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McGill University’s Schulich School Students Tackle Loudness Control with RTW TM3 TouchMonitor

Renowned Recording Engineers Richard King, Martha de Francisco and George Massenburg Count on Audio Meter to Help Students Create Dynamite Mixes

MONTRÉAL, QUÉBEC, CANADA, NOVEMBER 3, 2014 – RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, is pleased to announce that the sound recording department at McGill University’s prestigious Schulich School of Music now uses the company’s TM3 TouchMonitor audio meter to instruct students in the art of loudness control.RTW_SchulichSchool_TM3_Students

Recording engineer and inventor George Massenburg, an adjunct professor of recording arts and sciences at McGill, the largest university-based school for professional music training and music research in Canada, sees loudness normalization as the next major trend to hit the music industry. He points out that Apple iTunes, for example, already features controls for normalizing the sound across one’s library of songs (“Sound Check”). “Normalization for music is spreading, and we want to educate students to take advantage of this trend the best way they can,” he says. “We want them to be able to make good mixes so they can work going forward.”

The RTW TM3 is one way sound recording at The Schulich School of Music is helping his students prepare for this future. With its easy-to-use 4.3-inch touchscreen and large number of graphical and numerical instruments showing single-channel and summing-loudness bargraphs, PPM, true peak, SPL, loudness range (LRA), dialnorm and correlation, the TM3, part of RTW’s TouchMonitor line of audio meters, is a perfect tool for students learning how to measure loudness control for the first time. Its flexible user interface enables the selection of up to 10 presets with the swipe of a finger, allowing students to focus energy on training their ears for loudness differences.
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“Another benefit of having the TM3 readily accessible is when the students are working with multiple projects at once,” explains Massenburg. “To give the students references when they’re learning how to mix, we’ll have them do a new mix but refer to another piece of work. It may not even be the same song—it may be something else, but to reference that on an equal playing field—meaning equal loudness—they’ve got to measure the loudness of that external file. So it’s very useful to have the meter right there. It’s not software. It doesn’t come and go with the project. It’s a part of the setup.”

That setup is located in the Schulich School’s Studio A, where the RTW TM3 is part of a range of solutions the students use to conduct mixes. These include Euphonix MC mixers, Merging Technologies Pyramix, Avid Pro Tools, ATC, Genelec and JBL loudspeakers and monitoring systems, among others.

“The TM3 helps the students adjust the loudness of a mix until it’s roughly in the ballpark of their reference mix,” adds Massenburg. “Then they can move ahead with making better mixing decisions. We find that elements that are punchier, such as a snappier snare or kick drum, really don’t affect the loudness as much as a constant, dense mid-to-upper frequency range, so students don’t have to squash their mixes to make them stand out. It leads to more dynamic mixes. It’s a tool that we think is going to be more and more important to students and practitioners [as loudness normalization becomes more prevalent in the music industry].”

Massenburg says his students find it easy to work with the TM3. “It’s very clear. We have it pre-set so that 85dB SPL is the target playback level, and -24dBFS is the target recording level. Since its relative between their work and an outside work, we can just kind of stay in that one setup. It’s nice that it’s flexible, but we don’t want it to change too much, so everyone is already up to speed on how it is set up.”

For Massenburg, much of his work at the Schulich School ultimately comes down to training students to be excellent critical listeners. “We train our students to listen hard and to pay attention to detail,” he says. “The better they’re trained in critical listening and evaluation skills, the better they’re able to deal with the more varied situations they could encounter out in the workplace.”

This training is obviously a resounding success, as graduates of the Schulich School have gone on to successful, high-profile careers in many different fields. One former student, for example, is the chief engineer of Symphony Hall in Boston. Another handles sound for some of the most popular musical shows in Las Vegas, including Cirque du Soleil’s Beatles LOVE presentation.

“We give our students the skills that they can take anywhere,” says Massenburg. “They can continue with music production, work for a classical operation, go into television production, or go further with their research. We provide them the skills to be able to say, ‘Sure, I can do that.’ [Loudness and the RTW TM3 is part of that.]”

Apple and iTunes are trademarks of Apple Inc., registered in the U.S. and other countries.

About RTW
RTW, based in Cologne (Germany), has nearly 50 years of experience in designing, producing, and marketing advanced recording-studio equipment, leading and innovating the market for high quality audio metering and monitoring tools. RTW operates a worldwide distribution and service network. For more information on RTW, visit www.rtw.com, www.facebook.com/rtw.de or call +49 221 709130.

