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The Australian Pink Floyd Show Plays On Its Legacy with HARMAN’s AKG Microphones

ADELAIDE, Australia – The Australian Pink Floyd Show (TAPFS), a cover band for the iconic Pink Floyd, is fully equipped with a diverse range of HARMAN’s AKG microphones for its band members. Having sold over four million tickets in 35 countries, The Australian Pink Floyd Show is currently touring the globe over the course of five months to bring its ‘Gold Standard’ to the rest of the world.

Having tried condenser microphones with larger polar patterns, guitarist/vocalist Steve Mac of TAPFS noticed they picked up the drums in the background, which introduced too much noise into the FOH mix. Dynamic microphones, on the other hand, don’t suffer as badly from drum spill, so after much experimentation, the band purchased an AKG D7 for each vocalist and the keyboardist/MC, which offers tremendous sound quality while meeting the band’s other criteria.

“The D7 has great isolation, which not only keeps our monitor mixes tidy, but preserves our voices,” said Mac. “Our keyboard player doubles as the MC and uses a chrome-plated D7 for a bit of fun and a touch of class!”

AKG C414, C518 and D40 microphones are used for the drums. “We use the AKG C414 microphones on the overhead and ride cymbal, because they just sound so natural. For the toms and roto toms, we use the AKG C518 microphones, because their small stature and stunning sound allows for more accurate positioning in tight spaces. We also use the AKG D40 on the lower floor tom and also on the gong to capture the rich bass,” Mac said.

Mac uses AKG C451/CK1 microphones on his Fender Twin Reverb amps, which “really bring out the detail of the top end and capture the glassy bite of a Twin,” he said. Mac also uses AKG C214 microphones on his Hiwatt 4 x 12 speaker cabinets, because “they have a large diaphragm and they capture the low end naturally and add ‘size’ to the guitar sounds.”

AKG C518 microphones with AKG radio packs are used for the tenor, alto and soprano saxophones. The Baritone saxophone is captured by an AKG D40 large diaphragm “to bring out the warmth in the sound without the risk of feedback,” according to Mac.

TAPFS ambitiously recreates Pink Floyd album tracks as closely as possible on a live stage. “We approach this show differently to most live shows, because to some degree we are taking a recording studio on tour. With AKG microphones, we are able to recreate the sounds of a studio environment, while maintaining isolation and high feedback rejection,” said Mac.

Besides sounding just the way vocalists want them to, AKG microphones are designed to stay consistent and endure severe punishment across all stages of a tour, so bands can focus on the show. “The consistency is extremely important, because the audience is familiar with the sounds of original Pink Floyd songs,” said Mac. “These microphones allow us to accurately maintain the amazing sounds of Pink Floyd’s albums, regardless of the venue and environment. That is why we have been using AKG microphones for 31 years in both studio recording and live music production.”

HARMAN (www.harman.com) designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 15,200 people across the Americas, Europe, and Asia and reported sales of $5.1 billion for the last twelve months ended March 31, 2014.

A.C.T Lighting Approved for Membership in the Con Edison Commercial and Industrial Energy Efficiency Market Partner Program

A.C.T Lighting, Inc. has been named a member of the Con Edison Commercial and Industrial Energy Efficiency Market Partner Program. The program, piloted by the utility’s Green Team brand, benefits A.C.T Lighting and its customers as its members participate in protecting the environment. It directly relates to the GDS ArcSystem of auditorium, retail and commercial LED lighting for which A.C.T Lighting is the exclusive distributor in North America.

The Market Partner Network is comprised of contractors, distributors, suppliers and manufacturers of energy efficient equipment. It also includes skilled professionals such as architects, engineers and energy consultants who assist Con Edison commercial and industrial customers in meeting their energy savings goals.

Partners receive numerous advantages from the program, including the potential to broaden their customer base and increase sales. One of the primary benefits is the financial incentives offered by Con Edison to replace less efficient incandescent, T12 fluorescent and standard metal halide technologies with energy efficient alternatives such as LED lighting.

“We discovered ConEd’s Market Partner program at a recent global energy conservation trade show we attended,” says Chris Patton, systems specialist at A.C.T Lighting. “We were impressed by the financial incentives offered to those who want to implement energy efficient measures. We are very happy to have been accepted into the program. Now, when an interested party like a theater or entertainment venue contacts Con Edison for energy efficient lighting solutions the utility can refer them to us and our GDS ArcSystem.”

Designed as an LED lighting system for new and retrofit applications, the UK-made ArcSystem is available in a range of configurations that serve as truly viable replacements for traditional incandescent sources. With a CRI in excess of 90, the ArcSystem produces an incredibly rich, warm light. It offers extremely smooth dimming from 100 to zero – a feature that’s hard to find in LED fixtures. The system can also be operated wirelessly for easy installation in existing buildings without the need for rewiring with control cable.

