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Shure Wireless Dominates Telecast of 68th Tony Awards on CBS

NILES, Ill., June 17, 2014—The CBS broadcast of the 2014 Tony Awards, which aired June 8, was one of the most complex in the event’s history. From host Hugh Jackman’s sprawling, bouncing, opening number to the on-stage gathering of all winners for a closing rendition of “On Broadway,” viewers were treated to a fast-paced production that included a record 17 musical acts and a live orchestra in Radio City Music Hall.

Managing RF system design and frequency coordination for Firehouse Productions was Vinny Siniscal. “With so much real estate to cover, so many frequencies to manage and so many live bands, I specified Shure UHF-R systems again this year,” he states. “When I’m doing a live network broadcast, that’s my preference. Even though the product has been around ten years or so, I know there’s nothing else out there that I trust to be robust enough to survive in such a crowded RF environment.”

This year’s production used almost 250 channels of wireless, 64 of which were for microphones. In addition, all eight channels of in-ear monitors on the Tony stage were Shure PSM® 1000 systems. The production also used wireless intercom systems, effects cues, and ENG cameras – most notably the Steadicam following Jackman from the red carpet to the stage on the opening number. “Producers design these shows assuming that whatever wireless is required can be accommodated,” notes Siniscal. “If that means more channels in less available spectrum, then so be it. It’s our job to make it happen.”

All but eight of the wireless mics were Shure UHF-R—the only exceptions were a handful of costumes with other transmitters already sewn inside. Most of the 56 Shure channels were bodypacks, including 32 UR1M micro-packs. Twelve channels were UR2 handheld transmitters, with an SM58® capsule for Hugh Jackman and Beta 58 elements for most other artists, including Carole King, LL Cool J, and Sting’s choir. “Firehouse provided full combo systems, and, of course, we had all Shure capsules available,” says Siniscal. “At the Tony Awards, you have to be ready for anything.”

One of Siniscal’s biggest challenges this year was the creation of six separate wireless reception zones. “That was driven by the opening number,” he relates. “It started on the red carpet, which is literally outside and open to all the RF on the street. Then we had to cover the stage-level and basement-level elevator banks, plus the elevator shaft itself. Of course, we also had the usual zones for the main stage and front of house, plus the backstage zone.”

To handle the audio transition from zone to zone, Siniscal found the Shure UA874 active directional antenna to be a valuable tool. “What I love about these antennas is that the RF output is switchable from -6dB to +12dB, including unity gain,” he explains. “That’s a key feature, as it allows me to balance for different RF levels across the various zones. I can also turn each zone on and off remotely via the distribution amp.”

With a lot of advance work, three scanners, and a lot of Shure equipment, Firehouse Productions contributed flawless wireless to the telecast for the fourth consecutive year. “Doing the Tony Awards is always a big challenge, because every year, the production grows,” says Siniscal. “We had about 50 more wireless channels compared to last year, plus the outdoor coverage. That means competing with whatever is happening in Midtown – which is a lot of variables to deal with, especially for a live network broadcast. But we had a great team; we did our advance work, and had the right tools for the job. Fortunately, it went off without a hitch, and I look forward to doing it again next year.”

 

Host Hugh Jackman speaks onstage during the 68th Annual Tony Awards at Radio City Music Hall on June 8, 2014 in New York City. (Photo by Theo Wargo/Getty Images for Tony Awards Productions)

 

 

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Zeo Systems Integrations Launches New Web Site

FOR IMMEDIATE RELEASE

June 30, 2014

 

Zeo Systems Announces New Web Site

 

Hatboro,PA-

The Zeo Group, headquartered in Hatboro, PA.in the northern suburbs of Philadelphia, have partnered with local web design and marketing firm, IQnection to begin a total redesign and launch of the web sites for each of their distinct divisions. The first of these projects is the launch of the site for Zeo Systems, the installation and integrations division of the company. This site is located at www.zeo-systems.com. This launch is just the beginning of the exciting changes happening at Zeo. The launch coincides with Zeo’s purchase of the industrial park in which they are headquartered. Construction and expansion plans are on the immediate horizon so the homes of the different divisions will soon take on their own unique look and feel.

