LUMINEX Network Intelligence has joined the AVnu Alliance, the Beaverton, Oregon-based the industry consortium that certifies IEEE 802.1 Audio Video Bridging (AVB) products for interoperability. LUMINEX is a Belgium-based developer of lighting control, pro audio and video data distribution equipment for the entertainment industry.

AVnu Alliance is a non-profit organization formed by member companies to create compliance test procedures and processes that ensure AVB interoperability of networked AV devices and help provide the highest quality streaming AV experience for end users. Utilizing AVB, the transmission of audio and video streams can be synchronized within a microsecond of each other with low delay and minimal lost data due to network congestion. The AVnu Alliance is currently focused on three markets: professional AV, automotive and consumer electronics.

“Claiming to be an AVB-capable product is not enough these days,” says Hugo Larin, Managing director for Luminex Network Intelligence in America. “The industry is looking for commitments toward AVB, and this is why we are very excited to announce that LUMINEX has joined the AVnu Alliance.”

AVnu Alliance’s Promoter members will write compliance and interoperability test guidelines, designed for the 802.1 AVB specifications, for bridge and endpoint products to undergo and then beAVnu certified.

As an AVnu Alliance Adopter member, LUMINEX will have access to those completed test plans; it will also be eligible to have its products enter certification in an AVnu Alliance-approved test lab and participate in AVnu Alliance-hosted plug-fests.

Larin notes that, “LUMINEX has been enjoying recent growth with users wanting to deploy audio over IP in a ruggedized and simplified way.” To further broaden its reach, LUMINEX is making its first appearance at InfoComm13, June 8-14, in booth #561 at the Orange County Convention Center in Orlando where it will show its new range of Gigabit Ethernet switches with updated web-based user interface.

Bart Swinnen, Luminex CEO, concludes, “We’re exited to get our hands on the technical documents and get our development in line. We’re really looking forward to be a professional solution provider for AVB and serve this innovative market.”

About LUMINEX

LUMINEX Network Intelligence was formed by Bart Swinnen and Jan Renckens as a branch of parent company LUMINEX Lighting Control Equipment nv, which has an extensive technical background in the lighting industry. LUMINEX Network Intelligence launched its successful Ethernet-DMX8 node in 2004 when it ran 32 DMX lines at the Paralympics in Athens. Their complete DMX and Ethernet solutions range debuted at Siel 2005 in Paris. The GigaCore switch family opened the doors to the digital pro audio and AV markets for the new company and broadened their commitment beyond their traditional customer base.

Latest Version Offers Distributed Interface Gateways and Unlimited, Multi-Access IP Communications Channels

ORLANDO, FL, JUNE 6, 2013 – Clear-Com® is demonstrating Version 2.7 of its Concert Intercom-over-IP Communications Solution (Concert v2.7) at InfoComm 2013 (Booth 921). Perfect for single or multi-site facilities, this latest software update supports unlimited Interface Gateway servers. With four-wire linking of external audio sources and private networking over an IP infrastructure, Concert v2.7 is a secure and scalable solution for high-quality voice communication.

The latest upgrade also has improvements in Concert’s Web-based management interface for a more user-friendly system. As with its predecessors, Concert v2.7 is designed to be highly configurable. The system provides an intuitive point-and-click interface for easy operation, making it ideal for mission-critical applications anywhere in the world.

“With the latest 2.7 upgrade to the Concert software, the system has further solidified its position as a top Intercom-over-IP solution,� says Peter Stallard, Senior Product Manager at Clear-Com. “With the improvement of reliability and stability, Concert can not only function as a standalone system, but as an audio communications bridge between locations around the world. This makes for real-time, organized and secure collaboration between local and remote users.�

Providing an easy-to-use interface and ultra-low-latency audio, Concert is ideal for many communication applications, such as on-site event management. The system also seamlessly connects with existing Clear-Com systems or third-party intercoms and audio devices. Collaborative workgroups can intercommunicate instantly and reliably from anywhere in the world through any PC or Mac with a LAN, WAN or Internet connection.