“The ArcSystem has been in production for over two years and has hundreds of completed installations worldwide, including many in the U.S.,” notes Patton. “The ArcSystem has just received UL 924 approval for the dual input, emergency version of its fixtures. That’s particularly important for venues looking for an all-in-one solution since it’s now possible to use a fully-listed house light product for both main house lighting and emergency lighting.”

Patton says that A.C.T Lighting is “confident that our acceptance into Con Edison’s Market Partner program will help us promote the ArcSystem’s exciting, green energy alternative to theaters and other entertainment venues in the New York metropolitan area.”

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

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L-ACOUSTICS Grows North American Team With Three Hires

Left to right: André Pichette, Chris "Sully" Sullivan and David Brooks

David Brooks, André Pichette and Chris “Sully” Sullivan join L-ACOUSTICS US

OXNARD, California — Bolstering its commitment to both the permanent installation and touring markets, L-ACOUSTICS announces the strategic appointment of three new employees to its US team: David Brooks, André Pichette, and Chris “Sully” Sullivan. The announcement comes from Laurent Vaissié, General Manager, L-ACOUSTICS US.

Having served as Applications Engineer for L-ACOUSTICS’ worldwide headquarters in Marcoussis, France for the past nine years, David Brooks has now joined the Oxnard, California office as Applications Engineer, Touring Liaison, USA. With 30 years of experience to his credit – including running monitor mixes for N’Sync, among many other artists – Brooks is now tasked with providing additional support for touring clients, liaising with production and sound companies, and facilitating education for FOH and system engineers.

André Pichette, who most recently served as Director of Integration and Operations at Solotech Las Vegas since 2010, comes to L-ACOUSTICS as Head of Applications, Install, USA. Similarly bringing three decades of audio experience to his new role with the loudspeaker manufacturer, Pichette has performed audio design and engineering work for numerous Cirque du Soleil productions, Olympic Games, and high-profile tours like Billy Joel and Elton John, Backstreet Boys, and Barenaked Ladies over his career.

The new position of Application Engineer, East Coast, USA has now been filled by Chris “Sully” Sullivan, who previously served as Optimization Engineer for Elite Multimedia in addition to mixing touring FOH sound for Gary Allan, Luke Bryan, Joe Nichols, Jaci Velasquez, and Point of Grace. Involved with live sound for almost 30 years as well, Sully takes charge of L-ACOUSTICS’ first technical support position based on the East Coast for increased support and future development in the Northeast.

“L-ACOUSTICS US experienced a steep 74 percent growth in permanent installations in 2013, as well as a very strong demand from production rental companies for our variable curvature products following the introduction of K2,” says Vaissié. “As this trend continues into 2014, I am pleased to announce the appointments of David, André, and Sully to key strategic positions in support of our touring and installation clients, and dedicated local support in the Eastern US, respectively. These men each share a passion for uncompromised high-performance audio, education, and customer support that fits perfectly with our values. Benefiting from nearly 90 years of combined experience, our North American customers and end users can count on, now more than ever, premium support for their L-ACOUSTICS sound systems.”

L-ACOUSTICS is a leading innovator and manufacturer of high-performance loudspeakers, amplifiers and signal processing devices for touring and installed sound markets. Known around the globe for pioneering and championing the modern line array loudspeaker concept with V-DOSC, the company has received numerous accolades for its K1, K2, KUDO, KARA, KIVA, ARCS, XT coaxial loudspeaker systems and SB line of subwoofer enclosures, all powered and processed with the LA4 and LA8 amplified controllers in fulfillment of a “total system approach.” Product distribution and customer service for the USA is handled by L-ACOUSTICS’ subsidiary in Oxnard, CA.

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Contact:
L-ACOUSTICS US
2201 Celsius Avenue, Unit E, Oxnard, CA 93030
Tel: 805.604.0577 / Fax: 805.604.0858
Email: info@l-acoustics-us.com / Web: www.l-acoustics.com

FOR-A to Highlight New Version of FT-ONE 4K Super Slow Mo Camera and File Converter at Cine Gear Expo 2014

Cypress, CA – FOR-A Corporation of America plans to showcase the newest version of its FT-ONE full 4K super slow motion camera at the upcoming Cine Gear Expo, taking place June 5-8 at The Studios at Paramount in Hollywood. FOR-A will be in Booth #317, where they will also display the FT-1READ – a RAW data to DPX converter available with the FT-ONE camera.

The new version of the FT-ONE offers fiber I/O connections built directly into the unit for ease of use when shooting from the field. The FT-1READ is an option available with the FT-ONE for easy file conversion. The FT-1READ takes the RAW data from the SSD drives, imports all recorded info, and converts it to a DPX file, which is a common file format for editing and color grading.

