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AVI-SPL Joins GovComm 2011

Leading audio video communications provider AVI-SPL is headed to GovComm 2011 November 1-2, 2011 at the Walter E. Washington Convention Center in Washington, D.C. AVI-SPL’s Mike Brandofino, vice president of video conferencing and unified communications, will lead a presentation on understanding unified communications and will be moderating the panel discussion on cloud computing.

Cloud Computing
November 1, 10:30 a.m. to 12 p.m.
Moderator: Mike Brandofino
This panel discussion will help attendees understand the definition of cloud computing, issues related to security, and the benefits and tradeoffs of collaboration solutions in the cloud in order to achieve ubiquitous service and a real return on investment (ROI).

Understanding Unified Communications & Collaborative Conferencing
November 1, 1:30 p.m. to 3 p.m.
Speakers: IMCCA Government SIG Chair: Ken Scatturo, AVI-SPL: Mike Brandofino, KBZ: Brian Ricca Compunetix: Jerry Pompa
This session will provide an overview of unified communications and collaborative conferencing: What are they? What technologies are under the umbrella? How is security handled? How is interoperability with existing video deployments addressed? What are the pros and cons of an “all-in-one” approach versus a “best-in-breed” approach? How are end users deploying the technologies? What lessons have been learned?

AVI-SPL is exhibiting at booth # 271 at the show.

To learn more about GovComm 2011 and to register, visit http://www.govcommshow.org.

About AVI-SPL AVI-SPL is a global leader in audio video communications technology, providing comprehensive solutions and services for professional AV installation, telepresence and video conferencing, digital media systems, control rooms and network operations centers, hotel rental services, event staging and production. Headquartered in Tampa, Fla., AVI-SPL has highly-trained and certified system engineers throughout 32 U.S. offices and an international network of solution providers in 30 countries. Please visit www.avispl.com for more information or connect with AVI-SPL On Twitter, Facebook and LinkedIn

Firehouse Productions Delivers Dynamic Sound With HARMAN’s JBL VERTEC® Line Arrays For iHeartRadio Event

Firehouse Productions supplied a JBL VERTEC line array system for the iHeartRadio Music Festival at the MGM Grand Arena in Las Vegas.

NORTHRIDGE, California – Firehouse Productions recently provided sound for some of the biggest names in music at the iHeartRadio Music Festival in Las Vegas, sponsored by Clear Channel’s iHeartRadio social media networking outlet. With performances by Jay-Z, Alicia Keys, Bruno Mars, Lady Gaga, Nicki Minaj and many others, Firehouse deployed HARMAN’s JBL VERTEC® line arrays to match the dynamic range of performers in the MGM Grand Arena.

The audio system included two main left-right arrays of 17 JBL VERTEC VT4889 fullsize line array elements each, accompanied by two flown arrays of 12 VT4880A fullsize subwoofers. Side coverage was provided by JBL VT4888 midsize line array elements, and JBL VT4887 compact line array elements provided the front fills. Firehouse also provided two ground-stacked columns of three VT4889 loudspeakers each, on top of three VT4880A fullsize arrayable subwoofers each. Crown I-Tech IT1200HD amplifiers powered the entire system using the new VERTEC V5 DSP settings.

Large events like the iHeartRadio Music Festival pose a variety of unique challenges, particularly when they feature so many different artists. “With a show this size, there are different rehearsals taking place at different times, all with information and settings that need to be conveyed back to the main system,” said Mark Dittmar, Lead Design & Integration Engineer at Firehouse Productions.

With so many variables, the VERTEC line arrays were extremely easy to set up—one of the main reasons why Firehouse continues to rely on VERTEC for major events and a significant factor in the success of the iHeartRadio event. “Everything went as well as we could have hoped, Clear Channel and MGM Grand were happy and we were even five minutes ahead of schedule on every change-over,” Dittmar said. “You can always gauge how a multi-band show is going depending on that; we were always ready to go with no delays, as smooth as could be.”