Professional Wireless Systems’ Frequency Coordination Hits the Right Note for Telemundo’s Popular Singing Competition, la Voz Kids

ORLANDO, FL, JUNE 30, 2014 – When Telemundo’s highly rated singing competition La Voz Kids kicked off its second season at Universal Studios Orlando, Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, was on-hand to provide all wireless equipment and frequency coordination for the popular show.

La Voz Kids features approximately 140 young vocalists between ages 7 and 15 who are competing for a recording contract and a cash prize to support their education. The second season premiered with over three million viewers on Telemundo.

PWS supplied a range of wireless gear for the show and managed frequencies across the three sound stages, each which were approximately 500 to 1000 feet apart. The main stage, Stage 21, was home to the talent’s performances in front of a live audience and was where the majority of the competition took place. Subsequently, Stage 20 was used as the greenroom and Stage 19, sponsored by State Farm Insurance Company, was where the one-on-one coaching between the judges and talent took place.

PWS provided nearly 50 Shure wireless microphones for the performers throughout the show’s duration. In addition, PWS supplied the show with 40 Telex BTR-800 wireless beltpacks, 32 of which were used on the main stage by the lighting, audio and production crews, camera operators and stage managers. The other eight were kept stationary at Stages 20 and 19 to ensure that the crew had them available for any unanticipated occurrences. To streamline workflow operations, PWS also tied the intercoms into the main PA system, so that the stage announcers’ audio could be projected through the sound system to efficiently communicate with everyone on-location. This proved particularly essential during rehearsals.

In providing its wireless services for the three-phase entertainment show, PWS coordinated and managed a total of 200 frequencies, which included all the performances as well as additional ENG gear that was used to wire up the families to have them reflect on their son/daughter’s most recent performance. PWS’ main RF Coordinator John Garrido faced two main challenges while on set. One of the biggest hurdles centered on the show’s three-phase approach. Each phase or round of the competition was hosted on an entirely new set in order to give the show a fresh look as it progressed. “In between each phase and subsequent rebuild, all of the wiring and equipment had to be reconfigured,” says Garrido. “It was a big task for us, but one that we were happy to take on.”

The location of the show itself also presented PWS with quite a challenge in terms of managing and coordinating neighboring frequencies. “The show was filmed in the middle of Universal Studios, with other shows taping all around La Voz Kids on different, close-by stages,” adds Garrido. “Universal Studios manages approximately 400 frequencies, on a regular basis, and though we were coordinating and managing approximately 200 for La Voz Kids, we always had to be on guard to ensure that surrounding shows’ frequencies were not causing interference. This was particularly difficult to manage, because right behind Stage 21, there was a designated concert stage that hosted multiple live acts during the taping of La Voz Kids, creating the potential for interference. Fortunately, our crew was well prepared, and our expertise allowed us to stay on top of any potential issues.”

To ensure all frequencies were well managed for the duration of the competition, PWS supplied and deployed a majority of its own RF equipment, including a combination of its Domed and Helical Antennas. All in-ear monitors, as well as the Telex BTR outputs were run through GX-8 Combiners for transmission. In addition, PWS utilized its DB Series Multicouplers for all microphone and Telex BTR zoning and distribution. Throughout the show, PWS relied on its own Intermodulation Analysis Software System (IAS), a complete frequency management tool that helps coordinators quickly choose the clear frequencies for each specific wireless system and tuning range.

La Voz Kids proved to be a very successful show for PWS,” says Jim Van Winkle, general manager of PWS. “Working on a competition of this magnitude for such a long duration can be a cumbersome task, but our crew was well prepared to take on the challenge and did a fantastic job in ensuring that there were no frequency or signal interference problems during the show’s tapings.”

For more information about Professional Wireless Systems, visit http://www.professionalwireless.com.

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 live concert, television broadcast, corporate, industrial, theatrical, house of worship and sports events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, 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,” “Mama Mia,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” and “Once” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater, historic St. Bartholomew’s Church and NYU’s James L. Dolan Recording Studio. 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.