The FT-ONE has been used in a variety of sports broadcast and digital cinematography applications, including professional football, boxing, automobile racing, ice cross downhill, and wakeboarding events, as well as a NASA rocket launch. The camera has been the recipient of multiple industry awards, including a 2012 IBC Show STAR Award from TV Technology Europe, TVB Europe’s Best of IBC 2012 Award, and most recently, a 2013 Government Video Salute at GV Expo.

The FT-ONE employs FOR-A’s high-sensitivity CMOS color sensor, “FT1-CMOS,” and plays back full 4K (4096 x 2160 pixels). One output channel can provide QFHD (four 1080p 3G-SDI) outputs, while the other output channel provides down-converted HD-SDI for live viewing and play back. The FT-ONE captures images as uncompressed raw data on the system’s internal memory, which has a recording capacity of 9.4 seconds. This data is then stored on one of two hot-swappable SSD cartridges, each of which is capable of storing 84 seconds of full 4K resolution images at 900 fps.

“We’re very excited to showcase this new version of the FT-ONE camera at Cine Gear – the event where we chose to launch this groundbreaking camera two years ago,” said Hiro Tanoue, President, FOR-A Corporation of America. “Cine Gear Expo continually attracts major players in high-end entertainment production. We’re offering the FT-ONE with fiber connections built into the unit, making it easier when the production calls for the camera to be used a far distance away from the base station.”

Cine Gear Expo is the premier film, video, and digital media expo for the entertainment industry, and is the largest event of its kind. 2014 marks the conference’s 18th year.

About FOR-A

FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A’s product line, call 714-894-3311 or visit our web site at www.for-a.com.

Mexican Rock Band Zoé Travels the World with SSL Live Console

“The SSL Live is totally different than other consoles: much warmer, far superior”

MEXICO CITY – One of Mexico’s most popular rock groups, the platinum-selling, Latin Grammy® Award-winning band Zoé is world renowned, having played concerts across North America, Europe and South America. For their latest world tour, which has already made more than 40 stops in the U.S. and Mexico, the band’s monitor engineer, Gustavo Zertuche, is using an SSL Live console to drive the group’s wedges and in-ear monitors. Supplied by Meridian Proaudio, the first rental company in Latin America to offer SSL Live, the console’s ease of configuration makes it perfectly suited to handle monitoring for a fast-paced tour such as Zoé’s.

“The board is really amazing,” Zertuche says of the SSL Live, which allows an engineer to choose their own balance of touch screen and hardware functionality. “You can use the control surface the way you want to, put any channel in any place and configure it the way you want. It’s great for an engineer because you’re not limited; you don’t have to conform to somebody else’s workflow.”

After selecting the SSL Live for Zoé’s world tour, Zertuche, owner of Audioarquitectura and considered one of Mexico’s leading engineers, flew to Los Angeles for a training session. “Live is very simple to learn,” he says. “I was taught how to use it in two days! I was very grateful that the training didn’t require a lot of time; the console is just that great. I used to use a different digital console, but when I heard the SSL, I said ‘no more!’ This is perfect for me now.”

“The audio is incredible,” he continues. “Our mic preamps are being split from our FOH console, but that doesn’t affect the sound. It’s the most clarity I have ever heard from a digital console. It’s like you are using an analogue board—the preamps are very accurate and sound excellent.”

Zertuche uses the console for all of his stereo mixes for in-ear monitors and mono mixes for wedges with a complex cue system that routes audio for three or four monitor switch boxes on stage. “I use this wonderful reverse communication function for the SSL Live,” he explains. “I use it for all of my talkbacks through an intercom matrix, which I also use to set my cues. Even if I’m just using one solo, I can still hear the musicians, which is great. It’s a unique way to mix, but it’s helpful for me. For instance, if my stage right technician needs something, he only has to press a button and he can speak to me directly.”

As part of their world tour, Zoé recently brought the SSL Live to the Stereo Picnic Festival 2014, a massive music event in Bogota, Columbia. According to Zertuche, the band members appreciate what the SSL Live has brought to their monitor mixes during this and other performances. “They love it! They are very impressed by the sound,” he says. “Live made its debut on the final day of rehearsals, following the auditions of competing consoles, and the guys could hear a clear difference between them. They said the SSL Live is totally different: much warmer, far superior.”