Dittmar went on to rave about the new V5 presets software upgrade for the VERTEC system. “They are stunning and the high end is much smoother,” he noted. ”The V5 presets solve all kinds of midrange issues, and the low-end response is amazing. The manager of the building even said that you could hear it blasting two blocks away—an impressive volume that had never been reached before. Some acts used the entire system, pushing all the amps to the max level, and even when touching the limit it sounded linear and smooth. It’s always nice when you don’t have to worry about pushing a system too hard and can just let it fly. It’s great to have the performance upgrade without having to buy new equipment. The software upgrade was done in a half-hour and we were ready to go. It’s simply an amazing value to anyone who uses VERTEC.”

For more information on Firehouse Productions, please visit: http://www.firehouseproductions.com

For more information on iHeartRadio, please visit: http://www.iheart.com/

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 12,500 people across the Americas, Europe and Asia, and reported net sales of $4.0 billion for twelve months ending September 30, 2011.

Dual DiGiCo SD10s Propel Alison Krauss & Union Station’s ‘Paper Airplane’ Tour

The nearly sold-out Alison Krauss & Union Station tour this year in support of the band’s new album, Paper Airplanes, is certainly proof-positive that they’ve never been more popular, bringing a tightly knit fusion of bluegrass and country to fans old and new. Though Alison’s award-winning 2007 collaboration with Robert Plant may have briefly elevated her stature to a whole new audience it’s abundantly clear that as a group they don’t need an A-list rocker to pack the house.

Taking charge of the tour’s production is longtime audio frontman Cliff Miller of North Carolina’s SE Systems. Last summer, Miller put a pair of newly minted SD10 console through rigorous paces at the 2010 MerleFest, one of the country’s premier Americana and roots music festivals. With that experience being so positive and productive, Miller decided to entrust the Union Station tour to DiGiCo, placing the consoles at FoH and monitors for himself and monitor team Bernie Velluti and daughter Haley. The nightly challenge of presenting acoustic music in venues ranging from indoor auditoriums to outdoor sheds isn’t lost on Miller, who’s been at it for over 40 years, working with some of the most prominent artists of the genre. He says the SD10 has been a key component on this tour, showcasing the nuances of the band’s sound.

“The console is so amazingly consistent and I’m very pleased with the clean quality of sound we’re getting out of it,” Miller offered. “Mixing an acoustic band like this is probably one of the more challenging things for a digital console… it’s really the sum of all the parts and what goes into the console that affects what comes out. There’s a lot of detail with stringed instruments that you never hear with electric guitars and a lot of the other typical rock ‘n’ roll instruments. It’s important to understand the sound of these instruments because when they’re amplified, it’s literally a balancing act to get that right blend—where the sound system is equalized and isolated enough to keep the instrument resonance minimal and as natural as possible, and the low-end frequencies maintained. And that can change, too, depending on the facility and whether it’s indoor vs. outdoors. Outdoor sheds with vinyl roofs over the audience are a real challenge. There’s a lot of reflection even when you make a point of keeping the PA out of it. It’s very live. I find that even in the varying circumstances, once I get the overall PA tuned the way it needs to be, then my presets work well from day to day, inside or outside, pretty consistently. The only thing that may change is the EQ from day to day. Sometimes Ron [Block; banjo/guitar] may change the EQ on his Fishman Aura DI, depending on what he’s hearing in his ears. That affects what I’m getting at front of house, so I just compensate for that on a daily basis. I let him get it to suit his taste and then I set it to suit mine!”

In addition to the pair of SD10s, Miller’s carrying two DiGiCo SD-Racks, with one serving as an emergency spare, and loves hearing the warm, analog preamp sound.