STEWART FILMSCREEN® APPOINTS THE ENRIGHT COMPANY AS COMMERCIAL SALES REPRESENTATIVE FOR SOUTHWEST REGIONS

For Southwest territory including Arizona, California, Hawaii, and Nevada, Stewart Filmscreen® signs experienced and respected commercial AV rep firm to deploy new dealer education and training programs, sales strategies, and strategic marketing initiatives

TORRANCE, CA – NOVEMBER 3, 2014– Stewart Filmscreen Corp., the leading international manufacturer of projection screens and specialty optical coatings for residential and commercial applications, today named The Enright Company as its independent commercial sales rep firm for the Southwest stewart_logo_sfc08region, including Arizona, California, Nevada, and Hawaii. The Enright Group has been building its reputation as the commercial industry’s rep firm of choice since 1985 when principal Logan Enright started the company.

“We’ve been aggressively adding rep firms in key markets to ensure that Stewart Filmscreen’s highly differentiated product offering is brought to the forefront. This is critical, as Stewart’s US-based manufacturing facilities cater to seamless, large-format, complex screen solutions for a wide variety of commercial and industrial applications. Now, with The Enright Company on board as our commercial reps, those serving the commercial AV markets in the Southwest region will have access to the most extensive offering in the projection screen category,” says Peter Brown, vice president of sales and marketing for Stewart Filmscreen. “We rely on those who represent us in the field to not only raise awareness of Stewart Filmscreen’s unique attributes but to deliver world-class service and support, and The Enright Company is just the firm to do that.”

With a Buying Power Index (BPI) of 15% for its territory, The Enright Company is poised to boost Stewart’s sales by deploying key programs to integrators in the area. These initiatives include Stewart’s renewed and streamlined approach to education and training, focus on successful sales strategies and programs, and strategic marketing initiatives. In addition, the firm will provide considerable assistance and support for local Stewart integrators in the region.

“We are thrilled to represent Stewart Filmscreen—the market leader in 4K+ projection screens since 1947,” says Logan Enright, of The Enright Company. “Stewart is uniquely suited for the Pro AV channel with a complete offering of handcrafted, high-performance projection screens that can be customized for any application. The attention to detail inherent in Stewart Filmscreen products is unparalleled, and it shows in every aspect of its product line.”

Stewart Filmscreen products will be showcased during The Enright Company Roadshow, taking place November 5, 2014, at the Doubletree Hotel in Tempe, Arizona. Those interested in learning more about Stewart Filmscreen, its differentiated product offering, and the undisputable benefits of integrating projection screens into installations large and small, are encouraged to contact request@stewartfilmscreen.com, call (800) 762-4999, and follow @StewartFilm.

The Enright Company is headquartered in Santa Ana, California, with sales associates in Los Angeles, Orange County, and Northern California. For more information about The Enright Company, visit the company’s website, www.enrightcompany.com or e-mail logan@enrightcompany.com.

About Stewart Filmscreen Corp.
Headquartered in Torrance, Calif., with additional manufacturing and satellite sales facilities in Ohio, Singapore, and Denmark, Stewart Filmscreen has been the consistent choice of discerning clientele around the world for more than 65 years. An Academy Award-winning manufacturer of projection screens and specialty optical coatings, aesthetic-conscious architects, consultants, systems designers, and property owners rely on Stewart Filmscreen for the perfect combination of superior quality, flexible design, and dedicated support, and we consistently deliver. Providing the most immersive experience in the industry, Stewart can custom engineer a projection screen solution to meet nearly every need. Proprietary material science and innovative manufacturing methods allow Stewart to produce some of the most optically immaculate screens in the world, ultimately delivering an immersive experience that’s unrivaled in the marketplace. Simply put, if a screen can be imagined, Stewart Filmscreen can deliver it. www.stewartfilmscreen.com | @StewartFilm

Stewart Filmscreen Media contact
Katye (McGregor) Bennett | KMB Communications | (425) 328-8640 | Katye@KMBComm.com | @katyemcgregor

Images
Images for use in publication can be downloaded from this link, using the following caption: Logan Enright (pictured) of The Enright Company, Stewart Filmscreen’s newly appointed Commercial sales rep firm for the Southwest region.