With nearly two decades of engineering and six years monitoring Zoé under his belt, Zertuche’s current lineup includes the band Caifanes, pop duo Ha*Ash, singer Benny Ibarra and MTV’s World Stage, as well as recording and mix engineer duties at Control Room Studio and MAS Audio Studio. He also serves as audio crew chief and monitor engineer for the Lunas del Auditorio Nacional, an awards show recognizing live musicians and sound companies in Mexico.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

Alcorn McBride Announces Unprecedented Five-Year Product Warranty

Alcorn McBride Inc. has announced that it is extending its standard product warranty from two years to five years. Alcorn McBride is the leading manufacturer of control, audio and video equipment for the themed entertainment industry as well as for retail environments and transportation applications,

In a world where some manufacturers offer 90-day warranties, Alcorn McBride is well known for a straightforward warranty policy that’s distinctly lacking in fine print. Previously, if an Alcorn McBride product broke within two years of its purchase and the breakage was not due to abuse, the manufacturer would repair or replace it. The customer paid only for shipping to Alcorn McBride.

Now that warranty period has been extended to five years, demonstrating the confidence that Alcorn McBride has in the reliability and durability of its products.

“The Alcorn McBride brand is known for rock-solid reliability and unsurpassed customer support,” says CEO Steve Alcorn. “We’ve always had a two-year product warranty and the industry’s most customer-friendly support policies. Now we’ve decided to increase that to an unprecedented five-year product warranty.”

“Frankly, our existing customers have always known they can expect that level of support from us, so we’ve decided to make sure the rest of the world knows, too.”

About Alcorn McBride:
Founded in 1986, Alcorn McBride is the leading manufacturer of show control, audio and video equipment for the themed entertainment industry, and a rapidly growing provider of audio and video systems for retail environments and transportation applications. Staffed by some of the industry’s best engineers and backed by outstanding customer support, the company has demonstrated great agility in bringing new designs to market. A hallmark of Alcorn McBride products is their durable, zero maintenance design. The company’s products provide consistent, reliable operation for audio and video playback applications worldwide. For more information, visit www.alcorn.com.

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Michael Franks Chooses HARMAN’s Martin Professional For the 2014 NFL Draft

NEW YORK, New York — Held at New York City’s prestigious Radio City Music Hall, the 2014 NFL Draft was the highest rated ESPN Draft telecast in more than two decades. To ensure proper lighting of the players, audience and for the live television broadcast on both ESPN and NFL Network, Christie Lites and Principal Lighting Designer, Michael Franks, deployed HARMAN’s Martin Professional fixtures to provide light to the entire venue.

In total, more than four miles of cable were used to power 14 Martin MAC Auras, 20 MAC Viper AirFxs, 19 MAC Viper Performances and 24 MAC Viper Profiles throughout Radio City Music Hall from Thursday, May 8th – Saturday, May 10th.

What began as a relatively quiet experience in 1936, the NFL’s annual Draft has become one of the largest productions and most anticipated yearly events. As the NFL has continued to grow, so has the emphasis on production quality.

“This was our first year with a complete Martin rig,” Franks said. “Doing this project for 18 years, the Draft has consistently grown into a bigger event. We are constantly looking at how we can make it better each year and this year Martin played a big part in that. With two different networks now covering the event, the challenges grew even more as additional areas needed lighting coverage. It was a lot to manage but having the consistency of one team, we were able to create a uniformed look that worked for everyone.”

Franks decided to make the transition to Martin fixtures after several product demos and side-by-side comparisons with competitors. “We did the entire set-up in a matter of three days so there was definitely a lot of pressure to get it perfect the first time,” he said. “In addition, there is a new red carpet set-up outside the Draft before the first night that we were responsible for lighting. There were a lot of different parts but Martin helped tie it all together.”

Echoing Franks’ statement, John Trowbridge, Gaffer Crew Chief at The Wolf Productions stated that he enjoyed working with a quality product such as Martin. “In prior years,” he said, “we’ve used a selection of different manufactures, so it was nice to tighten things up with just Martin. Christie Lites is a Martin shop with a bunch of great fixtures so it made my life and my team’s life easier dealing with one company.”

At Radio City, the team needed to ensure that every area of the venue, including the hallways and all three balconies, were lit for live television. “Martin’s fixtures helped us to keep a uniform look and they also proved to be really even and bright,” said Franks. “We used a few of Vipers as follow spots which gave us the ability to light the players when they walked into the audience, since the ‘house’ followspots couldn’t reach them there. The Viper AirFXs and Viper Performances were used to light the walls, giving them color and patterns that were shown behind players and correspondents on both ESPN & NFL Network. We also used the Performances to light the tables in a controlled way due to the fact that this year, they were positioned behind the fans.”

Franks said he appreciates the quality of light, and color of the Martin fixtures, as they are different than what he has seen from competing lighting manufacturers. “I’m always one to refer to the phrase that ‘change is the only constant’,” he said. “A project like this never stops changing and the switch to Martin was a great choice for this production. We always need to find ways to be more efficient and Martin has been an improvement and a refinement in how we handle the Draft.”

Chris McMeen, Christie Lites, was the account representative for the package.