The outboard gear is non-existent with the exception of the Lab Gruppen Dolby Lake LM 26 processor. “The way I’m inserting the Lake processor—which is digitally inserted using the AES sends and returns for my mains, front and side fills—I’m driving it with matrix outputs to the input of the delay. But on the returns, I have three stereo aux sends set up so its coming into the insert IN, so the biamped output of my Lake for my front and side fills and my stereo subwoofers are all being sent from stereo aux sends. Having the insert features is really handy on the console for driving multiple lines and getting signals. Depending on the venue, and if we’re using an in-house sound system, I’ll send all the sends off the console to analog outputs, if that’s where their inputs are. Otherwise, I can send them from the SD Rack on the stage. It’s very versatile, easy to route outputs, and you can rename them for whatever you need. You always have enough. And I really love having those two-two spaces on the SD-Rack underneath for a total of 4 rack spaces. On one side I have a UPS just as a backup in case we lose power, and on the other side, I have the Lake processor, a spare USB pre for my Smaart rig [the Rational Acoustics’ equalization software], and a receiver for a TM400 Lectrosonics test and measurement microphone. There’s not an outboard rack, you just set up the console, plug it in, and I’m ready to go!”

The core of Union Station is a 5-piece band featuring Dobro phenom Jerry Douglas, with the addition of a drummer and a keyboardist for this tour. Miller’s utilizing approximately 34 inputs for the band, much of which is dedicated to a band-wide package of Shure microphones for drums, fiddle, guitars, banjo, lap steel amp and vocals, a Neumann TLM 193 on the bass cab, as well as Fishman Aura DI’s for guitar, banjos and Dobro [the Jerry Douglas signature model], and various inputs for playback iPod, etcetera. A nightly encore finds the group singing in old-timey fashion gathered around a Shure KSM44.

Miller’s output section is fairly minimal, comprised of Left and Right outs, with the occasional Left Right Upper and Left Right Lower. “I always have a Left/Right, side fill, front fill, delay mix, and always provide an ADA house mix for the hearing impaired. One is dedicated for my Smaart computer. It’s an industry-wide reference software package that I use for tuning the sound system into the room environment itself, and for PA time alignment. It’s invaluable and I use it every day… very affordable, very versatile and it really fills a niche for me.”

Within the console, Miller’s effects rack is minimal, consisting of about 4 reverbs and 2 delays. “I’m using the simple vocal plate for Alison’s vocal and the backup vocals, and a simple delay that I use mainly for the Dobro to get a pan effect in some of the slower songs that we do. Other various reverbs I use are for percussion, and I have a warm hall delay that I use on guitars. Obviously in an auditorium, a little reverb on the instruments is always nice. It’s a pretty basic setup because, after having worked with them for 11 years, I try to be as true to the instrument’s sound—and to the recordings—as possible. The music they play has a wide dynamic range, and I like to make the most use out of that, so there’s very little compression.”

Macros and snapshots are two of the must-have features for Miller’s daily workflow. “I like being able to record a macro of an EQ setting that I can use for one particular instrument in one particular song. Typically, I have my console set up so when I have an EQ for a guitar it stays the same through all the snapshots. But when they change instruments using the same line, using the macros I can bring up the EQ I prefer when, say, Ron plays the Banjola on ‘Sinking Stone,’ which is a radically different EQ then I use for his guitar on another song. It’s very simple for me at FoH to be able to recall what I need quickly. I also have an ADK Lyve Tracker digital workstation recording 56 channels at 96K to create a ‘virtual soundcheck’. The SD-10 outputs MADI to Lyve Tracker and at the bottom of the playlist I have a playback snapshot for recalling the output from the Lyve Tracker to the inputs of the console for playback. I’m also using Time Fade a bit between songs, where they go from one song right into another. I can use that to ease in the drums and other instruments and it works very nice. I can just hit the scene and let it transition.”

The SD10 at monitor world is set up and shared for Haley Miller and Bernie Velluti to manage their respective areas—Haley for Alison specifically, and Bernie for the rest of the band. “I set the console up and layered it so I have all my channels on one side of the board and Bernie can have the other side for his. This worked well for us, and it was great to have two sets of eyes on the band at all times. I love the versatility of the board. Being the first time on a DiGiCo, I found it seemed almost limitless in how I could customize the console to my specific needs. The rotary knobs are assignable. For example I’m able to bring my head amp, high pass filter and Pan control right above my channel fader. Within a push of a button the rotary knobs toggle between my settings and Aux sends. The best feature for me, though, is the ability to control the surface offline, although it will get you in trouble if you are not careful. We have a scene for every song and everyday there are some variances in instrumentation, such as proximity of the subs, it changes day to day and affects the level of bass that is put in the ears. As well as pedal boards, they are never the same, even when you mark every knob. Making the appropriate adjustments for these channels has been so easy. Without interrupting audio within the current scene, I’m able to take the surface offline, fire any scene make changes, save and return to audio before the song ends. If I need to make the same change in all or just select scenes, I can edit Range, make the change and confirm it within all the ones selected.