Based on the proprietary I.V.Core Technology, Concert’s enhanced audio features deliver crystal-clear audio and non-blocking communications between local and remote users. It offers instant point-to-point or point-to-multipoint voice communications and conferencing from any computer. For times when a microphone is unavailable or a quiet space is needed, the system also offers listen-only and instant-messaging capabilities.

About Clear-Com®
Clear-Com, an HME company, is a global provider in professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analog & Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.

Broadcast audio specialists Red TX played a vital role in ensuring that last Saturday’s Sound of Change Live concert at London’s Twickenham Stadium was successfully broadcast to more than 150 countries around the world.

With both its Red I and Red II trucks on site, not to mention a crew of seven, Red TX was more than able to cope with the complexity of the live broadcast and the fast turnaround between acts performing on four different stages.

Billed as a feminist Live Aid, Sound of Change Live was a focal point for the Chime for Change campaign, which aims to improve education, health and justice for women around the world. The campaign was founded by Gucci’s designer Frida Giannini, Beyoncé and Salma Hayek and Saturday’s concert raised over £2.6 million to fund approximately 200 projects in 70 countries. It also provided a great day out for more than 50,000 people who flocked to Twickenham Stadium to watch Beyoncé, Rita Ora, Jessie J, Haim, Ellie Goulding, Jennifer Lopez and Florence and the Machine take to the stage to champion the cause. Even Jay-Z put in an appearance, performing Crazy in Love with his wife, Beyoncé.

The Red TX teams consisted of Tim Summerhayes, Ben Summerhayes and Matt Silverston on board Red I; Ian Dyckhoff, Huub Lelieveld and Rohan Igoe on board Red II and Christian Postna as back up between the two trucks.

Red TX was commissioned to handle the broadcast audio by Splinter Films. Splinter’s Emer Patten was Chime’s Broadcast Producer co-ordinating the mammoth production for global transmission.

She says: “As I’ve been working with Red TX for such a long time now, they really were the only choice for the job and I knew they wouldn’t let me down. We had our usual experience of a crazy busy schedule, coupled with a lot of fun and mutual respect. I love working with Tim and Ian, and it was great that we were able to bring in Huub for Red II, who took care of the C&D stages so fantastically for us.â€�

According to Red TX director Tim Summerhayes, Sound of Change Live was the biggest and most complex live broadcast event the company has handled for quite a while.

“It was a little nerve wracking knowing we were responsible for a live broadcast audio feed that was going out to over 150 countries, but we just got on with it and tried not to think about how many people were potentially listening to our output,� Summerhayes says. “We had three engineers on each truck, plus an additional sound man as a spare pair of hands. Mainly we were switching between trucks, from one performance area to another, but there were a couple of occasions where one team had to do back to back performances on the same stage and that meant we only had six minutes to turn everything around. It was complex, but thanks to a lot of careful preparation everything ran like clockwork and everyone was delighted with the end result.�

Red TX worked closely with Britannia Row, which was in charge of the live sound, and Visions, which has its own OB truck at the event. Sub mixes from each music mix truck were fed to Gary Moore on the Visions truck, who mixed in presentation audio. Gary also submixed the 24 audience mics and distributed this to himself and the two music mix trucks.

“Britannia Row and Visions are companies we know and trust as we have worked with them on many occasions in the past,� Summerhayes adds. “I was particularly impressed with Britannia Row and have no idea how they held it all together. Every detail was worked out in advance with military precision – even down to having all the vocal mics and radio packs individually labeled for each artist so that nothing was left to chance.�

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About Red TX:
Red TX provides a comprehensive concert recording and broadcast service to the music and television industries. The company has state-of-the-art mobile recording facilities and can handle projects of any size or complexity. As well as recording audio for broadcast, the company also records live music events for subsequent release on CD or DVD. It is headed by Ian Dyckhoff and Tim Summerhayes, both of whom have extensive experience in delivering high-quality audio for broadcast. www.red-tx.com

ORLANDO, FL, JUNE 6, 2013 – DPA Microphones will feature the d:facto™ II Vocal Microphone at InfoComm 2013 (Booth 774). Perfect for any live performance, this latest addition to the d:facto line affords users unlimited possibilities for their performances. The mic’s state-of-the-art adapter system, which allows for seamless integration with many professional wireless systems, is regarded as a major game changer.

