairworks has been careful to utilise all the space at its disposal. Its phenomenally well-equipped Studio A control room now looks through into its newest live room, which in turn leads into another large space with multiple booths and ‘more keyboards than you can shake a stick at’.

“We finished the new live room, designed by studio legend John Wood, last year,” says Jarvis. “It features a double height ceiling and a large diamond-shaped window. It’s perfect for things like orchestral work. And while the Prism Sound converters are great for everything because of the level of detail you can hear, they’re really good for that,” he adds.

Studio A’s control room is built around an immaculately maintained SSL 4000 G+ with flying faders, Total Recall and Ultimation. To this are added the six ADA-8XRs, a Konnektor synchroniser and several racks of vintage outboard gear.

“To be honest, I think we have enough ADA-8XRs for the moment,” says Jarvis. “Besides, they’re so reliable we don’t need back-ups and the after-sales support from Prism Sound is fantastic. But the ADA-8XRs are fantastic too. What comes out is exactly the same as what goes in, you cannot tell the difference and I don’t know of any other convertor that does that. It’s just completely transparent.”

-ends-

About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

Red TX Joins The Remote Recording Network

Broadcast audio specialist Red TX has joined Europe’s leading live recording initiative Remote Recording Network. Whilst contributing to managing and engineering music and broadcast assignments on a global and cost-effective basis, RRN offers bespoke solutions that cater for all kinds of transmission, recording, mixing, mastering, duplication and publishing.

Remote Recording Network GmbH had last year joined forces with Dutch mobile recording company Eurosound bv and had integrated the German ‘RemoteTaxi’ enterprise to establish the initial ‘Network’.

Peter Brandt, head of Remote Recording Network and a man with over 30 years’ experience of recording and mixing international rock, pop, jazz, and classical artists, says: “Bringing Red TX into RRN will benefit our European customers by giving them access to a fully digital truck based in Europe that can handle high-end surround sound projects, particularly for broadcast.”

Tim Summerhayes, CEO of Red TX, adds: “I have known Peter Brandt for many years and we have worked together on numerous projects in the past. I am very excited by this collaboration because it allows us to utilize our combined technical resources in a very effective way. There is a huge requirement for mobile digital recording facilities in Europe and by joining forces with the Remote Recording Network we can now provide the necessary human and technical resources to meet this demand.”

Red TX has two state of the art recording units, RED 1 and RED 2. Both are equipped with Studer Vista 8 Digital Mixers, PMC 5.1 surround sound monitoring and Pyramix, Pro Tools and Reaper recording systems. They also have extensive racks of outboard equipment and digital effects, and are internally designed to very high acoustic specifications. RED 2, which is the larger of the two units, will be located as required, between the RRN HQ in Germany and Eurosound bv’s base in The Netherlands, while RED 1 will remain at Red TX’s premises in the UK.

“Our model of using international partners to combine resources and equipment is very valid, especially in a world where businesses need to reduce their carbon footprint as much as they can,” Peter Brandt adds: “By tapping into facilities that are already stationed on different continents, we don’t need to transport huge trucks around the globe. Instead we can ‘travel lite’, frequently only needing to transport an engineer, which minimizes travel costs and keeps our carbon footprint to a healthy low. It also means that we can keep our rates very competitive, too.”

Red TX’s RED 2 unit will make its Remote Recording Network debut in June at the Tuckerville Festival in Enschede, The Netherlands. From there it has a busy summer ahead, working at live events and festivals in various countries.

-ends-

About Red TX:
Red TX provides a comprehensive concert recording and broadcast service to the music and television industries. The company has state-of-the-art mobile recording facilities and can handle projects of any size or complexity. As well as recording audio for broadcast, the company also records live music events for subsequent release on CD or DVD www.remoterecording.net
www.red-tx.com

About Remote Recording Network:
Remote Recording Network is a new initiative that brings together the market-leading live recording companies Peter Brandt Remote Recording and Eurosound GmbH. Years of experience, knowledge and network are now combined to supply an unrivaled, world-class, world-wide recording service.
www.remoterecording.net
For more information, please contact Tony Andrews – tony@awandrews.com

Mastering Engineer Eric Boulanger Extolls the Benefits of SADiE’s New Mastering Toolkit

The new mastering features that SADiE has incorporated into its popular SADiE 6 editing and production software have been hailed as a major improvement by internationally acclaimed mastering engineer Eric Boulanger – not least because they are saving him an enormous amount of time.