For additional information on Christie Lites, please visit: www.christielites.com

For additional information on The Wolf Productions, please visit: www.thewolfproductions.com/

As a world leader in the creation of dynamic lighting solutions for the entertainment, architectural, and commercial sectors, Martin lighting and video systems are renowned the world over. Martin also offers a range of advanced lighting controllers and media servers, as well as a complete line of smoke machines as a complement to intelligent lighting. Martin operates the industry’s most complete and capable distributor network with local partners in nearly 100 countries. Founded in 1987 and based in Aarhus, Denmark, Martin is the lighting division of global infotainment and audio company HARMAN International Industries. For more information please visit: http://www.martin.com.

HARMAN (www.harman.com) designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 15,200 people across the Americas, Europe, and Asia and reported sales of $5.1 billion for the last twelve months ended March 31, 2014.

D-Tools Workflow-Enhancing Native iOS Mobile Quote App Now Available

Companion app to SIX 2013 enables electronic systems integrators to remotely generate bids and later import them into the D-Tools SIX 2013 software platform for full project design and management

CONCORD, CA, USA  MAY 27, 2014 — D-Tools, Inc., the worldwide leader in electronic system integration software, announced today that the new D-Tools Mobile Quote app—an iOS-based companion app for its flagship software, SIX 2013—is now available for D-Tools users worldwide. This mobile extension of SIX 2013 provides mobile project quoting capabilities that enable Commercial and Residential Audio, Video, and Security systems integrators to generate quotes natively on an iPad®, then import them into the full D-Tools SIX 2013 software platform for further project design and management. Delivering on D-Tools’ commitment to timely product updates and enhancements, this new D-Tools Mobile Quote app will immediately extend the highly functional D-Tools SIX 2013 workflow to mobile sales and specification teams.

A native iOS application, the D-Tools Mobile Quote app leverages D-Tools’ extensive manufacturer product library by enabling system integrators to access and integrate product category, sub-category and package information and price range from their SIX 2013 catalog while working with customers in the field. Integrators can enter client and contact information into the Mobile Quote app, then walk prospective customers through available installation scenarios in order to create a quote for approval. Once complete, the resulting quote can then be imported into the full SIX 2013 software application for additional design work and synchronization.

A highly efficient productivity solution, the Mobile Quote app uses many of D-Tools’ workflow concepts, extending them to the mobile environment where customer interaction often takes place. Enabling the specification of locations and systems provides integrators the ability to provide packages or pre-configured systems for inclusion in the quote. Labor and general pricing is automatically calculated, and customers are provided an accurate proposal that in many cases can be signed off for approval on the spot.

By using D-Tools mobile quoting software, integrators give their customers a professional and impressive solution that illustrates both their commitment to the latest in cutting-edge technology and respect for their clients’ time by offering fast bids on-site. An integrator’s customer no longer has to wait anxiously until the integrator gets back to the office and spends hours pounding out a quote. Solutions are quick, easy, and professional, allowing the integrator to get started on their project right away. Available to D-Tools customers via the Apple App Store, the Mobile Quote app will carry a monthly subscription fee of $25.00 per user/device.

“We’re pleased to make the D-Tools Mobile Quote app available to our global user community,” said Adam Stone, President and Founder of D-Tools. “Providing our users the ability to create quotes in the field is a natural evolution for our platform, and the Mobile Quote app is an important component that ensures D-Tools continues to meet the growing needs of our expanding electronic systems integration customer base. The Mobile Quote app release is the first release of our mobile capabilities roadmap to significantly enhance and complete our project workflow. As we have demonstrated since the release of SIX last year, this new platform enables us to deploy new features as part of rapid and regular release cycles, which ultimately provides our customers a clear path for sustained growth.” 

More than 4,500 companies worldwide use D-Tools Systems Integrator Software to streamline the estimation, design, and project management processes associated with the installation and integration of low voltage systems.

iPad® is a trademark of Apple Inc., registered in the U.S. and other countries.

About D-Tools, Inc.
D-Tools, founded in 1998 and based in Concord, California, is a worldwide leader in accessible, highly accurate system design and documentation software platforms. The company’s flagship product, System Integrator™ (SI), is a robust solution that utilizes Autodesk® AutoCAD and Microsoft® Visio to facilitate comprehensive system design, documentation and project management. D-Tools enables residential and commercial integrators to streamline business processes and increase revenues while reducing the time and cost associated with the installation and integration of low-voltage electronic systems. More than 4,500 leading companies currently use the award-winning D-Tools platform to reduce time, costs and to streamline the system integration process. Product updates and related information can be obtained by following D-Tools on Twitter and on Facebook.