 

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Margarita Mix of Santa Monica Adds Fourth Fairlight EVO System

Sound Mixer Paul Hurtubise at the Fairlight EVO Audio Production System, Margarita Mix, Santa Monica, CA.

Sound Mixer Paul Hurtubise at the Fairlight EVO Audio Production System, Margarita Mix, Santa Monica, CA.

SANTA MONICA, CA (Nov 3, 2014) — Margarita Mix of Santa Monica, a FotoKem company specializing in audio post services for commercials and advertising media, has installed a fourth Fairlight EVO integrated audio production system for their award-winning team of sound designers, mixers and composers. With the upgrade, the facility’s accomplished sound mixers Paul Hurtubise, Jimmy Hite, Nathan Dubin and Jeff Levy are now working on identical audio post platforms in their HD mixing suites.

“The facility was already working extensively on Fairlight, and after careful evaluation and testing, I made the transition,” says Hurtubise, who joined Margarita Mix in late 2012 with over 20 years of experience in commercial audio post.

Having used a number of platforms over the course of his career, Hurtubise notes, “I simply think Fairlight sounds better. It’s less fatiguing on the ears, and I seem to hear things more clearly and definitively.

“The EVO workstation is also very ergonomic and easy to operate,” he adds. “I feel like I’m on a system that’s been developed for humans to work on. EVO’s jogger fits my hand, and its keyboard fits my fingers. I’m running sessions more efficiently because I’m not as focused on all the clicking.”

Hurtubise also points out that the graphic displays are less fatiguing. “It’s much easier for me to be on the Fairlight all day. I noticed immediately that I wasn’t as physically tired at the end of the day. The displays are comfortable to work on, too.”

According to the talented mixing team at Margarita Mix, there are plenty of features to like about the system. They like that the picture has a home in the system, versus floating around the screen. “The picture’s right there when I want it—I love the Pyxis,” Hurtubise says of the dual-channel HD video recorder that is integrated into EVO as standard. “I also like the streaming Pyxis video frames along the bottom of the timeline display, and being able to see the picture frames before and after the playhead. This way, I can see how many frames I have until my next edit.”

When the mixers need to face the voiceover booth with a script in front of them rather than face the EVO surface, they’ve created a macro that puts “Record” on different sides of the controller so that it’s ergonomically easier for them. Fairlight’s one-button record function also helps in VO sessions when the talent starts to speak. “We don’t want to interrupt them; if we press our ‘Record’ macro button, the disk recorder immediately stops one take and goes right into another one in the span of a 1/10th of a second,” Hurtubise explains.

Custom fader sets are another admired attribute of the system. “I’ve never been on a system where I can so easily lay out faders to my liking,” says Hurtubise. “Sometimes I’m knee deep into a session and I really wish I had my beeps next to my mic, right next to my music stem, right next to my sound effects stem, next to the dialog stem next to my headphone send—then I can mute and level them very easily. I can create that quickly with Fairlight.”

There are several features on the Fairlight that the Margarita Mix team hasn’t had available on previous DAWs. “For example, I like the way Fairlight solos tracks: I can solo a set of tracks, un-solo them by holding control and pressing one button, and then re-solo that same set by pressing one button,” Hurtubise reports. “I like being able to memorize zooms. Say I have 128 tracks with 70 music stems and 40 sound effects stems. I can zoom to the music tracks and store it in U1; I can go to the sound effects tracks and store that in U2. If I hear something in the music I just press U1, and instantly I’m looking at the music stems. It is super easy.”

All four Fairlight operators at Margarita Mix use similar console control templates for uniformity. Nathan Dubin has been at Margarita Mix for over a decade recording VO, mixing for television, ADR recording for film and commercial mixing for TV and radio that has earned several industry accolades. Working with clients such as Nissan, Activision, Disney, AT&T, Kaiser Permanente, and UPS, Jimmy Hite has over 30 years of experience in sound mixing for the commercial and advertising industries, and has won numerous awards throughout his career. Paul Hurtubise focuses on commercial mixing as well as ADR and commentary recording. His recent credits include spots for Google, eHarmony, Old Navy, Hyundai, and Toyota, among others. Jeff Levy has been part of the team for 20-plus years, also earning multiple awards for mixing and sound design.