The d:facto II Vocal Microphone is DPA’s latest condenser microphone. It brings true studio sound to the live stage by offering an extraordinarily natural sound, superior gain before feedback and extreme SPL handling. The new d:facto II guarantees users will have legendary DPA sound, regardless of their existing wireless systems, including Sony, Lectrosonics, Shure, Wisycom and Sennheiser. The d:facto II also provides improved audio performance, as it is superbly linear in frequency and phase, both on- and off-axis, while its impressive definition and accuracy reproduces a singer’s voice effortlessly.

“The launch of the d:facto II Vocal Microphone is a major step for DPA, as it means that we now have a microphone for every acoustic miking situation, whether you are amplifying or recording,� says Christian Poulsen, CEO of DPA Microphones. “We are extremely proud to have developed an ingenious adapter/preamp range that brings the true DPA sound out of a wireless system. The ones that are currently available deliver very limited power to handle the dynamic output from our high-end condenser capsules, so getting the sound quality we wanted was nearly impossible. We had to be creative and put a huge amount of work and thought into the electronic circuit of the adapter/preamp solution. We wanted to be completely true to the input of the vocalist, and with d:facto II we have reached this goal.�

Equally at home in sound reinforcement and recording applications, the d:facto II’s simple plug-and-play features allow it to reproduce an extraordinarily natural sound, which reaches the extreme sound level handling of 160 dB. As with all DPA mics, the d:facto II provides superior gain before feedback and a robust three-stage pop protection grid built into the microphone to remove unwanted noise. It also boasts exceptional isolation from handling noise as well as the ability to accommodate extreme sound levels.

DPA Microphone will also exhibit its other microphone lines, which are equally ideal for the live performance or installation markets. The company’s highly regarded Reference Standard Microphones, now known as d:dicate, have long delivered superb audio quality to musicians who want to use a microphone on a stand. For mobile instrument miking solutions, DPA offers the innovative d:vote™ 4099 Instrument Microphones and its range of Miniature Microphones, which are ideal for those who prefer to have their microphone mounted on their instrument. Another solution that will be available at InfoComm is DPA’s lightweight, easy-to-wear d:fine™ Headset Microphone, which is seen increasingly more often at events where voice intelligibility is important.

ABOUT DPA:
DPA Microphones A/S is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

The MX-TPS-IB input board, MX-TPS-OB Output Board for the MX series routers and HDMI-TPS-TX90 and RX90 long-distance HDMI signal extenders from Lightware U.S.A., the US distributor for Budapest-based Lightware Visual Engineering products, are now shipping. The new products are among those to be showcased in the Lightware booth at InfoComm13, June 8-14 at the Orange County Convention Center in Orlando booth # 4180.

The input and output boards and extenders are ideal for postproduction studios, control rooms, digital signage, multi-room video, conference rooms and collaborative telepresence – or any application requiring signal transmission over long distances.

The MX-TPS-IB is an 8-channel twisted pair input board for Lightware’s MX series Modular Matrix Routers that provides HDMI 1.4, audio, Ethernet, IR, RS-232 and remote power extension on a single CAT5/6/7 cable up to 100 m distance. It handles resolutions up to 4K, 48-bit color depth, all HDMI audio formats and 120Hz 3D signals. The board offers bi-directional RS-232 and Ethernet transmission and features a 10/100 uplink connector for the Ethernet network connection.

