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Archive of the Large Venue Category

Crimson AV Joins the D-Tools Manufacturer Vantage Point (MVP) Program

Detailed Crimson AV mounting solutions product specifications are now available to current D-Tools System Integrator™ users for immediate use

CONCORD, CA – December 23, 2013 D-Tools Inc., the worldwide leader in system integration software today announced that Crimson AV has joined the MVP Partnership Program, making fully detailed information about the entire line of Crimson products available to D-Tools System Integrator™ users free of charge. Combining improved manufacturing processes with enhanced design and engineering to produce the most safe, secure, smooth-moving and streamlined AV mounting solutions for the consumer and commercial audio video markets, Crimson’s award-winning AV mounting solutions are highly regarded within the AV industry.

“We are excited to become part of the D-Tools MVP program,” Said Vlad Gleyzer, Crimson AV president. “At Crimson, our mission is to provide AV mounting solutions that provide tangible benefits; easy installation, enhanced designs, and far better price points. Having the full line of Crimson products available for specification and use by D-Tools users expands our brand’s reach and allows our dealers to simplify the estimation, design and management of their projects, which is a total win for all involved.”

The D-Tools Manufacturer Vantage Point (MVP) program helps to provide system integrators with the most up-to-date product information. D-Tools MVP members are dedicated to helping companies streamline the design process, making it easier for system integrators to provide accurate, professional proposals to their clients.

“Crimson offers a comprehensive assortment of professional-grade AV mounts to address nearly every residential or commercial AV application, regardless of size or scope,” said Adam Stone, President of D-Tools. “Now, through the D-Tools MVP Program, all of the data for Crimson’s robust product line will be made available to integrators worldwide for use in specifying, proposing and installing systems using Crimson products, and we’re thrilled they’re part of the program.”

More than 4,400 companies worldwide use D-Tools Systems Integrator Software to streamline the estimation, design, and project management processes associated with the installation and integration of low voltage systems. Interested parties are encouraged to visit www.d-tools.com, Email mvp@d-tools.com, or call 1-866-386-6571 ext. 1 for more information.

About Crimson
Crimson manufactures a comprehensive lineup of display mount solutions designed for a wide variety of Residential and Commercial applications, including Digital signage, Education, Hospitality, Corporate, Worship, Venues, Stadiums and Arenas, Restaurants, Bars and Healthcare facilities.

With extensive experience in the design, manufacture and sale of professional-grade display mounting equipment, and by utilizing lean business practices, Crimson has developed a proprietary business model, which provides maximum value with minimal cost. Not only do Crimson customers receive the best value, they also benefit from unparalleled customer service, an easy to use website and uncompromising design and build quality, ensuring each Crimson AV mount will be trouble-free for years to come. Interested parties can learn more about Crimson mounting solutions by visiting www.crimsonav.com, by calling 866-MOUNT-TV, or by writing to info@crimsonav.com.

About D-Tools, Inc.

D-Tools, founded in 1998 and based in Concord, California, is a worldwide leader in accessible, highly accurate system design and documentation software. The company’s flagship product, System Integrator™ (SI), is a total design solution that utilizes Autodesk® AutoCAD and Microsoft® Visio for comprehensive system design, documentation and project management. D-Tools SI allows residential and commercial integrators to streamline their business processes to increase overall revenues while reducing the time and costs associated with the installation and integration of low-voltage systems. In fact, over 4,400 leading companies use D-Tools software to reduce time, costs and to streamline the system integration process. D-Tools is a three time recipient of the Consumer Electronics Association Mark of Excellence Award, Commercial Integrator BEST Award (2011, 2013), multiple recipient of Custom Retailer/Technology Integrator Excite Award (2007, 2008, 2009, 2010, 2011, 2012, 2013), National Systems Contractors Association Multi-Room Audio Video Awards for Best Installation Aid, Sound and Video Contractor Innovations in Technology for Business Productivity Award, CE Pro High Impact Award for Design Software, and CE Pro BEST Award for Software Applications (2013).