About Fairlight:
Fairlight has been designing, engineering and manufacturing cutting edge, professional digital audio technology for more than 30 years. Its dedication to innovation, quality and customer service has made Fairlight one of the most respected companies in professional audio. With their integrated control surfaces and intuitive user interfaces, Fairlight’s award-winning media creation tools are renowned for their speed, flexibility and exceptional sonic quality. The company’s products offer full compatibility with virtually all open audio, video and sync standards, making them ideally suited to a wide range of audio post and live broadcast applications. To learn more about Fairlight please visit www.fairlight.com.au

FairlightUS Inc. is the exclusive North American distributor for Fairlight products. For more information visit: www.fairlightus.com

Napa’s Palmaz Vineyards Uses Vista Systems’ Spyder in Unique Projection System Designed to Aid Winemakers in their Work

01_DomeShot_entryLevels_00001No doubt about it, winemaking is an art and a science. Perhaps nowhere is this more evident that at Palmaz Vineyards in Napa, California where winemaking and aging takes place within the living rock of Mount George, in a maze of tunnels and lofty domes. Vista Systems’ Spyder plays a key role in the advanced technology Palmaz uses to aid winemakers in creating complex, elegant, super premium wine.

Palmaz Vineyards has reinvented winemaking on the site of the Cedar Knoll Vineyard and Winery, founded in 1881 by Henry Hagen, one of the Napa Valley’s pioneer winemakers. The Palmaz family bought the forgotten stone winery and introduced true gravity-flow winemaking in a wine cave equivalent to an 18-story building. Gravity-flow winemaking eliminates the violent agitation of pumping, which can change the wine’s intra-molecular structure. Instead, the gentle treatment allows the finest nuances of flavor to develop naturally.

The cave’s fermentation dome is the world’s largest reinforced underground structure with dimensions spanning 72 feet in diameter and 54 feet high. Twenty-four fermentation tanks rotate on a massive custom-designed carousel. Temperature stays constant at 60 degrees and humidity at 75 percent, the perfect atmosphere for aging wine.

“What makes a winemaker great has little to do with the ability to ferment wine and everything to do with the seemingly inhuman ability to sense the subtleties in wine,” says Christian Gastón Palmaz, president of Palmaz Vineyards. “The only instrument we want them to have in hand is a glass. Up to 50 percent of their time is spent determining how far along they are in fermentation. The more tanks you have the less often you check and make critical adjustments and decisions.”

Palmaz partnered with Acrolon Technologies and aerospace metal fabricator Rodney Smith to create the first fully algorithm-based fermentation control system featuring proprietary intelligent instrumentation in each tank which image more than 10 million points of temperature inside the tank space, providing the winemaker a live visual thermal representation of the tank. “With this powerful information they can better steer the artistic ship – and make great things happen to the color, texture, flavor and aroma of the wine,” says Palmaz.

To gain a full understanding of the state of each tank, however, the winemakers need to constantly review the tank data. “How could we put the data in front of them?” asks Palmaz. “An iPad accompanies the process but referencing 30 days worth of data across 36 fermenters on a 9.7″ screen can be cumbersome. Positioning the data so that critical information could be observed without having to search for it became the goal.”

Palmaz envisioned a projection system. After all, he had the huge curved surface of the dome available. “But we had been told for years that edge blending wouldn’t work in that space,” he says. “Even the best planetarium consultants in the world discouraged us from projection.”

Then he heard about two products that looked likely to make his dream a reality. “Christie’s HD14K-M projectors have geometric correction at an unbelievable level and focal depth lengths never seen before. And Vista Systems’ Spyder X20 1608 could create a pixel cloud of unparalleled size. With those products we’d be headed down the right path.”

But Palmaz notes that he’s “a vintner, not an AV specialist.” So he hired commercial integration firm CCS Presentation Systems, Inc., whose San Jose office undertook months of “rigorous testing and custom work” with Christie and Vista to devise a very unique system for the Palmaz Vineyards’ dome. “And the end result is unbelievable,” Palmaz declares. “They took a space inhospitable to projection and delivered projection with extreme high definition, clarity and brightness.”

“The space itself has a big ‘wow’ factor,” says Adam Bahri, senior account executive at CCS. “The AV system now enhances that. You turn it on and the projections deliver an extra ‘wow.’ Changing winemaking through technology – it’s a unique approach.”

The projections give winemakers a graphical representation of control screens showing the thermal state of the tank. That enables them to “focus on fermentation in exquisite detail,” says Palmaz. “During harvest it’s like watching a live movie – the fermentation is active.”