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ABS to Address 4K Technology Questions During Free Open House

SEATAC, WA — Professional video and audio systems integration firm Advanced Broadcast Solutions (ABS) today announced a free 4K Open House at its offices in SeaTac on July 17, 2014, from 11 a.m. to 3 p.m. There will be a number of vendors at the event, including Adobe, AJA Video Systems, Elemental Technologies, Four Winds Interactive, FUJINON, Infortrend, Quantum, Planar and Sony. Lunch will be provided for registered attendees.

4K and other large raster acquisition formats offer improved resolution and high dynamic range (HDR) that rival film, enough to already convince many episodic television producers to replace 35mm film with video. Plus, 4K or ultra-high definition (UHD) displays are also being considered for a variety of applications, including I-MAG (image magnification), live events and high-end retail. However, a number of questions remain regarding production, post-production and distribution workflows.

“There are many advantages to producing in 4K, but there are disadvantages as well,” explained Mark Siegel, president of ABS. “Just because you can produce in 4K, should you? There are a lot of questions with 4K, and our open house will offer an open and frank opportunity to discuss the technology and its workflows.”

For free registration and more information, please visit: https://events.r20.constantcontact.com/register/eventReg?oeidk=a07e9gb0kw932803440&oseq=&c=&ch=.

About ABS:

Based in SeaTac, WA, ABS (Advanced Broadcast Solutions) delivers customized, technologically superior solutions for broadcast, corporate, house of worship, entertainment, government, and educational facilities – from design and integration to installation and support services. Since 1982, its experienced technical staff has installed more than 700 systems for clients including GOCOM Media, Cowles California Media, Cisco Systems, Meredith, and Time Warner Communications. For more information, call 206-870-0244 or visit www.advancedbroadcastsolutions.com.

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SSL Live Hits Summer Festivals with The Killers

“This console is the most analogue-correct digital console; it sounds phenomenal”

SAN FRANCISCO – Following The Killers’ wildly successful 2013 Battle Born world tour, performing in 50 countries and headlining arenas on six continents – including a sold-out Wembley Stadium show for which they wrote The Wembley Song – the Las Vegas-based phenomenon is back on the road this summer in support of their Direct Hits greatest hits compilation. With appearances at North American and U.K. music festivals, the band’s FOH engineer, Kenny Kaiser, is delivering their chart toppers with help from the new SSL Live console.

Kaiser works for Delicate Productions of Camarillo, California, serving as PA tech or system tech for Selena Gomez, Train and as monitor tech and crew chief for The Foo Fighters, among others. After moving to the Killers’ camp last year, he took over the helm for their 2014 tour. However, Kaiser was not fond of their previous FOH console and knew instantly that he’d need to make a switch.

“Delicate is a great partner of Hi-Tech Audio [supplier of the SSL Live console for the tour] in San Francisco, where I’m based,” he says. “Louis Adamo, president of Hi-Tech, called to say they had a new SSL console, so I went down and played with it. I found it fluid and the surface very intuitive. I also had a chance to take a class for engineers and production companies. After I took the class, I found the console even more intriguing. One thing that stuck in my mind was actually taking it apart and looking inside at how it’s made – it’s built like a tank. Plus, with the name SSL, you can’t go wrong; that’s a great name in consoles.”

As Kaiser is part of a new breed of engineers, The Killers’ previous mix platform just wasn’t his style. “There was too much button pushing to get to certain places and it was too spread out,” he continues. “There were fader banks on either side, so I had to do a lot of left and right movements. With Live, it’s more centralized. I don’t have to move around the console and I can stay in one spot, hit one button and quickly do what I need to do.”

Kaiser, who will occasionally use other consoles for events supported by Delicate, finds SSL Live to be more convenient to work on due to its flexibility and the manner in which an engineer can customize the fader banks. “It’s very intuitive and user-friendly,” he adds. “There are a lot of options as to how you can set up SSL Live.”

The accuracy of the console also stood out to Kaiser. “Because my background is a system tech, I’m an audio measurement and phase dork,” he explains. “Some engineers might have an eight or 10 dB boost or cut on an EQ band and my thought, if you have to do that, is that something is wrong – either the wrong mic or the console isn’t doing what the engineer needs. I now find that certain things I used to do, I don’t have to do anymore because the EQ does what it says its doing. When you’re on the first band and you want a cut at 120 Hz, it actually does 120. Some consoles say they’re doing 120, but then when you actually plug it in and check, it’s not quite there. Sometimes the Q isn’t quite what it says; with this console, it’s precise.”