More information can be obtained by calling (866) 386-6571, e-mailing info@d-tools.com, or visiting D-Tools online at www.d-tools.com. Follow D-Tools on Twitter at www.twitter.com/DTools and on Facebook at www.facebook.com/beatool.

Press Contact for both D-Tools and Crimson AV: Katye (McGregor) Bennett, KMB Communications, (425) 328-8640, katye@kmbcomm.com, www.kmbcomm.com, @katyemcgregor

 

 

 

 

 

Masque Sound Spreads Holiday Cheer with Custom Audio Equipment Package for A Christmas Story, The Musical

Masque Sound, a leading theatrical sound reinforcement, installation and design company provided Sound Designer Ken Travis with a custom audio equipment package for A Christmas Story, The Musical. This is the third straight year that Masque Sound worked with Travis on the hilarious, holiday favorite. The show opened in New York City at The Theater at Madison Square Garden on December 11, following performances at Hartford’s Bushnell Theatre and the Wang Theatre in Boston.

Directed by Tony Award-winner John Rando and choreographed by Warren Carlyle, A Christmas Story, The Musical is a hilarious account of Ralphie Parker’s desperate quest to ensure that the one thing he wants for Christmas, an official Red Ryder® Carbine-Action 200-shot Range Model Air Rifle, ends up under his tree. The musical, based on the classic 1983 film, which itself was derived from stories by legendary radio humorist Jean Shepherd and a book by Joseph Robinette, features funny and heartfelt songs by Benj Pasek and Justin Paul.

After a successful holiday run on Broadway last year, the show returned to the Big Apple once again and, for Travis and his team, the unique layout and large size of the 5,000-seat theater at Madison Square Garden (MSG) presented some interesting challenges.

“We are limited with what we can do from a sound design point of view due to The Theater at MSG’s low ceilings,” says Travis. “We cannot hang a center cluster like we do in many Broadway houses, because there is simply no room for it. In addition, The Theater at MSG is three times as wide and three times as deep as a typical Broadway house, and seats about two and half times more people. There is also no orchestra pit, so the orchestra is seated in boxes on house right. Add all of that up and you can see why designing the sound had its obstacles. We are basically trying to cover the house as best we can, so we are supplementing the in-house system with the gear that Masque Sound provided us.”

Another challenge Travis faced was the limited run of the show – a month and a half during the holidays. “We had to build [a sound system] based on whatever the shop had on the shelf,” adds Travis. “You can’t ask the shop to hold a system that is going to be out for only six weeks of the year. Fortunately, Masque Sound knows the gear I like to use and has an excellent inventory for us to work with.”

In order to provide complete coverage with great sound, Masque Sound provided Travis with a Studer Vista 5, his preferred console and the same one that he used for last year’s production. “The Studer console is very flexible, solid, sounds great, is fast and definitely easy to program,” adds Travis.

To complement the existing house speaker system, Masque Sound provided Travis with an array of
L-Acoustics dV-DOSC speakers for the main left and right and Meyer Sound UPA-2Ps for the fill system. In addition, Masque Sound also provided 30 Sennheiser SK 5012 Transmitters and matching 1046 Receivers, as well as RF frequency coordination for the show.
“My associates, Zach Williamson and Justin Stasiw, along with Mixer Mike Wojchik and the rest of my crew did an amazing job,” concludes Travis. “My team and I always enjoy working with Masque Sound, and their rental gear and support helped make this year’s show another success. The audio package looks good and sounds great.”