But the system is also designed to take winemakers back through a previous vintage. “You can play back an entire harvest with the tap of a button,” he explains. “There’s an animation of the property then day-by-day sequences showing which vineyards were picked and their fermentation. You can see 240 hours of fermentation in seconds — for all 24 tanks. It’s so visually stimulating. And it helps make an important point of how complex fermentation is.”

Edy Salomon Technical Operations Manager for CCS,says the first challenge faced by CCS was “edge blending six projectors, which is difficult to do. Then edge blending them on a domed ceiling was pretty much unheard of.” Christie did a site survey to determine the number of projectors required, their angles and distances ultimately opting for six projectors custom-mounted on the second floor with the rotating carousel below.

Spyder was selected for its ability to “stretch a single image over multiple projectors,” Bahri explains. “Vista manufactures the best equipment and offers the best customer service. In my 15 years experience with Vista you’re guaranteed a satisfactory result.”

Palmaz wrote a simple custom app for Apple iPhone or iPad that allows the winemaker to trigger projections sourced by a Mac Pro tower running ~sedna Presenter and fed to the six Christie projectors, which perform the warping for the dome, and the Spyder, which handles the edge blending.

The unique visual experience in the dome is not only designed for winemakers, however. Palmaz Vineyards conducts private tours by appointment during which visitors can also view the projections.

“Our ambassador taps a button on the iPhone interface to blank out the system so visitors don’t see it at first,” says Palmaz. “They snake their way onto the balcony reaching into the dome structure. They don’t see the projection system although they are inches from it. Then the ambassador taps the button again and the room explodes with light. It’s an overwhelming experience. It’s like being surrounded by magic.”

In addition, the projection system can turn the dome into an art installation. Famous fashion photographer Nicola Majocchi has been commissioned to create a two-volume coffee table book for Palmaz Vineyards, and he’s also been asked “to take the dome’s pixel space and create an artistic exhibition of motion photography,” Palmaz explains. “He calls it ‘a surreal dreamscape as a grape’ – an artistic perspective from the point of view of a grape. It should be ready this fall when we’ll default to this living art canvas, which will be exhibited continuously on the dome.”

Palmaz gives kudos to CCS and the customer service provided by Vista. “I expected this would be an unbelievably expensive project, but we were able to accomplish everything for a very reasonable price,” he reports. “This was so very different from anything I’m used to doing, but CCS, and Vista were on time and on budget and I really appreciated it. It was a great pleasure to work with them.”

About Vista Systems
Vista Systems’ switchers have become the industry standard for live multiple-destination video and data mixed signal switching with real-time windowing and composition. For more information on Vista Systems, visit their website at www.vistasystems.net.

iZotope Releases Ozone 6: Creative Mastering Platform

Ozone 6 features a redesigned interface, standalone application, and new Dynamic EQ module

Cambridge, MA (October 30, 2014) – iZotope, Inc., a leading audio technology company, has launched the latest version of its critically acclaimed line of mastering software, Ozone.

iZotope-Ozone-6-Advanced-box

Ozone 6 is a creative mastering platform that enables both project studio producers and mastering engineers to easily add a final level of professional polish to their mix.

The modern new workflow is centered around creativity. A fully redesigned interface and real-time visual feedback in every module assist users in creating masters with ease.

“Our goal was to create an elegant visual aesthetic and fluid workflow,” says iZotope Product Manager Brett Bunting, “in order to bring the creative elements of mastering front and center and allow users to define their own sound.”

Ozone 6 takes the guesswork and the manual labor out of the mastering process, helping users experiment without fear of making the wrong sonic choices. Using Ozone’s presets as a starting point, pros and newcomers alike can immediately achieve authentic sounds in any genre.

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Ozone also produces great sound, providing the warmth and character of analog sound without the restrictions of hardware. And since Ozone 6 works as either a standalone application or a suite of plug-ins, users can choose to work exclusively in Ozone, or to complement their audio editor of choice.

For professional users, the Advanced version’s Dynamic EQ module lives and breathes with your music, harnessing the precision of an equalizer and the musical ballistics of a compressor. It’s an ideal tool for transparently sculpting audio.

“Ozone is full of great mastering tools,” says Adam Ayan, GRAMMY-winning mastering engineer at Gateway Mastering, “and it just keeps getting better!”

Learn more at www.izotope.com/ozone6.

Watch the video at http://youtu.be/GZMvIxPZ-50.