Another big hit was Live’s onboard effects. “Everything is built-in, the reverbs sound glorious and it’s all on board,” says Kaiser. “I don’t have to go out and buy a console and then say, ‘Okay, now I need some external piece of software or hardware to get what I want.’ Everything I need is right there in one box to make the sound how I need to make it, which makes my job easier.”

But it doesn’t just stop at the effects, the console’s all-pass filters were also a big selling point for Kaiser. “As a system tech, I use all-pass filters to align side hangs to the mains,” he explains. “Being able to have that on inputs to align a pair of kick or snare drum mics is a huge tool to get the phase just right.”

Kaiser also mentions the clarity and distinctness that each instrument has in his mix. “On other consoles, once you start adding more stuff, you hear them start to overload and hear the coherence start to go away, but not with the SSL Live. SSL definitely did their homework to make it sound as analogue as possible. This console is the most analogue-correct digital console I’ve ever encountered. It sounds phenomenal.”

The Killers recently headlined the Hangout Festival on the sandy beaches of Gulf Shores, Alabama where the console was put to the true test of the weather. Kaiser notes, “despite the heat, high humidity, wind and sandstorms that we encountered that weekend, the console was just great.”

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.

Hollywood Sound Hosts Yamaha NUAGE, Steinberg Nuendo Demos

BUENA PARK, Calif.— David Lees and Marcel Mauceri from Yamaha Commercial Audio Systems, Inc. will be on hand to demonstrate the new Yamaha NUAGE production system along with a Nuendo masterclass presented by Steinberg’s Greg Ondo on Tuesday, July 1st between 7:00 – 9:00 pm. Hosted by Hollywood Sound, the presentations will take place at their location 1541 North Wilcox Ave., Hollywood, CA 90028.

NUAGE is a highly refined, scalable hardware/software production environment for recording, video post-production, ADR, music production and mixing. NUAGE features many unique and exciting features such as an integrated ADR system, efficient content management, advanced media access system, and much more.

A joint collaboration between Yamaha and Steinberg, NUAGE is a hardware and software system that adds the power of Dante audio networking, and is a complete, flexible system that allows engineers to choose and combine components to perfectly match individual application and workflow requirements.

These sessions are free and open to all members of the audio production community. Please RSVP to 323.466.2416. For more details, visit
www.hollywoodsound.com.

-END-

Videomakers at VidCon to Receive Behind-the-Scenes Insight on Production Gear for Content Creation

Highlights of Conference include an All-Star Lineup of Speakers

ANAHEIM, Calif. - Anton/Bauer, Litepanels, Sachtler, and Teradek - all Vitec Group brands - will support the independent, online videomaking community at the 5th Annual VidCon, which takes place at the Anaheim Convention Center in Anaheim, Calif., from June 26-28. As a sponsor of the conference, content creators at the show will receive insight into the innovative tools available from these brands, which help them get the shots they need to capture the eyeballs of "Generation Like."

Anton/Bauer, Litepanels, Sachtler, and Teradek are also backing some of the conference panel sessions, including:

    Intentional Virality (Friday, June 27, 12:30pm in Room 209AB): This panel explores how some creators and brands manage to continually create content that people share until 10 or even hundreds of millions of people have watched? Moderated by CEO / Founder, Digital LA Kevin Winston. Panelists include Niko Pueringer and Sam Gorski of Corridor Digital; Michael Gregory of Gregory Brothers; Evan Hadsfield; Henry Reich of MinutePhysics; Will Pearson, President, co-Founder of Mental Floss, Inc.; Mangesh Hattikudur, Chief Creative Officer, co-Founder, Mental Floss, Inc.

    Special Effects: How and Why (Friday, June 28, 3:30pm in Room 202AB): Experts will discuss why special effects aren't so special anymore. With the right tools, teenagers in their bedrooms are creating better effects than whole teams could just a few years ago. But that means it's even harder to differentiate yourself. What's next in effects, and what opportunities are available to those who have the skills. Moderated by CDS Director of Network Development John Carle. Panelists include Pueringer and Gorski of Corridor Digital, Zach King of FinalCutKing, Andrew McMurry of AndrewMFilms, and Clinton Jones of Pwnisher.