The MX-TPS-IB offers audio option connectors: digital S/PDIF or analog stereo connectors are available for advanced audio functions. Audio can be embedded or de-embedded on the input or output board of the Matrix. Advanced professional functions, such as HDCP enable/disable mode, Pixel Accurate Reclocking, Advanced EDID Management and Input Signal Frame Detector, are integrated and provide the highest level of set up and usage.

The board is compatible with deep color, Dolby TrueHD and DTS-HD audio and features PCM audio sample rate conversion.

The HDMI-TPS-TX90 and RX90 twisted pairs extend uncompressed full HD video for extreme distances (up to 180 m) over a single CAT cable. They handle resolutions up to 4K and UHD, 48-bit color depth, all standard audio formats and 120Hz 3D signals.

The units offer bi-directional RS-232, IR and Ethernet pass-through all on the same CAT5e…CAT7 cable that carries the video signal. The extenders support full HDCP and EDID compliance and work at all standard AV resolutions. Remote powering is available through the single CAT5e…CAT7 cable; a local power supply also can be used. All devices can be mounted on a rack shelf or used in stand-alone formats.

About Lightware U.S.A.

Lightware U.S.A. is the US distributor of professional AV products manufactured by Lightware Visual Engineering in Budapest, Hungary. For more information on these products, visit www.lightwareUSA.com.

Producer Max Gilkes has upgraded his Brighton-based mastering and post production facility 1 Sonic by installing SADiE 6 software for Mastering and a Prism Sound Orpheus FireWire audio interface.

Gilkes, who founded 1 Sonic eight years ago, says the support offered by Prism Sound was a key factor in his decision to invest in the company’s products.

“I was previously using Peak as a playlist editor and doing most other things on Pro Tools,� he explains. “But as it was time for an upgrade I decided to go with a company that I knew I could have a good working relationship with, and one that was also based in the UK.�

With a client list that includes Ninja Tune, Big Dada, Sony (France), Smart Move Productions, Mr. Bongo, Keep Up, Silverland and Mission, Gilkes is rarely out of the studio. His recent credits have included Fink, Dobie, Roots Manuva, The Skints, Deco Child, Raffertie, Eliza Carthy and Prince Fatty.

The facility itself is mainly used for mastering and mixing, but it also boasts a live room with 8 tie-lines that is large enough to record drums.

“The outboard in the studio is primarily for tracking, so there are some nice pre’s and compressors,â€� Gilkes says. “I also have a master section by Audient, PMC and Yamaha monitors, Pro-Tools, various classic guitar and bass amps and a range of microphones – not to mention an over-used tea pot!â€�

Moving from one software platform to another can be intimidating, but Gilkes says he has found the transition to SADiE 6 far less painful than he anticipated.

“It’s always hard work making the transition from one system that you are particularly well versed with to a whole new environment, but SADiE 6 is very intuitive and easy to use,â€� he says. “I’m really enjoying the facilities it provides. The editing facilities, in particular, are great and I like the PQ and DDP tools. However, the sound quality is the most outstanding feature and I am really impressed by that.â€�

Sound quality also played a part in Gilkes’ decision to buy a Prism Sound Orpheus FireWire audio interface.

“It was a no brainer, really,� he says. “The studio needed to make a significant step up in convertor quality and Orpheus delivered the transparency and clarity I was looking for, both as an A/D and a D/A converter. It has great sounding pre’s and I like the interface features for multi-tracking in Pro Tools.�

Gilkes is now using SADiE 6 and Orpheus on a variety of projects, including mastering an album for French artist Mayra Andrade on Sony (France), recording tracks for Congo Natty, completing a debut album for Chevron, recording drums for the next Grasscut (Ninja Tune) album, finishing backline tracking for a band called Bentcousin, which is releasing a three-track single through Team-Love NY and completing an album for a local brighton band called the Meow Meows.

And if that work schedule isn’t intensive enough, Gilkes is also producing and co-writing with the legendary Russell Stone of R&J Stone fame.