Availability
Ozone 6 is available now at www.izotope.com/ozone and at select retailers.

Pricing
Ozone 6 – Promotional Price: $199 USD, Regular Price: $249 USD

Ozone 6 Advanced – Promotional Price: $599 USD, Regular Price: $999 USD

Upgrade from Ozone 1-5 to Ozone 6: Always available at a special price of $99 USD

Upgrade from Ozone 1-5 to Ozone 6 Advanced – Promotional Price: $399 USD, Regular Price: $750 USD

Upgrade from Ozone 5 Advanced to Ozone 6 Advanced: Always available at a special price of $299 USD

For international customers, check with your local reseller for Ozone 6 pricing.

Grace Period Purchases
Customers who purchased Ozone 5 after September 1, 2014, will receive a free upgrade to Ozone 6 upon release.

Customers who purchased Ozone 5 Advanced after September 1, 2014, will receive a free upgrade to Ozone 6 Advanced upon release.

About iZotope, Inc.
iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX®. For more information on iZotope products, please visit www.izotope.com.

Italian Superstar Pino Daniele Chooses DPA Microphones

Pino Daniele with DPA 1

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

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

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

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

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

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

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

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

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

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

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

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

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

multiscreen_devices_vu

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

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

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

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

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

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

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About Visual Unity

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

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

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

Biamp Systems Names Kiley Henner as Director of Customer Experience

Promotion Underlines Company’s Continued Commitment to Quality Customer Experience

BEAVERTON, Oregon — Oct. 30, 2014 — Biamp Systems, a leading provider of innovative, networked media systems, today announced the promotion of Kiley Henner to director of customer experience. In his new role, Henner will oversee the company’s applications engineering, training/education, and customer service departments as Biamp(R) continues expanding its focus on providing an unrivalled customer experience and complete satisfaction. more

Masque Sound Custom Audio Equipment Package Helps Audiences Discover Charming New Musical, FOUND

NEW YORK, NY, OCTOBER 30, 2014 – When the ambitious and original new musical FOUND opened at the Atlantic Theater Company’s Linda Gross Theater on October 14, Sound Designer Ken Travis enlisted the services of Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a custom audio equipment package to help audiences discover this Off-Broadway gem. FOUND at Atlantic Theater Company. Photos by Kevin Thomas Garcia. Photo 1

FOUND isn’t just based on a true story; it’s based on hundreds of them. FOUND is an original musical featuring scores of surprising and eccentric discarded notes and letters that have been “found” in the real world by every-day people. Inspired by actual events, the show follows Davy who, along with his two best friends, is lost and broke. When he finds a strangely revealing note on his windshield meant for someone else, it sparks an outlandish idea that finds him and his companions on a wild, comedic journey. By bringing a host of real notes and letters from Davy Rothbart’s popular FOUND Magazine to irreverent theatrical life, this insightful new musical tells a story of ambition, betrayal and loyalty while celebrating the weirdness in us all.

Travis’ biggest challenge in designing the sound was adhering to the very quick amplification changes in the theater, which was previously an old church. “Because of its architectural design, you can’t really hit the walls and you can’t activate the room,” says Travis. “We needed to be able to go from really loud to super intimate within a second and allow the audience’s ears to settle into that adjustment. It took a little while to figure out how we would accomplish that without losing any energy and without having the audience members miss a single word.”
FOUND at Atlantic Theater Company. Photos by Kevin Thomas Garcia. Photo 2
For Travis, equipment selection proved essential to the show’s success. He found what he was looking for with a speaker system featuring d&b audiotechnik products. The sound system features a Q-Series rig, along with E3 loudspeakers for delays and B2 subwoofers. “In a matter of one minute, the actors can go through 10 songs, and, stylistically, each song is 100 percent different,” adds Travis. “It can range from something that pays homage to Queen and Bruce Springsteen, to 80s metal bands and country music. Dynamically, the shifts are huge, and the d&b system allowed us to really bring out the style of the various music genres in a rapid succession.”

Additionally, Travis wanted to ensure that no microphones were visible on the cast during the production, so he relied on Sennheiser MKE1 Professional Lavalier Microphones, along with one of Masque Sound’s pre-built Sennheiser 2000 Series wireless transmitter kits. Designed for quick and easy dispatch, Masque Sound’s pre-built kits provide 24 wireless channels and are targeted for the Off Broadway and regional markets. The orchestra was mic’ed with DPA 4011 Cardioid Microphones, DPA 4099 Instrument Microphones, Schoeps MK4 Cardioid Capsules and Beyerdynamic M 160 Hypercardioid Ribbon Microphones. Masque Sound also provided an Avid VENUE SC48 digital console.