A Christmas Story, The Musical returns to the New York for the 2013 holiday season at The Theater at Madison Square Garden, December 11-29. The story takes place in 1940′s Indiana, where a bespectacled boy named Ralphie has a big imagination and one wish for Christmas-a Red Ryder BB Gun. A kooky leg lamp, outrageous pink bunny pajamas, a cranky department store Santa, and a triple dog dare to lick a freezing flagpole are just a few of the obstacles that stand between Ralphie and his Christmas dream. Co-produced by the film’s original Ralphie, Peter Billingsley, A Christmas Story, The Musical is musical comedy entertainment that captures a simpler time in America with delicious wit and a heart of gold. A Christmas Story, The Musical features a bright holiday score by the Tony nominated composer/lyricist team Benj Pasek and Justin Paul and a witty book by Tony Award nominated Joseph Robinette based on the writings of radio humorist Jean Shepherd and the 1983 holiday film favorite. Tony Award winner John Rando (Urinetown) directs the production with Warren Carlyle (After Midnight, Chaplin) choreographing; scenic design by Walt Spangler; costume design by Elizabeth Hope Clancy; lighting design by Howell Binkley; sound design by Ken Travis; wig design by Tom Watson; animal training by Tony Honor R recipient for Excellence in Theatre William Berloni; orchestrations by Larry Blank; music supervision by Ian Eisendrath; associate choreographer is James Gray; dance music arrangements by Glen Kelly; vocal arrangements by Justin Paul; music direction by Ben Whiteley; and casting by Stephanie Klapper CSA. A Christmas Story, The Musical is produced by Gerald Goehring, Roy Miller, Michael F. Mitri, Pat Flicker Addiss, Peter Billingsley, Timothy Laczynski, Mariano Tolentino, Louise H. Beard, Michael Filerman, Scott Hart, Alison Eckert, Bob Bartner, Michael Jenkins, Angela Milonas, and Bradford W. Smith. A Christmas Story, The Musical is based upon the motion picture A Christmas Story C 1983 Turner Entertainment Co., distributed by Warner Bros., written by Jean Shepherd, Leigh Brown and Bob Clark, and In God We Trust, All Others Pay Cash written by Jean Shepherd. A Christmas Story, The Musical is produced with permission of Warner Bros. Theatre Ventures, Inc. and Dalfie Entertainment, Inc. Masterworks Broadway released the World Premiere Recording of A Christmas Story, The Musical both digitally and on CD. Tickets are on sale now. For tickets and information, visit www.theateratmsg.com/achristmasstory, www.AChristmasStoryTheMusical.com, or call 866-858-0008.

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.

DANLEY HORNS ELEVATE THE SOUND QUALITY AT RALPH WILSON STADIUM HOME OF THE BUFFALO BILLS

BUFFALO, NEW YORK – DECEMBER 2013: Fervent football fans know that the Buffalo Bill’s Ralph Wilson Stadium is one of the most difficult places for kickers, owning to its exposure to Lake Erie’s gusty winds, but few footballs recognize the tremendous challenge those winds create for the stadium’s sound reinforcement system. Moreover, Buffalo’s notoriously snowy winters regularly incapacitated the loudspeakers and subwoofers that were exposed to it, and unintelligible announcements and underpowered music were a constant frustration. However, with a new Danley Sound Labs distributed loudspeaker and subwoofer system in place, that lackluster performance is history, and Ralph Wilson Stadium now stands as one of the league’s best venues for a soul-shaking game-day experience that few living room hi-fi system can rival.

“The NFL is striving to improve the game-day experience,” explained Steve Asposto, senior director of broadcast operations with the Buffalo Bills. “We want to keep people coming to the stadium, but with so much HD technology available in fans’ living rooms, there is a huge temptation for them to stay home. Our goal is to give them an experience at the stadium that cannot be replicated on the couch, and music is a huge part of that. The league has softened many of the rules that used to restrict music playback, and so now we’re able to build music into a greater part of the experience.”

The trouble was that Ralph Wilson Stadium wasn’t ready to make effective use of those new rules. Even when it was brand new, the old sound system fired from only one side, which generated an intelligibility-killing clot of late arrivals. Worse, over a decade of Buffalo’s ceaseless wind and superabundant snowfall had destroyed approximately half of the stadium’s loudspeakers and subwoofers. “We used to get regular complaints that the announcements and referee calls were completely muddled,” said Asposto. “The clarity simply wasn’t there.” The Bills called on Anthony James Partners (Richmond, Virginia) to design a new system that would stand up to Buffalo’s inclement weather and that would deliver clear, high-fidelity audio even on the windiest days. Ronco Specialized (Tonawanda, New York) installed the new system.