The Vitec brands will also make sure the conference's special guests are taken care of by lending support to VidCon's VIP Lounge. In addition to community and industry panels, there will be signings, live performances, and movie screenings. Other speakers include DreamWorks Animation CEO Jeffrey Katzenberg; YouTube CEO Susan Wojcicki; Maker Studios CEO Ynon Kreiz; John Green; Lauren Zelaznick; Fullscreen founder George Strompolos; Burnie Burns; Brian Robbins; Big Frame's Sarah Penna; Grace Helbig; Freddie Wong; Ingrid Nilsen; BrandonJLA; Josh Sundquist; The Gregory Brothers; Philp deFranco; Lisa Schwartz; and Amanda Steele, among others.

VidCon is the largest industry conference and fan event in the world for online video. This year's conference is expected to draw more than 18,000 fans, content creators and industry executives. More information is available at www.VidCon.com.

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Extron Introduces DTP Twisted Pair Extenders for DisplayPort

Extron Electronics is pleased to introduce the DTP DP 230 and DTP DP 330, transmitter and receiver sets for transmission of DisplayPort, audio, and bidirectional RS-232 and IR signals over a shielded CATx shielded twisted pair cable. The DTP DP 230 extends signals up to 230 feet (70 meters), while the DTP DP 330 extends signals up to 330 feet (100 meters). Both DTP DP models provide an effective means for incorporating higher resolution DisplayPort with embedded audio into Extron DTP Systems. They support computer-video to 2560×1600, 1080p/60 Deep Color, and 4K resolutions. The DTP DP 230 and DTP DP 330 also accept analog stereo audio signals for simultaneous transmission over the same shielded twisted pair cable. The compact enclosure size and remote power capability make the DTP DP models ideal for discreet placement in lecterns, beneath tables, behind flat-panel displays, or wherever needed to meet application requirements. more

FSR President Jan Sandri Honored at InfoComm14

Sandri Receives a Women in AV Award from InfoComm International®

Las Vegas, NV – InfoComm14 — FSR President Jan Sandri’s exemplary career, generous spirit and commitment to community were recognized by InfoComm International®, the leading professional audiovisual trade association, when they presented her with an InfoComm Women in AV Award. Sandri accepted the honor at the organization’s 75th Anniversary Awards Dinner held at the LVH in Las Vegas, Nevada on the eve InfoComm 2014, the top annual commercial audiovisual trade show. InfoComm is taking place June 14-20 at the Las Vegas Convention Center in Las Vegas, NV.
The Women in AV Award was created by InfoComm to raise awareness of the growing role of female professionals in the male-dominated field of audiovisual technology. The award winners are in the upper echelon of AV professionals and symbolize the strength of entrepreneurship and excellence in developing tomorrow’s AV talent.
Sandri’s career, and life, ticked all the qualification boxes. Sandri, who is a founding member of FSR, a well-known manufacturer of a wide variety of AV products, has built her career with a commitment to her company, industry, community and country. With over 33 years experience in the AV industry, Sandri’s significant contributions extend from developing products that answer a real need, to having served as a director on the Board of several industry organizations. And after more than three decades of service, Sandri has grown FSR, a women owned business that strives to maintain green manufacturing processes, from three people to a staff of over 100.
Cory Schaeffer, a co-founder of Listen Technologies, was also presented an award. “Both Jan Sandri and Cory Schaeffer have demonstrated extraordinary levels of professional knowledge, while taking time to improve the industry and better the lives of others,” said David Labuskes, CTS, RCDD, Executive Director and CEO, InfoComm International. “InfoComm is pleased to celebrate Cory and Jan’s achievements.”
Sandri’s sense of responsibility extends to civic activities where she has served as the mayor of Little Falls, NJ, her home town, and well as on the town council, did a stint as fire commissioner, police commissioner and was also the president of the board of health. As mayor she donated her salary to local worthy causes, or to needy people, and every fall, as school opens, Sandri leads the charge to work with United Way and donate supplies, such as backpacks and notebooks, to children whose families are having a difficult time keeping up with the economy.