Since the orchestra is present on stage, with musicians spread between a few small pods, Travis wanted the sound design to creatively capture and evoke a natural and intimate sound. To accomplish this, he utilized a Meyer Sound LCS LX-300 delay matrix. “We wanted the orchestra to be able to go from a chamber sounding musical, involving violin, cello, guitar, bass, drums and piano, to a heavy rock sound,” he says. “We used the delay matrix to time every single instrument on stage so that when we were amplifying it, it really sounded like it was coming from the specific instrument. We also divided the stage into zones, which ensures that the engineer has a lot of cues for the actors.”
FOUND at Atlantic Theater Company. Photos by Kevin Thomas Garcia. Photo 3
Furthermore, with regards to timing, this production requires that the audio is perfectly synched up to the show’s video images. Travis relied on MIDI to achieve this, using one big MIDI loop to ensure that the design teams could send information back and forth. This was an easy way to simplify a very technically challenging show on an Off-Broadway budget.

“This was a great team effort,” concludes Travis. “My associate, Justin Stasiw, A1 Jillian Walker and A2 Laura Brauner all did a wonderful job, and it was terrific that the whole design team was able to come together for this fun and original production. Masque Sound was once again great to work with and very accommodating in providing me with the equipment I wanted to use.”

FOUND began previews on September 18 and is slated to run through November 9 at The Atlantic Theater Company’s Linda Gross Theater, located at 336 West 20th Street in Manhattan. To learn more about FOUND, visit atlantictheater.org.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

FSR Extends Line of Table Box Offerings With Introduction of T3-DV2S

New model ideal for single users, needing access to HD HDMI video/audio source input and AC power sources

Woodland Park, NJ – FSR, leading manufacturer of a wide variety of products for the audio/video, education, hospitality, government, and religious markets, adds to its family of Table Box products with the launch of its new T3-DV2S Table Box unit. This new solution is intended for single users where convenient access to HD HDMI video/audio source input, and AC power sources is required. The T3-DV2S allows users to power and connect their laptop or any HDMI source to an external video display and house sound systems as well as connect with network, phone lines and other AV system infrastructure.

All T3-DV2S models are HD ready with an HDMI pass-through connector, standard grounded AC outlet and openings for two keystone snap-in connectors. The two keystone openings, supplied with two blanks, can be populated with a variety of snap-in connectors including network, telephone, RCA or mini stereo audio, to custom configure the units to suit unlimited applications. A large selection of keystone style snap-in connectors, including USB DC powered charging stations to charge digital mobile devices, are available separately from FSR.

“FSR is always working hard to offer our customers in the professional audio/video markets innovative and reliable solutions that meet a variety of needs,” said Jan Sandri, FSR president. “We are proud to be able to grow our popular family of Table Box solutions with the addition of the new T3-DV2S. These new models, fitting a 3 1⁄2-inch round opening, are not only stylish with round and square covers available in black, brass or aluminum to blend with the décor, but the small footprint provides an un-obtrusive solution to any interior. AND, they are HD ready!”

There are options for one or two button momentary switches / bi-color LED arrangements on the cover bezel that enable user control input and status indication for an external control system application. Screw down terminals are provided for fast, convenient cable termination.

As always, all FSR products are made of durable materials in the USA.

About FSR
FSR, established in 1981, manufactures a wide variety of signal management and infrastructure solutions for the audio / video, datacom, education, hospitality, government, and religious markets, including floor, wall, table, and ceiling connectivity boxes, as well as a full line of interfaces, distribution amplifiers, matrix switchers, seamless switchers and HDBaseT & CAT-X signal delivery solutions.

The company is an Energy Star Partner and complies with the American Recovery and Reinvestment Act of 2009 to demonstrate its deep commitment to preserving the planet. FSR offers live 24/7 technical and sales support throughout the country from expertly trained technicians and sales representatives. For more information: www.fsrinc.com

FSR Contact: Jan Sandri
973-785-4347 • sales@fsrinc.com

Press Contact: Desert Moon Public Relations & Advertising
Harriet Diener
845-512-8283 • mailto:harriet@desertmoon.tv

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