Learn more about the D-Tools MVP Program, D-Tools System Integrator, or the undeniable benefits of using a streamlined system design, proposal, and estimation software platform at www.d-tools.com(866) 386-6571, ext. 1, or e-mail info@d-tools.com ormvp@d-tools.com.

Press Contacts
Tim Bigoness, D-Tools, Inc., +1 (925) 270-4102, timb@d-tools.comwww.d-tools.com

Katye (McGregor) Bennett, KMB Communications, +1 (425) 328-8640katye@kmbcomm.com

MVP Contact
Josh Carlson, D-Tools, Inc., +1 (925) 270-4105joshc@d-tools.com

Link to accompanying images for use in publication:
https://www.dropbox.com/sh/e99zhtd1lhkb2h6/AAAtJc2LeZpbWLXKv42LGp3Fa

 

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TDC provides core video expertise for largest-ever light festival Vivid Sydney

Aquatique Show International, Vivid Aquatique, Darling Harbour, Photography by Rodney Campbell.

TDC – The Technical Direction Company is proud to be deploying the full range of its professional and technical expertise in providing core technology and services to Destination NSW for the sixth annual Vivid Sydney festival running from 23 May to 9 June.

Anthony Bastic, Vivid Light Festival Director said: “Vivid Sydney is a unique celebration of light, music and ideas that will see the centre of New South Wales’ vibrant capital transformed by a series of state-of-the-art visual and creative art installations. There are two components to Vivid Light. The first is the Light Walk, which is the public interface of Vivid Sydney. This includes numerous light installations by artists. Secondly, also forming part of the Light Walk, are projections onto some of Sydney’s most iconic buildings including the Museum of Contemporary Art and Customs House. We are thrilled to work with TDC in bringing the artists’ vision to light.”

“This is our third year of working with Destination NSW on Vivid Sydney, providing a huge range of technologies including 3D media servers, 3D mapping, video projection equipment, projection tower infrastructure and sound installations, not to mention our highly skilled crews to manage the technology,” comments Kain Jones, Special Projects Manager at TDC. “We have used our experience of working on Vivid Sydney for the last three years to apply the insights with have learned to how to adapt and continue to make sure that the elements TDC is involved in are amazing.

“As Vivid Sydney grows, new buildings and locations are added, so initially we spend considerable time analysing which technology is best-aligned to meet the artists’ vision. We get involved from the outset in installation design, mapping the buildings to enable the designers to create content specific to the outline of those buildings. We then work on optimal locations for projector placement, media server selection, lens selection and the number of projectors required to meet specific brightness (lux) output for each installation.”

“Vivid Sydney is a great challenge for our company, the scale of this event is enormous in regard to projection technology required to bring it all together,” comments Michael Hassett, TDC’s Managing Director. “This year over 50 Barco projectors will be deployed in total, ranging from the brightest projector in the world, the HDQ-2K40 (40,000 lumens brightness) along with Barco HDF-W26 (22,000 lumens brightness) and FLM-R22+ (22,000 lumens brightness) projectors. This is a projection technology feat and not something that any company globally could pull together easily. We’re proud to be working with the great team at that Destination NSW again this year, and we look forward to the continued success of Vivid Sydney.”

• Over 50 Barco projectors will be deployed in total, ranging from the brightest projector in the world, the HDQ-2K40 (40,000 lumens brightness) along with Barco HDF-W26 (22,000 lumens brightness) and FLM-R22+ (22,000 lumens brightness) projectors. Photography Rodney Campbell.

The TDC team preparing for Vivid Sydney. Photography by Rodney Campbell.

TDC getting ready for Vivid Sydney. Photography by Rodney Campbell.

And the last word goes to Olin Winton, Technical Manager at TDC who says: “It’s always a joy to work on large format projection projects and Vivid Sydney is no exception. The opportunity to display images on iconic buildings takes months of planning and long nights of alignment. This year we have added several new projects to our list, which we are extremely pleased with. Seeing it all come together, working with world class technicians and seeing the end result of people interacting with the buildings is extremely rewarding.”

World firsts from TDC

This year’s Vivid Sydney programme includes a number of significant technological and creative firsts.

Dichroic Dimensions

Digital Shamans, Dichroic Dimensions, Museum of Contemporary Art Australia (Mordant Wing). Photography by Rodney Campbell.

Kain Jones points to one aspect of a unique interactive installation at the new building of the Museum of Contemporary Art Australia (MCA), where artist-in-residence Ross Manning has collaborated with multidisciplinary artistic collective, The Digital Shamans to give visitors the chance to projection-map the façade of the building using only their voice.

“There’ll be two microphones on a slightly raised platform. As the audience uses their voice to interact with the installation, various hidden layers of visuals and soundscapes will be revealed based on pitch,” explains Michael K Chin at The Digital Shamans. “TDC are an amazing company with the technical know how and equipment to cope with the subtleties in our work. Especially with the HD video taken of dichroic filters producing subtle gradients in tones and colour shifts, strong contrast and vivid colour. It’s been a pleasure working with TDC for the first time. They are very professional and their experience with past Vivid Sydney festivals has been invaluable.”