“I am deeply honored to be recognized by InfoComm, an organization of which I am proud to be a member,” Sandri stated. “I am lucky to be surrounded by so many wonderfully talented, smart and generous women, and men, in the AV industry who prove everyday that everyone is capable of helping others to effect change, whether it be in business or community.”

See InfoComm’s announcement: http://www.infocommshow.org/2042.asp

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 Communications
Harriet Diener
845-512-8283 • mailto:harriet@desertmoon.tv

Masque Sound Brings the Powerful and Influential Lyrics of Tupac Shakur to the Stage in Holler if ya Hear Me

Custom Audio Equipment Package Keeps the Beat for First Hip-Hop Musical in Broadway History

NEW YORK, JUNE 23, 2014 – As the curtain rose and the beat dropped on Broadway, the rhymes of Tupac Shakur engulfed the Palace Theatre during the highly anticipated hip-hop musical Holler If Ya Hear Me. Sound Designers David Patridge and John Shivers turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a custom audio equipment package for the riveting new production.

Holler If Ya Hear Me transports audiences to the world inside Tupac Shakur’s lyrics, and blazes to life in a non-biographical story about friendship, family, revenge, change and hope. The production brings to light the struggles for peace against the daily challenges of inner city life in this entertaining and original musical. Through the poetry of one of the 20th century’s most influential and culturally prominent voices, audiences are given a window into realities of the street, which are still relevant today.

Unlike a typical musical, which focuses mainly on reinforcing the audio coming off the stage, Patridge and Shivers’ goal in designing the sound for Holler If Ya Hear Me was to not only reinforce but amplify the audio to bring it to a level that was much more impactful. To do so, they worked with Masque Sound to obtain a custom equipment package, which included a DiGiCo SD7T Live Digital Console, d&b audiotechnik V-Series line array system, d&b D80 amplifiers and a Yamaha PM5D-EX digital console. The performers were outfitted with Sennheiser SK5212-II radios and EM 3732-II receivers, as well as DPA d:fine microphone booms fitted with a 4066 element.

“This was the first time that we used the d&b V-Series and D80 amplifiers and we were very impressed. The PA system needed to have more volume than a typical Broadway show in order to adhere to the punchy, hip hop score,” says Patridge. “The capacity and quality of the d&b D80 amplifiers was excellent. Working in an older theater also presented its challenges, architecturally speaking. We needed a line array system that was compact enough to fit the space, not block sight lines and not weigh too much; the V-Series was the perfect choice. Masque Sound went above and beyond in purchasing an abundance of high-end equipment for us, because the team knew that it was necessary for a show of this caliber. We are very appreciative that they were willing to go that extra mile to help bring our vision to life.”

The designers called upon two different d&b models in order to more evenly disperse the audio throughout the theatre. “We put the 120 degree boxes at the bottom of the array and had the narrower pattern going further distances, so when the audio opens up, it keeps some of the energy off the walls of the room,” adds Patridge. “When designing for sonic signature, you have to look at everything—it has to sound good, be coherent, be able to control the pattern and it has to have power. The d&b PA that Masque Sound provided allowed us to do just that.”

The location of the mix position also presented a unique challenge for the designers. The seating of the Palace Theatre is configured with a continuous slope, which provides a stadium seating effect instead of the traditional separate levels (orchestra, mezzanine and balcony). As a result of the angle of the chairs, the FOH mixer cannot see the actors on stage, as he would have to look through the console.

“Not having a good line of sight can be quite a challenge, so we incorporated a video monitor system into the design,” says Patridge. “As a one-stop shop, Masque Sound was able to supply the video component that we needed to overcome this unexpected challenge.”

In addition to his praise of Masque Sound, Patridge also credits his long-time production engineer Kevin Kennedy for a job well done. “The sound turned out great, and we are really excited and thankful to be part of this history-making musical,” concludes Patridge.

Holler If Ya Hear Me opened on June 19, 2014 at the Palace Theatre. For more information and to purchase tickets, please visit: www.hollerifyahearme.com.

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.

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

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