“I’ve really enjoyed working with this console and it will be difficult to jump back on something else when we get back into the shop. The clarity is there for Alison, who is using the Sensaphonics 2Max earbuds with a Shure PSM 900 belt pack. She has told me, ‘It’s so clear and full’. You can really gain it up and it has such a nice fluid transition.”

That low latency rate is one of the console features that resonated with Miller, as well. “I own probably 6-7 other digital consoles now, and these were the first two DiGiCo’s I’ve purchased,” he explained, “and I couldn’t be happier with them. Quite frankly, I really like using the digital consoles we used before, but it came down to the fact that I was looking for a company that was taking advantage of the newer technologies. Having a 96k sampling rate is very important for a low latency sound—and especially for Alison’s in-ears, which is critical. Not to mention the Optocore system. The fact that I can use a tactical fiber for my whole snake line for 96 channels is great. It saves me so much time every day and in some of the situations where I run snake that can be like 500 feet long sometimes! It’s small and easy to hide up against the base of the step where no one’s tripping on it. Frankly, I couldn’t be happier with these consoles.”

“And also, I knew these consoles were going to be versatile after this tour, when we get back to business at home,” he added. “We do a lot of concerts with symphony and a rock & roll bands playing together and having a console where I can get 96 inputs and not take up anymore than 4 seats in an auditorium, 3 rows deep is great. Promoters love that! They’d rather sell tickets.”

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Prism Projection Introduces Next Generation RevEAL Studio Fresnel at LDI 2011

Prism Projection, Inc. will be offering attendees at LDI 2011 the opportunity to see the next generation of lighting technology with not only a product launch but also a head to head comparison of source technologies. With the launch of the third generation RevEAL Studio Fresnel 3 (SF3) Prism expands their multi-award winning RevEAL line of products by offering designers yet another way to use LED technology as their primary source within a familiar fixture format. Another highlight of the Prism booth (#1519) will be the head to head comparison of the popular RevEAL Profile luminaire with an ETC Source Four 750-Watt ellipsoidal. Stop in and see why so many designers consider the RevEAL Profile a true ‘go to’ option for primary illumination.

“Many lighting designers consider the 750-Watt Source Four as a benchmark when comparing lights,” notes Garrett Young, President and Founder of Prism Projection, Inc. “During the show, we will give attendees the opportunity to see the Source Four alongside our RevEAL Profile, which we consider to be the future of framing profile spotlights. It has the output of traditional sources at a fraction of the power consumption, while still providing designers with beam-shaping shutters and edge-to-edge crisp projections coupled with high color rendering and excellent output.”

Many designers have quickly embraced the RevEAL Profile, which has received multiple awards throughout the industry, including the Best Debuting Product in the Lighting Category at last year’s LDI. The RevEAL Profile is a true high-CRI, LED Profile Spot with a lumen output of 16,000 lumens, a variable Correlated Color Temperature (CCT) range of 2,800–6,500K, an adjustable focus from hard to a very soft edge, changeable lenses for beam angles from 14º–70º, and a flat field. It also has four shutters on a tri-plane; accepts M-size gobos; uses DMX, Art-Net, or local control; and features a universal power input of 90–260V AC.prism-reveal-studio-barndoors.jpg

Debuting at LDI this year, is Prism’s new Studio Fresnel 3, with an output of 7,600 lumens and a Color Rendering Index (CRI) > 92, offers the ability to get clean cuts with standard barndoors and a wider range of beam angle adjustment—from a very narrow 8° to an extra wide 70°. The SF3 uses a manual zoom focus mechanism to smoothly and easily go from spot to flood. “We’ve been able to reduce the source size to enable the SF3 to work with the barndoor as well as allow for the tighter spot without any loss in output from the previous two models, adds Young.” Both the SF1 and SF2 will still be available in the Prism RevEAL line alongside the SF3 giving people the choice of the right tool for their particular application.