“The idea was to place a loudspeaker and subwoofer cluster on each of four towers that encircle the stadium,” said Larry Lucas, director of audio engineering for Anthony James Partners. “As always, price was a big consideration, but we also needed exceptional pattern control to avoid the late arrivals that had plagued the old system. Danley Sound Labs delivered on both counts, and Danley’s Shaded Amplitude technology in its GH-60 Genesis Horns would provide even coverage across the seats.” Each of the four clusters consists of three Danley GH-60 Genesis Horns, a Danley SH-95 for center fill, four Danley SH-MINIs for fill right below the cluster, and two Danley TH-118 subwoofers. In addition, four Danley SH-64s (two at each end zone) provide additional coverage, and 35 Danley SH-Micros provide under-balcony coverage. An existing Yamaha LS-7 digital console and four Peavey Neon processors (two of which are new) form the front end, and sixteen Lab.gruppen PLM-20000 amplifiers power the Danley boxes. A new computer system operates the system with multiple screens (including one dedicated to the NIO software and a touchscreen dedicated to the Lake software). The amplifiers receive signal via CobraNet or Dante and contain DSP resources to handle all of the loudspeaker conditioning.

Unfortunately, some of the electrical requirements necessitated a shift in the original design that then compromised the coverage of the Danley GH-60 Genesis Horns. “It turned out that even with the Shaded Amplitude design, the SPL was too hot on the top,” said Dean Churpita, who led the installation for Ronco Specialized. “Danley worked with us and twice sent technicians to physically modify the boxes to give us the coverage we needed. The sound quality itself is exceptional. I barely had to equalize the Danley boxes at all!” Al Colucci, account manager at Ronco Specialized, added, “Danley really came through for us. They’ve been tremendously responsive and are obviously invested in making this installation right for us and for the client.”

With the Danley-led modifications now in effect, the coverage is smooth, and the sound quality at Ralph Wilson Stadium has leapfrogged its NFL peers to become one of the best. “We’re very happy with the new system and with Danley’s commitment to making it perfect,” said Asposto. “It’s not an easy trick to deliver consistent audio to all 75,000 seats in an open stadium in Buffalo’s climate. We’re similar to Lambeau Field, except that Lambeau has the benefit of an uninterrupted ring of stands. In contrast, we have a lot of ‘holes’ for the wind to play with. Despite that, Danley’s coverage is keeping direct sound on the seats and minimizing the sort of extraneous echoes that we used to contend with.”

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology. www.danleysoundlabs.com

WEATHERPROOF DANLEY OS-80 LOUDSPEAKERS COVER ONTARIO HOCKEY ARENA

ONTARIO, CANADA – DECEMBER 2013: The J.D. McArthur Arena seats 3,500 for ice hockey games and 3,000 for lacrosse games and resides within the Harry Lumley Bayshore Community Centre in Owen Sound, Ontario, Canada. The Owen Sound Attack of the Ontario Hockey League and the Owen Sound Woodsmen of the Ontario Lacrosse Association both call it home. Although thoroughly modern in most respects (including private boxes and a restaurant), the arena suffered from a sound reinforcement system with poor intelligibility and impact. A recent renovation, led by Straight Street Event Services of Cambridge, Ontario, took the sound system from terrible to fantastic with the replacement of the existing loudspeakers to the fully-weatherized Danley Sound Labs OS80s.

“The owners of the hockey team wanted a better experience for their ticket holders,” explained Keith Broughton, an independent contractor who led the design and installation on behalf of Straight Street. “The existing system did not provide clear announcements, and the quality and SPL of music playback did not cover all seating areas sufficiently. Many people complained that they couldn’t understand the announcer, and, this being a fairly small town, those complaints reached the right ears… many times!” Keith Kissner, the owner of Straight Street Event Services, who has a trusted relationship with the owners, hired Broughton to help evaluate the owners’ requirements, evaluate the existing system, recommend a solution, oversee its implementation, and test and tune the system after installation. In addition, he added, “and I would take the heat if the new system didn’t live up to expectations!”

Kissner and Broughton have been using a Danley TH-115 subwoofer in a rental application and were impressed by its performance. Based on that experience, together with the realization that it was precisely the “conventional” aspects of conventional loudspeakers that had so failed the McArthur Arena, Broughton scheduled a two-day trip to visit Danley headquarters in Georgia. “The folks at the ‘lab’ treated me very well,” he said. “They made me feel welcomed and answered all of my questions. They’re clearly interested in building relationships with the people who use their products. Southern hospitality is alive and well!”

Broughton’s requirements for the new loudspeakers were exceptional vocal clarity, high directivity, good visual appeal, and even coverage across the spectrum. A lightweight, easy-to-rig design was also important, as was a weather-resistant enclosure since the arena becomes very humid during the transition from lacrosse to hockey. “I originally spoke with Ivan Beaver, Danley’s chief engineer, about the Danley SM-80, which met my requirements,” said Broughton. “He turned me on to the new Danley OS-80, which has the SM-80’s characteristics plus a truly weatherproof enclosure and less overall weight. My visit to Danley headquarters gave me a chance to listen to the product and to talk with Ivan about its technical points. I left confident that the OS-80 was the right product.”

The new system covers the seating area only and was “piggy-backed” onto the existing control system. The Straight Street installation team removed the old loudspeakers and amplifiers and left the rest of the house system as it was. Broughton added a new Xilica processor, which conditions the system and feeds three Crest Pro9200 amplifiers. The amplifiers power five sets of four Danley OS-80s each (twenty OS-80s total), and the remaining channel powers a new Danley TH-118 subwoofer mounted over center-ice. Broughton and the Straight Street crew mounted the OS-80s directly on the roof trussing with the included yokes using beam clamps. “Director of Danley University, Doug Jones was also very generous with his time, and walked me through the use of the speaker prediction software,” he said. “That further convinced me that the OS-80 was the right tool for the job. Its 80-degree pattern is perfect for covering the front to rear seats and proved to be just as the Danley speaker prediction software had indicated.”

He continued, “The J.D. McArthur Arena may not be a big ticket install compared to what Danley usually does, but to this client, this is THE big ticket item. As you can imagine, my reputation, the reputation of this sound company, and the satisfaction of the client were riding on this products ability to deliver. The OS-80 and the support from Danley both exceeded my expectations. Danley included high-grade wire with the weather resistant coupler, they pre-lubricated the hardware, and they coated the grill with weather resistant film. Those details were not lost on me or the installation team! Both the arena technical staff and the hockey team’s director of marketing met the initial audio demonstration with a big ‘WOW, we have never heard sound like that in here!’ In fact, the members of the arena tech crew were so impressed that they want to add more Danley OS-80s to cover the ice area.” We are very happy with the OS80 and hope to use more Danley Sound Lab products in the future.

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology. www.danleysoundlabs.com

Masque Sound Welcomes Blockbuster Musical MAMMA MIA! to New Broadway Home with Custom Audio Equipment Package

When the blockbuster musical MAMMA MIA! recently moved six blocks south to its new Broadway home at the Broadhurst Theatre, Masque Sound, a leading theatrical sound reinforcement, installation and design company, welcomed the smash hit show to its new digs with a custom audio equipment package.

MAMMA MIA! tells the story of the dynamic relationship between a carefree mother and her daughter. The daughter, hoping to build a bond with the father she’s never known, decides to invite him to her upcoming wedding, only to discover that her father could be one of her mother’s three past suitors. A story full of laughs, love and lust, MAMMA MIA! features the hit songs of the Swedish pop group ABBA. MAMMA MIA! spent the past 12 years on Broadway at the Winter Garden Theatre, and for the show’s veteran Sound Designers Bobby Aitken and Andrew Bruce and Associate Sound Designer David Patridge, the move was not without its challenges.

The Broadhurst Theatre’s design itself was one of the biggest challenges that the team faced. Although many Broadway theaters share this situation, the box seating on the left and right near the proscenium extends out quite far into the sight line and therefore, slightly overshadows the speakers for some of the seats.

“In order to provide the best listening experience we could for every seat, we used a fairly substantial speaker package,” says Patridge. “We placed d&b audiotechnik E8 loudspeakers both near the proscenium and further back along the sides of the room to give the audience complete coverage. The d&b speakers compliment a main left and right line array of Meyer Sound MINA’s, and extends the coverage to the shadowed areas. It’s very smooth as you go from one side of the house to the other and something we really worked hard to achieve. It’s a smaller house, and in many ways it’s more pleasing. You don’t have as big of a room to fill with a speaker system. That was our biggest challenge, and Masque Sound was once again able to provide us with the gear we needed.”

The move to Broadhurst Theatre also provided an opportunity for the team to upgrade to a digital console and strengthen the front of house mix. “At the Winter Garden Theatre, we were using a Cadac console, one of the last analog consoles left doing Broadway musicals,” adds Patridge. “Although the Cadac has been a reliable workhorse for us, we felt it was time to retire the console and modernize the show, in that sense. Masque Sound provided us with a DiGiCo SD7 digital console for the Broadhurst production. The digital console allows us to eliminate the monitor desk, and with the SD7, we actually mix the monitors to an Aviom system directly through the console. We now have one console mixing both front of house and monitors. In addition, the SD7 takes up only about six seats as opposed to the Cadac, which took up 15 seats in the orchestra.”

As the full time vendor for MAMMA MIA!, Masque Sound also provided a wireless package of Sennheiser SK5212 transmitters and EM3532 receivers, coordinated by Eric Rivera and the Masque Sound wireless department. Since Broadhurst Theatre is sandwiched in between the show Matilda to the east, Phantom of the Opera to the west and a block of theaters just to the north, Masque Sound’s expert frequency coordination team worked hard to ensure there were no signal interference issues between the shows, as theatre walls are not enough to cut off the transmission.

“The spatial considerations in the venue dictate, to a large extent, what equipment you are able to use, and asking Masque Sound to discard the existing rental system and provide us with all new equipment was quite a tall order,” adds Patridge. “They were extremely generous and offered us new gear for the show without having to incur a ton of extra cost. It’s this type of service and support that gives Masque Sound the longevity it has experienced with MAMMA MIA!. The show continues to sound wonderful, and we are now excited to be in our new home.”

In addition to Masque Sound’s equipment, Patridge also credits his talented team with making the move such a success. Production Sound Engineer Kevin Kennedy and longtime original Broadway show Mixer Craig Cassidy were instrumental in ensuring that the move went smoothly. The show brought the same crew over from the Winter Garden, which, according to Patridge, was a godsend in terms of making sure that the move was glitch free.

Seen by over 54 million people around the world, MAMMA MIA! is celebrating 5,000 performances on Broadway and is the 10th longest running show in Broadway history. The original West End production of MAMMA MIA! is now in its fifteenth year and has celebrated more than 6,000 performances in London and the international tour has visited more than 74 foreign cities in 35 countries and been seen by more than 4.3 million people. The blockbuster feature film adaptation of MAMMA MIA! is the most successful movie musical of all time grossing $600 million worldwide. Seen in 38 productions in 14 different languages globally and with a worldwide gross of over $2 Billion, MAMMA MIA! is acclaimed by the Associated Press as “quite simply, a phenomenon.”

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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Related Topics: Large Venue, Line Array, Microphones |

Extron Universal XTP Transmitter for Multi-Format Analog Video Now Shipping

Extron Electronics is pleased to announce the immediate availability of the XTP T VGA, a universal XTP transmitter that sends multi-format analog video, audio, bidirectional RS-232 and IR control, and Ethernet up to 330 feet (100 m) over a single CATx cable. The transmitter digitizes incoming analog formats, providing signal extension of RGBHV, HD component video, S-video, and composite video signals from remote analog sources for high performance transmission. It supports computer-video to 1920×1200, including HDTV 1080p/60. To simplify integration, the XTP transmitter provides VGA loop-through for source monitoring and can be powered over the same CATx cable. more

Extron Two Input XTP Wallplate Transmitter for HDMI and VGA Signals Now Shipping

Extron Electronics is pleased to announce the immediate availability of the XTP T UWP 302, a two-input XTP wallplate transmitter that provides the convenience of connecting local source devices at a wall or other locations including a lectern or floor box. This XTP transmitter mounts into a standard three-gang junction box, and sends HDMI or RGBHV video, audio, and control up to 330 feet (100 meters) over a single CATx cable. It is HDCP-compliant and supports computer-video to 1920×1200, including HDTV 1080p/60 Deep Color and 2K. For simplified integration, the XTP T UWP 302 features automatic switching between inputs with selectable prioritization, and can be powered over the same CATx cable. The XTP T UWP 302 is designed for use in XTP Systems for signal distribution and long-distance transmission between remote endpoints. more

KanexPro Announces New SDI Switchers and Distribution Amplifiers

Wednesday 12/18/2013. KanexPro is excited to give you a first look into five new products that were just released today – The 3G HD-SDI Switchers and Distribution Amplifiers. These two amazing additions to the KanexPro portfolio are as powerful as they are cost effective! Take a look at just some of their capabilities.

• Built-in Re-clock technology for signal integrity
• Designed for splitting, switching and routing SMPTE standard HD SDI signals
• Supports full HD 1080p 24, 25, 30, 50 & 60 Hz
• Support for multiple color spaces
• Auto detect SDI, 3G, HD-SDI feeds
• Data rates up to 3.0 Gbps
• Extends RG6 cables up to 1000 feet
• Rack mountable

Our SDI to HDMI converter was popular and demanding amongst installers, which led us to engineer a new array of premium SDI products targeting security A/V and broadcast markets says David Sommars, Business Development Manager at KanexPro. With high-bandwidth up to 3Gb/s these SDI switchers and splitters can be ideally used with HDcctv cameras, surveillance systems, rental & staging facilities, post-production studios, digital cinema, or other A/V applications where you need to switch, split and extend sources equipped with 3G/HD/SDI outputs to SDI-compliant displays or video processors.

For more information, please contact sales at (888) 644-4149 or check www.kanexpro.com

About KanexPro

Leveraging our core strength in professional A/V products, KanexPro carries a complete selection of A/V connectivity needs. When planning digital installations you will find that we carry a broad line of A/V connectivity products enabling you to broadcast, extend, split, or multiply HD signal transmissions; simply and cost-effectively.

KanexPro is a registered trademark. All other trademarks and registered trademarks mentioned herein are the property of their respective owners.

Tightrope Media Systems Keeps Digital Signage Content Fresh with Tight Social Media Integration

New Carousel software release adds Twitter, Facebook authentication alongside new visual enhancements tools to address evolving customer needs

ST. PAUL, MINNESOTA, December 17, 2013Tightrope Media Systems announces a new software release for its tried-and-true Carousel digital signage platform, giving its customers new tools and enhancements that keep content fresh and enrich visual appeal.

Available today, the Carousel 6.4 software release supports direct Twitter and Facebook integration, simplifying how operators access and subsequently incorporate social media feeds into signage layouts. This native connection, achieved via a simple login process, also better organizes social media integration so that content remains timely.

“Social media is so natural to people today that it’s easy for most to focus in and consume that information on signage platforms,” said Eric Henry, Signage Solutions Lead for Tightrope Media Systems. “Our customers are increasingly seeking ways to ensure that their social media content is current, dynamic and well-aligned with their screen content. It creates a natural connection between consumers and the businesses or organizations that rely on digital signage as a communications platform.”

The new Carousel software release also includes visual and operational enhancements to keep screens lively and appealing. A new text character limit on Carousel bulletins eliminate screen crowding and wordy passages to retain viewers and strengthen messages. Similarly, a new web preview feature offers a quick glance at clock bulletins to ensure content is synchronized and easy to digest. Operationally, a new copy option allows for quick transfer of new bulletins to fresh templates, allowing users to create and customize layouts rich with up-to-date information.

“The new software release benefits our customers across all digital signage verticals we serve, including hospitality, transportation, sports and houses of worship,” said Henry. “These enhancements also reflect what our customers are requesting today.”

About Tightrope Media Systems
Founded in 1997, Tightrope Media Systems is the pioneer of web-centric digital signage and broadcast automation systems. It provides station automation, video servers, internet video on demand, live streaming, the Carousel Digital Signage system, and ZEPLAY, a multi-channel instant replay machine for stadiums, arenas and Outside Broadcast vehicles. Tightrope’s award winning systems are used throughout the world. You can reach Tightrope Media Systems at (866) 866-4118 or visit them on the web at http://www.trms.com.

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Funky Junk Supplies Royer Mics For The Stereophonics Latest Tour

The Stereophonics, one of Britain’s most instantly recognisable bands, have just completed a major UK arena tour to promote their new album Graffiti On The Train.

The equipment list for the tour included three Royer R-121L ribbon microphones, which were supplied by Royer’s UK distributor Funky Junk.

Royer’s R-121 Ribbon Microphone is renowned for its ability to bring an extremely natural and realistic analogue sound to digital recording and live stages. The TEC Award winning R-121L, the ruggedized and more road-worthy ‘live’ version of the microphone, has been specifically designed to withstand the rigours of live touring. Royer won the prestigious 2013 Technical Grammy partly for their R-121, the first ribbon microphone suitable for close-miking electric guitar and other high SPL sound sources.

The microphones were chosen for the Stereophonics tour by FOH engineer Dave Roden who wanted to continue with their ongoing ethos of constant improvement of the overall sound quality at their live gigs.

“I haven’t used Royer R-121 microphones in a live situation before, but the band have used them in the studio and been very happy with the results they have achieved,” Roden says. “I have also heard them being used by other FOH engineers whom I greatly admire, (Jim Ebdon and Marc Carolan for example) and have always been really impressed with the results. I decided to use them, too, in order to up our game.”

Dave Roden was confident that incorporating Royer R-121 ribbon microphones into his live equipment arsenal would help him capture lead vocalist/guitarist Kelly Jones and lead backing vocalist/guitarist Adam Zindani’s individual guitar tones, as well as the raw energy for which the Stereophonics are famous.

“The band members have all moved on to IEM’s (in ear monitors) and they were hearing things completely differently to the way they’ve been used to with wedges,” Dave Roden explains. “In order to adapt, some of the on-stage sources required a more hi-fi approach. This was a challenge for everyone involved, but was a very positive and necessary step in respect to the future performance capabilities of the band, and gave our Monitor Engineer Dave Retson and myself the perfect opportunity to significantly upgrade our mic stock. Both the band on stage and the audience in the arenas were very happy with the guitar sounds they were hearing when we used the R-121L’s on the tour.”

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About Funky Junk:
Funky Junk is Europe’s leading supplier of new and refurbished professional recording equipment and services. It has offices in London, Paris, Milan and Vigo and has been in business for over 20 years. The company is renowned for its high level technical knowledge, backed by extensive workshop facilities. As well as handling sales and repairs, Funky Junk also acts as a distributor to a number of equipment brands and deals with their service and warranty.

For more information please visit www.proaudioeurope.com

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