Gamma World

Jess Johnson & Spinifex, Gamma World, Original Façade, Museum of Contemporary Art Australia. Photography by Rodney Campbell.

Bringing together the worlds of live performance, interaction and visual art onto the original façade of the Museum of Contemporary Art, ‘Gamma World’ combines isometric designs, old school gaming, pop up 3D books and forced perspective using 3D and animation tricks that powerfully takes the viewers on a journey through changing worlds.

Stella Carmody, Producer at Spinifex Group Sydney says: “What makes this projection so special this year is that we were able to combine our love of story-telling with the wonderfully inspiring artwork of Jess Johnson to create an abstract, engaging and playful piece of moving art on this iconic building. Hardware and projection mapping was undertaken by our good friends, large-scale projection experts, TDC.”

Urban Tree Project

Urban Tree Project, Ample Projects – MLC Centre, Martin Place. Photography by Rodney Campbell.

If you ever find yourself wondering what grew in the CBD before monuments of glass and steel, Urban Tree Project in Vivid Sydney 2014 will show you. The CTA building in Martin Place will grow out of the ground to become a magnificent living tree within the surrounding urban environment to celebrate and reflect on Sydney’s original green landscape. Design and animation company, Ample Projects turned to TDC to provide the projection solution.

“This project had unique technical challenges, so the natural choice for us was TDC. Ample designed a complex 3D mapping solution in collaboration with the TDC team. They were highly professional, providing projection design solutions for a cylindrical architecture screen with extreme focal planes. We look forward to working with them again soon,” says Ample Creative Director, Nicholas Tory.

“The shape of the structure was great to work on. We decided that the best solution was to map the projection to the curves of the building using Coolux Pandoras Box Media Servers,” comments Pete Lynn, TDC’s Media Server Specialist. “We’re very happy with the results.”

The projections for the Urban Tree Project are synchronised with a stunning laser lighting show as is the case with TDC’s projections for the Vivid Aquatique Water Theatre installation.

Spirit of Patyegarang

•	Patyegarang, Bangarra Dance Theatre Company – Vivid Light Walk Tour, Harbour Bridge Southern Pylon. Photography Greg Barrett.

Bangarra Dance Theatre is Australia’s leading Indigenous performing arts organisation celebrating its 25th anniversary this year. To mark this milestone the company presents its new production at the Sydney Opera House Patyegarang until 5 July and participates for the first time in Vivid Sydney with The spirit of Patyegarang. Projected onto the southern pylon of the Sydney Harbour Bridge, The spirit of Patyegarang is a video installation marking the first Indigenous contribution to the Vivid Light Walk.

Bangarra’s Executive Director, Philipe Magid, said: “TDC is providing equipment and video expertise enabling our company to project a stunning work of art on to a section of the iconic Sydney Harbour Bridge. Through a fusion of dance movements and music soundscape and thanks to video projections supported by TDC, the important story of Patyegarang will awake and inspire with the sensations and emotions of ‘first contact’”.

Play Me

Play Me, Customs House, Photography by Rodney Campbell.

In a poetic explosion of colour, light and sound, ‘Play Me’ will transform the façade of Customs House into a series of massive ‘musical sculptures’ that are individually selected and manipulated by the audience.

“Each of these ‘sculptures’ depicts a family of musical instruments which the audience can ‘play’ in real-time using a touch screen located on a platform in front of Customs House bringing it to life in glorious torrents of ever-changing colour, light form and sound,” says Sergio Carrubba, director and projection designer at Danny Rose, the design team for this project. “We’ve worked with TDC before on the ‘Move Your Building’ exhibit at Vivid Sydney 2013. In all cases, TDC offers exceptional support during planning phases, onsite technical support and the very best in projection equipment to assist with our designs which will all be brought to life at Vivid Sydney.”

Ignatius Jones, Creative Director, Vivid Sydney, comments: “Vivid Sydney is a strange beast: on the one hand it is a major government initiative designed to drive visitation and tourist expenditure during the year’s lowest season, and on the other a celebration of the fusion of Art and Technology that is changing our world forever and for the better. As Creative Director I must split my focus between the exacting contractual and economic demands of government, and the necessity to provide cutting-edge technical solutions to all the issues of larges-scale – or should I say vast-scale – public entertainment.

“TDC has an instinctive and comprehensive understanding of these issues. They are the perfect collaborators: calm, creative and totally competent. I would have no qualms in recommending them to anyone in the tough world of live mass entertainment, and hope to be working with them for a long time to come.”