The SF3 reacts to the cuts and shaping of barndoors the same as a conventional Fresnel fixture and is the same form factor as a traditional 8” Fresnel. With a total power draw of 250-Watts, the SF3 is brighter than a 1kW Fresnel with a tungsten source. The RevEAL Studio Fresnels provide high lumen output, unparalleled color rendering, tunable CCT from 2,800–8,000K, a wide color palette with repeatability, and beam quality guaranteed by TrueSource® color management technology.

“We wanted to give lighting designers the ability to use our products in a similar manner that they are used to working,” says Young. “With the design of the SF3, we built on the accomplishments of the previous Studio Fresnel models and added in the ability to work seamlessly with a standard barndoor in shaping the beam. We were also able to engineer a tighter spot focus going from the previous narrow spot of 20° now down to an 8° spot.”
Both the RevEAL Studio Fresnel 3 and the RevEAL Profile will be demonstrated alongside the multi-award winning RevEAL Color Wash luminaire. Also be sure to come in for the head to head comparison of the RevEAL Profile to the ETC Source Four taking place each day in Prism’s booth #1519 at LDI.

Prism Projection – See what you’ve been missing.®

For more information about Prism Projection, Inc., please go to: www.prismprojection.com

About Prism Projection, Inc.
In the fall of 2009 Prism introduced the first of the RevEAL line of products, the Color Wash. Almost instantly the RevEAL CW generated industry awards and attention, including Best Debuting Product for Lighting at LDI 2009. In 2010, Prism again moved LED technology forward with the debut of the RevEAL Profile. RevEAL has received numerous product awards from LDI, WFX, ABTT, and Live Design tradeshows and magazines. Prism Projection’s products create specific colored light with high rendering indexes in instruments capable of maintaining that color output. The innovative TrueSource® color management and calibration system allows products to deliver exact color without many of the operational concerns of other LED systems.

PRG Debuts Best Boy 4000™ Spot and More at LDI 2011

prg_brand.jpgProduction Resource Group, L.L.C. (PRG), will launch the highly anticipated Best Boy 4000™ Spot Luminaire at LDI 2011, the leading live entertainment technology trade show held in Orlando from October 28 through October 30. Attendees will be the first to see the “all-in-one” Best Boy, a 20,000+ lumen, 700-watt fixture with an all-inclusive feature set and no compromises in performance.

Other products in the PRG booth, #1127, include the PRG V676™ and V476™ Lighting Control Consoles and the new Mbox Director™ application that allows remote control or offline editing of the Mbox EXtreme® media server. Along with PRG’s award-winning proprietary products, will be the ChamSys MagicQ MQ100 Console and ChainMaster ¼, ½ and 1-ton capacity Fixed Speed Motors. In addition, there will be the new PRG Nocturne V-18 LED Video Modules, a product that is quickly becoming the most widely specified LED screen more

Life in the fast lane with projectiondesign® at xSolutions

See projectiondesign at xSolutions, Stand A6, EXCEL, London, 19-20 October 2011

Visitors to xSolutions trade show are in for a treat when they visit the projectiondesign stand.

F82 projector

F82 projector

Demonstrated will be the largest ever line-up of projection solutions including the award winning F35 wqxga high-resolution projector, the FR12 Remote Light Source™ projector for command and control and the F82 series featuring 3-chip DLP® technology. All projectors are made for 24/7 operation and come with warranty programmes for up to five years. In addition, projectiondesign will preview the world’s highest resolution 3D single-chip DLP projector, the F35 AS3D.

The dedicated UK based team comprises several recognised industry professionals to support partners and customers with projects and support requirements at every level.