“The Russell Stone project is very interesting as all tracks are vocal/non-verbal and based on free improvisations.� He says. “The album, which is called HUMU, is very nearly finished and should be out in September.�

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

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

Rio Rancho, NM – June 2013… Lectrosonics, recognized the world over as a leading manufacturer of wireless microphone systems and audio processing products, recently launched its ASPEN Certified Dealer Program. Created with the goal of ensuring the highest standards of technical expertise when deploying Lectrosonics’ ASPEN Series products, the ASPEN Certified Dealer Program is a three-fold initiative designed to help interested AV integrators gain the technical expertise necessary to ensure world-class AV system deployments. more

ASHLAND, MASSACHUSETTS – JUNE 2013: Under a new co-marketing agreement, RF Venue will offer Revolabs® dealers and installers its new directional Remote Antenna Extension System, designed for use with Revolabs’ Executive HD wireless microphone systems.

The wall mounted antenna features 9 dB of gain and a directional pattern, which improves RF signal level and coverage area for installed systems, giving system integrators and designers greater flexibility in locating wireless equipment racks and overcoming RF signal loss over coaxial cables. The Remote Antenna Extension System also features four high-quality coaxial cable leads terminated with N-type connectors and a high-quality eggshell white enclosure, which may be painted to match the color of any interior. The Antenna Extension System is also available bundled with plenum-rated low-loss coaxial cables in lengths of 25, 50, and 100 feet with custom lengths and cable types available.

“We are excited to be partnering with Revolabs to provide this important piece in the wireless signal chain,” commented RF Venue CEO Chris Regan. “The 1.9 GHz frequency band has numerous advantages, such as freedom from interference, but signal attenuation from walls, in between floors, and long coaxial cable runs can make locating equipment a challenge. Our Remote Antenna Extension system for Revolabs overcomes these issues and gives system designers and installers much greater flexibility to integrate the system with the client’s facility.”

“More and more system design consultants and integrators are locating audio/visual equipment racks in dedicated IT equipment rooms, which neatly consolidates a facility’s equipment but poses challenges for wireless signal distribution,” commented Revolabs CTO Tim Root. “The RF Venue Remote Antenna Extension System is a turnkey platform for Revolabs Executive HD products that will greatly facilitate integration and improve system performance in multi-room applications.”

The Remote Antenna Extension System is available directly from RF Venue and qualified dealers may apply at www.RFvenue.com and place orders with the company.

ABOUT RF VENUE RF Venue manufactures wireless audio equipment including remote antennas, RF distribution equipment, and cable assemblies. The company’s primary antenna products include the interference mitigating RF Spotlight, the lightweight foldable helical antenna CP Beam, and the polarization diversity antenna dubbed Diversity Fin. For more information visit: www.RFvenue.com

STOP BY AND SEE US AT RF VENUE INFOCOMM BOOTH #1075 OR REVOLABS BOOTH #2181

New Remote Line Extender and Tempest900 BeltStation Increase the System’s Capabilities

ORLANDO, FL, JUNE 5, 2013 – Clear-Com® is showcasing the latest enhancements to its Tempest Digital Wireless Intercoms at InfoComm 2013 (Booth 921). Included among the offerings is the new Tempest®900 BeltStation, which is equipped with an advanced Planar Inverted-F Antenna (PIFA) to increase its range and wireless coverage. Also new to the lineup is a Remote Transceiver Line Extender that boosts the cable run distance of the systems’ remote antennas. These solutions further extend Tempest’s wireless communications capabilities for outdoor events and mobile productions staged in RF-heavy environments.