TDC staff working on this project:

Kain Jones – Special Project Manager
Olin Winton – Technical Manager
Steve Cain – Head Technician/Media Server Specialist
Pete Lynn – 3D Media Server Specialist
Drew Ferors – Projectionist
Gareth Marsh – Projectionist
Katrina Harding – Projectionist
Isaac McKenzie – Projectionist
Adam Fiddler – Technician

TDC are working with following designers for Vivid Sydney:
• Urban Tree Project, Ample Projects – MLC Centre, Martin Place http://www.vividsydney.com/events/urban-tree-project
• Aquatique Show International – Vivid Aquatique, Darling Harbour, http://www.vividsydney.com/events/vivid-aquatique
• Patyegarang, Bangarra Dance Theatre Company – Vivid Light Walk Tour, Harbour Bridge Southern Pylon, http://www.vividsydney.com/events/the-spirit-of-patyegarang
• Starry Night, Brad Miller – Pier 8, Walsh Bay Wharf, http://www.vividsydney.com/events/starrynight
• Digital Shamans – Dichroic Dimensions, Museum of Contemporary Art Australia (Mordant Wing), http://www.vividsydney.com/events/dichroic-dimensions
• Danny Rose – Play Me, Customs House, http://www.vividsydney.com/events/play-me
• Heinz Kasper – Mystery of Creation (Fragments of The Seasons), Cadman’s College, http://www.vividsydney.com/events/mystery-of-creation-fragments-of-the-seasons
• Jess Johnson & Spinifex – Gamma World, Original Façade, Museum of Contemporary Art Australia, http://www.vividsydney.com/events/gamma-world-mca-original-facade

TDC equipment supplied:

• Over 50 Barco projectors will be deployed in total, ranging from the brightest projector in the world, the HDQ-2K40 (40,000 lumens brightness) along with Barco HDF-W26 (22,000 lumens brightness) and FLM-R22+ (22,000 lumens brightness) projectors.
• Coolux Pandoras Box Media Servers
• Dataton WATCHOUT™ multi-image display and presentation software

Remembering PreSonus CTO Bob Tudor

Baton Rouge, LA – May 23, 2014...PreSonus sadly announced today the passing of Bob Tudor, the company’s widely admired, respected, and beloved Chief Technology Officer.

A legend in the pro audio/MI industry, Tudor followed a long and winding road to PreSonus. A child prodigy, he studied piano with Arthur Rubinstein protégé and Julliard fellow Josephine Bacher. Tudor later studied electrical engineering at the prestigious Rensselaer Polytechnic Institute but switched to the Berklee College of Music, where he studied film scoring, jazz, and music production. He cofounded Boston’s Metropolis recording studio and recorded such well-known acts as Peter Wolf/J.Geils Band, Extreme, Aime Mann, New Kids on the Block, and Bobby Brown. He also played keyboards and acoustic piano on numerous records as a studio musician and remixed “Cradle of Love” for Billy Idol.

Fascinated with how gear worked, Bob eventually combined his passions for music and engineering, creating a long list of companies, products, and technologies. As one of the pioneers at Mackie Designs, he created the company’s line of digital mixers, hard-disk recorders, and control surfaces. After leaving Mackie, he founded SaneWave, where he developed products for a wide assortment of pro audio manufacturers.

Overall, Tudor and the SaneWave team had designed more than 100 products, including such hits as the TASCAM US-2400 Control Surface and X-48 Hard Disk Multitrack Audio Recorder, Electro-Voice DC-1 Speaker Processor, M-Audio ProjectMix, and Lexicon MX-500 FX Processor. He did additional projects for QSC, Samson, Shure, Alesis, Gibson, Fender, and many others. One of SaneWave’s best clients was PreSonus, for which he helped define and design the FaderPort and the StudioLive digital-mixer line. That led to his decision to join the company full time in 2008. His products have garnered five TEC Awards, five MIPA Awards, and numerous other awards. As Tudor put it, “I enjoy developing disruptive products”—that is, innovative products that can potentially shake up and energize the market.

As Chief Technology Officer, Tudor oversaw all PreSonus advanced development activities and evaluated and implemented emerging technologies that have been utilized in many of the companies most successful products. Along with PreSonus CSO Jim Odom, he developed the strategic direction of the company’s innovative products and technologies.

Said Jim Mack, PreSonus CEO, “Anyone who has ever had the pleasure of working with Bob, or even interacting with him at events or trade shows, was likely touched by his energy, enthusiasm, and passion for technology—and specifically, technology that allowed people to make better music. He was always fascinated with what could be done and was never really deterred by challenges or technical hurdles. He not only made things that no one else could see or do possible, he made them look easy. We have not only lost a truly amazing engineer but a very dear friend to so many people in this industry.”

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