Set to be a crowd puller at xSolutions, a more

AVI-SPL Joins VCI Group Annual Conference Oct. 10-12

vci-group.jpg

AVI-SPL is pleased to join VCI Group’s second annual conference October 10-12 in New Orleans at the Sheraton New Orleans Hotel. The three-day show will focus on technology trends in the conferencing and collaboration industry and feature sessions with AVI-SPL’s Mike Brandofino, John Vitale and Jim Kelly, including:

Industry Expert Panel
Tuesday, Oct. 11, 2:30 p.m. to 3:15 p.m.
AVI-SPL’s Executive Vice President of Video Mike Brandofino will join a panel of five industry experts from Cisco, Hewlett-Packard, Polycom, BT Conferencing and LifeSize. This unique opportunity offers attendees a chance to learn ideas and solutions that will help organizations improve operations and ask questions and exchange ideas directly with industry leaders.

Telepresence Values: The REAL Meaning of Telepresence/ Planning the Right Environment
Tuesday, Oct. 11, 3:20 p.m. to 4:10 p.m.
John Vitale, vice president of products for AVI-SPL, will partner with Theo Economides from more

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MEDIALON at 54th Venice Biennale on the Kingdom of Saudi Arabia Pavilion

©Andrea Avezzù

The Black Arch

Two Medialon MIP HD media player units along with a Medialon Manager show control license are currently running on “The Black Arch?, a collaboration work made by the Artist Shadia Alem and writer Raja Alem to represent the Kingdom of Saudi Arabia for its debut participation in the 54th International Art Exhibition – la Biennale di Venezia running in Italy from June 04th to November 27th, 2011.

Damien Lebrun and Nathalie Grassi from CYWEB, a France-based company specialized in multimedia tools and content development, were in charge of the design, the production, and the installation of the audio/images/lighting system, as well as the programming of the Medialon show control system.

©Andrea Avezzù

The Black Arch

The Black Arch? installation is about two visions of the world, of two cities – Mecca in Saudi Arabia and Venice in Italy. The work is a stage, set to project the artists’ collective memory, with physical representation more

Dew Tour Portland Invitational Rides With HARMAN’s JBL VERTEC® Line Arrays and Soundcraft Si Compact 16 Consoles

jbl_scraft_dewtour.jpg

Maryland Sound International provided JBL VERTEC line arrays and Soundcraft Si Compact 16 mixing consoles for the 2011 Dew Tour Portland Invitational.

PORTLAND, Oregon – The recent 4-day 2011 Dew Tour Portland Invitational in Oregon featured a variety of BMX and skateboarding competitions, along with a live performance by hip-hop group The Cool Kids, with Maryland Sound International (MSI) providing HARMAN’s JBL VERTEC® line arrays and Soundcraft Si Compact 16 mixing consoles for the competition and concert areas.

The skateboard competition area included a Soundcraft Si Compact 16 digital console, which was used with two columns of five JBL VERTEC VT4887A compact line array elements each and one VT4881A compact arrayable subwoofer each, powered by a Crown I-Tech HD 12000 amplifier. The BMX dirt track had a similar setup, with an Si Compact 16 and more

HARMAN’s JBL HiQnet Performance Manager™ Wins Award for Innovation at PLASA 2011

harman-plasa-award.jpg

HARMAN’s Paul Bauman, Brian Pickowitz, and Adam Holladay accepting the PLASA Award for Innovation.
Photo Credit: Chris Toulmin

NORTHRIDGE, California – At PLASA 2011, HARMAN was presented with the PLASA Award for Innovation for the new HARMAN’s JBL HiQnet Performance Manager™ audio system configuration and control software application. During the show’s opening two days, products were judged by an independent panel, which viewed individual product presentations. Award winners were chosen for their ability to demonstrate a new style of thinking or an improvement to technical practice with new technology or materials, as well as the use of energy-saving and sustainability benefits.

JBL HiQnet Performance Manager is a highly-refined user interface that facilitates the design of touring and live performance venue sound reinforcement systems. Designed especially for touring and theatrical sound engineering, Performance Manager is more

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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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