Eric Boulanger is based at the world famous The Mastering Lab (TML), which was America’s first independent mastering facility when it was opened in 1967 by Doug Sax. Originally in Hollywood but now based on Ojai, California, TML remains a revolutionary state-of-the-art company that uses unique concepts of signal flow and electronics pioneered by Doug’s brother, Sherwood Sax. All of its custom electronics and console are all purpose designed and handcrafted, and this attention to detail has earned TML more Grammy nominations for engineering than any other mastering facility.

As well as being an eminent mastering engineer, Boulanger is also responsible for ensuring TML’s custom analogue equipment stays in tip-top shape. In keeping with TML’s pioneering spirit, Boulanger was the first Mastering Engineer to produce a ‘Mastered for iTunes’ release (in 2011) – a format that is now the mainstay for all major record label releases on iTunes thanks to the popularity of digital downloads.

When Boulanger isn’t working, he lets his creativity loose in the studio as a professional violinist. He is also on the Steering Committee of NARAS, the GRAMMYs Producers & Engineers Wing.

Boulanger has been a SADiE user since 2007 when he started working at TML.

“We have five operational systems that range from the early Artemis to our current SADiE 6.1 systems,” he says. “These are our workhorses, but when we are working with DSD, we use an older SADiE 5 DSD8, which is still the finest DSD editor I’ve encountered.”

TML’s decision to upgrade its SADiE 6 software to the latest version, which includes the new mastering tools, came as a result of changes within the music business. Boulanger explains: “These days, artists and labels are mainly releasing Hi-res files (for example HDTracks); MFiTs, 16Bit digital downloads, and (maybe) CDs. Thanks to the new mastering features in SADiE 6, I can generate all of these files with just a few clicks of the mouse. The new software will also generate WAV file masters that are cut gapless and therefore maintain any track spacing, or fancy crossfades between tracks (like Pink Floyd’s Dark Side of the Moon, for example, or a live concert with applause segues). Now all the different products will match track length, etc.”

The main benefit the new version of SADiE 6 has brought to Boulanger’s workflow is time saving.

“It is literally saving me hours and hours of production time because I no longer have to recreate separate EDLs and jump through hoops to create WAV bounces that match other sample rate or CD products,” he says. “I also don’t have to bounce grouped clips with extra space tagged on to maintain correct gapless track spacing.”

Boulanger adds that, thanks to the efforts of the European Broadcasting Union and the UK Music Producers Guild, SADiE 6 also supports Broadcast WAV, an extended WAV format that allows ISRC codes to be embedded into the XML Metadata of WAV files.

“This is a solid step forward in making WAV file masters a professional format,” Boulanger says. “Prior to getting this new software I had to manually rename files – and, of course, there was no possibility of including ISRC codes in the metadata.”

Since installing the latest version of SADie 6, Boulanger has been working on various albums, all of which have benefitted from the speed at which he can now turn project around.

“The day I received the new features, I was working on a popular Christian group’s live album,” he says. “They had attended the session and were in a rush to make a flight, so I gave the new features a whirl since there were many edits and crossfades to create the live album experience. To my delight, everything worked perfectly right off the bat, and the band made their flight, masters in hand.”

Boulanger, who has worked with artists such as Eric Burdon, Colbie Caillat, OneRepublic, The Plain White T’s, Serena Ryder, Chris Botti, Sarah Jarosz, and Jackson Browne, has most recently finished an album with multiple formats for singer Anais Mitchell. Produced and mixed by Gary Paczosa, it will be released on Wilderland Records later this year.

-ends-

About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The range now includes SADiE digital audio workstations and location recorders. Prism Sound also manufactures audio test and measurement products such as the DSA-1 and the dScope Series III audio analyzer.

For more information please visit www.sadie.com or www.prismsound.com

About

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

Calendar

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

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication