Belgian sound engineer Joris Verniest, from betterliVe.be, has been introducing DPA Microphones’ new d:facto II Vocal Microphone to some of the country’s top bands after being blown away by the natural sound quality it delivers on the live stage.

DPA’s Belgian distributor Amptec gave Verniest the first DPA d:facto II Vocal Microphone in the country to demo and since then he has been using it for a wide variety of gigs and with many different artists.

“It doesn’t matter what situation I put it in – whether it is a small club, a big outside stage such as the Pukkelpop festival, with wedges or in-ear – I have consistently got great results,� Verniest explains. “The vocals are incredibly clear through my mix and there is very little crosstalk from the drums or guitar amps. I even recorded some gigs in multitrack to compare the d:facto with other microphones and there was a huge difference in terms of crosstalk, with the d:facto coming out much better.�

Joris Verniest’s recently used the DPA d:facto II Vocal Microphone at a concert for Belgian Indie Rock band Het Zesde Metaal at the Ancienne Belgique in Brussels. The band was playing with a string quartet and acoustic piano, both of which were also miked with DPA – d:vote™ 4099 Instrument Microphones for the string quartet and a stereo pair of DPA 4021 Compact Cardioid microphones for the piano.

“In general I use the d:facto II Vocal Microphone with DPA’s wired handle, but I do like the concept of the adapter system that makes it compatible with most commonly used wireless systems,� Verniest says. “I’ve always been a big fan of DPA’s sound quality and have quite a collection of DPA mics. That’s why I was so interested to try the new d:facto Vocal Microphone.�

Among the bands that Verniest has introduced to the DPA d:facto Vocal Microphone are Customs, The Bony King of Nowhere, Renée and Sherman.

“All of these artists have really noticed a difference and have been very happy with the clarity d:facto delivers to their vocals,� he adds. “Sherman, for example, wanted his vocals to be very loud and clear and the d:facto helped me achieve that without sounding hollow or being on the edge of feedback.�

Verniest adds that although some singers take a little while to get used to the d:facto Vocal Microphone, they soon realise that what they are hearing through the wedges or in-ear is far superior in terms of sound quality.

“I’ve even had house technicians and monitor engineers commenting on the great sound,� he says. “And when you even get members of the audience telling you they appreciated the quality of the vocals, you know you are on to a good thing!�

-ends-

Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

Dynamics specialist Jünger Audio will be showing its new V*AP two channel voice processor at Broadcast Asia 2013 (Booth 5E6-01). This will give broadcasters in the region their first opportunity to view a product that is specifically designed to make life easier for engineers working in radio stations and TV production voice-over studios.

V*AP, the latest addition to Jünger Audio’s award-winning *AP family of products, draws on the company’s extensive experience with previous Voice Processing devices such as its v-series, but adds new tools and algorithms to create a new, easier and more efficient approach to voice processing with no compromise in sound quality.

V*AP’s main task is to offer perfect control of microphone recordings. Jünger Audio has also included processing such as HP/LP filtering, dynamic section, full parametric EQ and de-essing. All of the V*AP functions can be easily set up by the audio engineer, making it hassle free for any journalist or reporter to use it. Jünger Audio has also provided a dedicated leveler combined with a voice over circuit to help auto-mix voice programs into loudness-based broadcasting on the fly. Using the optional SDI I/O card automated voice over for embedded audio becomes an attractive feature of the V*AP.

Available as either an insert into a mixing desk or as a stand-alone unit, V*AP offers interfaces that allow integration in existing environments via an AES insert. The unit can also be used with an optional analogue board that adds two high quality mic-preamps.

Another key feature of V*AP is the inclusion of Spectral Signature™, Jünger Audio’s automatic spectral sound management algorithm that dynamically controls spectral balance to create consistent voice recordings meeting a dedicated station sound. Spectral Signature™ can automatically analyze the recording of the voice to create a sound fingerprints that become the reference the algorithm matches to on all subsequent live recordings.

At Broadcast Asia 2013, Jünger Audio will also show its ground-breaking M*AP audio loudness processor, which combines an audio monitor controller and a loudness measurement device in one unit, thus providing comprehensive quality control and loudness monitoring for anyone working in a production or broadcast environment.

Designed for quality checking surround (5.1) and/or stereo programs, M*AP can be used for live monitoring and also to ensure compliance with today’s standards and regulations (ITU 1770-3, ATSC A/85 or EBU R128).

The unit comes with alarm signals that alert the operator when pre-set loudness thresholds are exceeded, and these signals can be delivered by simple GPOs and/or SNMP traps, which carry actual loudness values. Loudness measurements can be performed over a long run or over a fraction of a program, or both. These measurements can be triggered by automation systems via GPIs or via the network – or even manually by buttons of the X*AP remote panel.

Alongside loudness measurements, M*AP also offers functionality for acoustical QA. It has eight speaker outputs that allow for A/B checking of stereo compatibility of a surround downmix through alternative speakers, as well as via L/R front speakers.

Peter Pörs, Managing Director of Jünger Audio, says: “By incorporating 3G, HD and SD auto detection, M*AP gives users the option of dealing with all 16 channels of SDI embedded audio at the same time. This means that you can listen to one program while permanently logging the loudness of two (5.1 +2 mode) or four (4×2 mode) programs. It is also possible to send further embedded programs to M*AP’s AES outputs to feed a third party instrument for analyzing and/or display.â€�

For no extra cost, the M*AP’s SDI board acts as an embedder as well and comes with video delay to compensate for any kind of audio delay. This feature is ideal for those looking to maintain lip sync in QA suites or control rooms. M*AP also features a built-in Dolby® Metadata generator and an optional Dolby® decoder that allows users to decode Dolby-E, Dolby-D (AC-3) and Dolby Digital plus (E-AC-3).

Jünger Audio will complete its Broadcast Asia line-up with the Award-winning T*AP TV Audio Processor and Loudness Logger, a powerful tool that offers customers of all Jünger Audio levelling processors an easy way to monitor the development of the loudness over time. Using this new software, broadcasters can monitor in real time or by analyzing previously stored loudness log files. This innovation is critical as all broadcasters now need to show precisely how their audio levels are performing in order to comply with new legislation on Loudness.

If you would like more information about these products please visit Jünger Audio at Broadcast Asia 2013 – Booth 5E6-01 – for a demo.

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About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.jungeraudio.com

The good things in life are always worth waiting for and after months of anticipation internationally renowned British manufacturer Prism Sound has finally shipped the first Lyra audio interfaces to its worldwide dealer network.

“We were hoping to ship Lyra earlier in the year but due to some manufacturing issues this was delayed until now,� says Prism Sound’s Sales and Marketing director Graham Boswell. “Testing Lyra on all of the software and hardware platforms took longer than anticipated, but now we have commenced deliveries I am confident that this new family of audio interfaces will delight all audio content producers including musicians, composers, project studio owners, DJs and re-mixers.�

Lyra, which made its debut at the 2012 AES Convention in San Francisco, brings to an even wider audience Prism Sound’s high performance audio converter technology. This technology is used in the world’s leading recording facilities by recording artists and for blockbuster movie soundtracks such as Harry Potter, Lord of the Rings and the Hobbit. Based on the award-winning and critically acclaimed Orpheus interface, Lyra allows music recording professionals to access the power and sophistication of the Orpheus audio path and clock circuitry, but in a smaller package and at a much more affordable price point.

Lyra connects seamlessly with both Macs and PCs via a simple USB interface, making it ideal for recording professionals who don’t need eight channels of analogue I/O.

Prism Sound plans to launch a number of different variants of Lyra and has started the ball rolling with Lyra 1 and Lyra 2. Both incorporate new ARM Cortex processor design offering class-compliant USB interfacing, plus DSP and a low latency ‘console-quality’ digital mixer for foldback monitoring. Both products also have optical SPDIF capability and Lyra 2 also supports ADAT.

Lyra 1, which retails in the UK at £1,349 plus VAT, will be of particular interest to the musician and project studio market. This unit offers two analogue input channels – one for instrument/line and one for mic/line – plus two DA output channels and optical-only digital I/O. With Lyra 1, musicians can connect a guitar and a microphone through the input channels, plug into their software mixer via a simple USB connection and start laying down basic tracks in a matter of minutes.

Lyra 2, which retails in the UK at £1,849 plus VAT, takes the concept a little further by offering two AD input channels with switchable microphone, instrument or line input modes and four DA output channels. Both optical-only digital I/O and copper S/PDIF are available on this version of Lyra, which also offers wordclock In/Out enabling synchronization with other digital devices.

Both products are ergonomically designed to look as good as they sound. The front panel has a master volume control assignable to selected output channels, while the unit’s small size – just 11 inches wide – makes it very easy to transport for musicians, producers and DJs on the road. For studio use, Prism Sound can supply dedicated rack mounts as an extra.