The Tempest line of feature-rich wireless intercoms comprises the 2.4 GHz Tempest®2400 and 900 MHz Tempest900 wireless systems in either a two- or four-channel option. Both Tempest systems deliver cutting-edge RF technologies to ensure interference-free communications for all types of venues. The Tempest2400 offers a Seamless Roaming feature, which provides sound engineers with continuous wireless coverage across expanded production spaces, such as such as college campuses and sports arenas. With the Seamless Roaming feature, BeltStation users can migrate between as many as 16 different Tempest BaseStations (coverage areas or zones) without having to change the settings on their BeltStations. This enables audio professionals to fully focus on critical production cues without distraction. Both Seamless Roaming and iSelect Roaming are available to accommodate virtually every application need.

As part of a continuing effort to expand the Tempest system further, Clear-Com is releasing its new PIFA-equipped Tempest900 BeltStation. Increasingly popular in the mobile phone market, the low-profile PIFA has an omnidirectional signal pattern that can receive a connection from any direction. Backward compatible with Tempest900 firmware version 3.0, the new BeltStations are fully compatible with both two- and four-channel versions of the Tempest900 BaseStations and BeltStations. The longer wavelengths and wider symbol width of this band allow the system’s signals to permeate dense walls and other structural objects more easily. This feature increases the range of the system and reduces any potential loss of audio.

Clear-Com will also unveil its new Tempest Remote Transceiver Line Extender. One Line Extender increases the systems’ cable run by 3,000 feet, while two or more Line Extenders can increase it by 2,000 feet per Line Extender. A total of three Line Extenders can be connected to provide total coverage of up to 7,500 feet. With this functionality, users can deploy larger systems with longer cable runs from the BaseStation.

About Clear-Com®
Clear-Com, an HME company, is a global provider in professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analog & Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.

Engineering Excellence, Creativity and Innovation Deadlines Also Approaching

(Hollywood, CA) The Hollywood Post Alliance has announced that several important deadlines are approaching for the 8th Annual HPA Awards Call for Entries. Early Bird pricing, which will end June 14, 2013, provides reduced entry fees for the Creative Categories. The Creative Categories cover feature film, television and commercials and include Outstanding Color Grading, Editing and Sound, as well as an expanded Visual Effects category, which replaces the Compositing categories. Regular, non-discounted entry fees will apply for these categories from June 15 through the final Creative Category entry deadline of July 12, 2013. The final entry deadlines for the HPA Engineering Excellence Award and the HPA Judges Award for Creativity and Innovation are also nearing.

In addition to the Creative Categories, there are two awards that draw attention to other areas of post production with upcoming deadlines – The Engineering Excellence Award, which spotlights the companies and individuals bringing technical and creative ingenuity to the real world of post production while raising the profile of breakthrough technologies within the industry; and The HPA Judges Award for Creativity and Innovation in Post Production, which was conceived to recognize companies and individuals who have made significant achievements and pushed the envelope forward in post production, whether in creative storytelling and/or technical innovation. Valid entries should demonstrate new approaches in tools, workflows or ideas from a technical, creative or efficiency perspective. Both Engineering Excellence and the Creativity and Innovation Award are accepting submissions through June 21, 2013.

The period of eligibility for the HPA Awards Creative Categories is September 11, 2012 through September 3, 2013. To be considered eligible, work must have debuted domestically and or internationally during this period. Entrants need not be members of the Hollywood Post Alliance or working in the U.S. to submit work for consideration. The HPA Awards will take place November 7, 2013 at the Skirball Cultural Center in Los Angeles.

Attracting attention for the companies and individuals who work creatively and technically to bring vision to reality, the awards are the standard by which creative and technical excellence in the art, science and craft of post production is measured.

Contact Eileen Kramer at 213-614-0860 or write to ekramer@hpaonline.com for information about sponsorship opportunities for the 2013 HPA Awards show. For more information about the HPA Awards, visit www.hpaawards.net, write to info@hpaawards.net or call 213.614.0860.

About the Hollywood Post Alliance(r)
Hollywood Post Alliance (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content.

About the HPA(r) Awards
The HPA Awards were created to foster awareness of post production, promote creative and technical excellence, recognize the achievements of post production talent, and build involvement in the Hollywood Post Alliance.

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