“We know there is a market for Lyra because our customers have been demanding this product ever since we launched Orpheus,� Graham Boswell adds. “However, we are very protective of our reputation for delivering the highest possible audio quality so we were not going to bring any product to market until we were sure that it could live up to our exacting specifications. Lyra does just that, and we are very proud to introduce it.�

Lyra is fully supported by Prism Sound’s acclaimed technical and after-sales service staff.

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

NORTHRIDGE, California — HARMAN Professional today introduced JBL HiQnet Performance Manager™ version 1.5, a significant upgrade confirming the software application as the professional AV industry’s most comprehensive, uniform and useful live sound system configuration and control tool. This newest iteration adds support for more JBL loudspeakers, provides enhanced cardioid subwoofer array support, and broadens the capability to create custom, mixed-model racks of Crown amplifiers.

JBL HiQnet Performance Manager offers touring and performance-venue installation professionals a true workflow-based user experience for designing, deploying and controlling any configuration of HiQnet live performance systems. New to version 1.5 is support for JBL Professional’s VRX Series Constant Curvature loudspeakers, including a new generation of V5 DSP presets providing significant performance enhancements by leveraging the BSS Audio OMNIDRIVE HD™ linear phase FIR processing capability of Crown® I-Tech HD DSP power amplifiers. VRX V5 presets provide dramatic improvements in on-axis and power response due to the use of higher-order asymmetric filters, superior sound quality through the use of arbitrary coefficient FIR phase linearization, and the advanced system protection benefits of Crown’s LevelMAX™ limiter suite. In addition, the refined tonal balance consistency introduced in the new V5 presets makes the VRX Series compatible with VTX and VERTEC® Series V5 processing, allowing VRX enclosures to be effectively used as a fill system complement for tour sound and portable rental applications. The VRX Series V5 Preset Data includes bi-amp (2-way) and passive processing options for VRX928LA, VRX932LA-1 and VRX915M models including 2-way and 3-way options for use with VRX915S and VRX918S subwoofers.

JBL HiQnet Performance Manager also introduces JBL V5 Preset updates for VERTEC Series compact and subcompact models VT4887A/VT4887, VT4886 and VT4883. The new V5 preset release similarly enhances a number of performance attributes of JBL VERTEC VT4887A, VT4887 and VT4886 line array loudspeakers with cardioid subwoofer processing introduced for all VERTEC subwoofers including VT4883, VT4882, VT4881A, VT4880 and VT4880A models. JBL STX Series passive portable PA loudspeakers are also supported in Performance Manager version 1.5, providing an even greater set of sound design tools for complementary fill speaker purposes and medium- to small-format Front-of-House system design applications.

For enhanced configuration flexibility, custom racks can now be designed with mixed Crown amplifier models and can include any number of Crown amplifiers up to a total of eight. Additionally, a new amplifier sleep-mode utility that greatly reduces the system’s AC current draw when not in use can now be controlled through Performance Manager.

Commenting on the launch of JBL HiQnet Performance Manager 1.5, Paul Bauman, Senior Manager – Tour Sound for JBL Professional, noted, “Because Performance Manager is the direct result of customer input and objectives, we are now able to provide the most efficient and goal-oriented software application of its kind. With the embedded system intelligence upon which the Performance Manager user interface is based, it can benefit from ongoing exponential improvements in software technology. Today’s introduction features improvements in a wide array of product areas, backed by our continued commitment to training and support. As we make JBL tour sound products sound better with a new generation of V5 processing, and easier to use in the field via Performance Manager, we are providing our customers with a serious competitive edge while also enabling them to achieve the best possible results.�

The powerful new software can be evaluated free of charge in an offline state without the ability to connect to HiQnet devices. For communication with online devices a license key, available for purchase from the HiQnet website, is required.

For more in-depth help and information, please view the step-by-step video tutorials which can be found on the HiQnet website.

Website: hiqnet.harmanpro.com
Email support: support.hiqnet@harman.com

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of audio, lighting and infotainment solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson®, and leading-edge connectivity, safety and audio technologies. 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 14,300 people across the Americas, Europe, and Asia and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

Wireless Extender, HDWX-100-TR is designed for wireless signals extending of HDMI, keyboard and mouse. The transmitter module HDWX-100-T connected to the HDMI source encodes the HDMI by H.264 and transmits the signal via advanced Wi-Fi, 802.11a/n technology. The receiver module, HDWX-100-R connected to the display receives and decodes wireless signal into HDMI for display. The USB keyboard and mouse interface in the receiver module, HDWX-100-R also can be accessed to the source via transmitter module HDWX-100-T, if it is connected to the source by USB interface.

The HDWX-100-TR supports the digital video data of full HD up to 1920x1080p at 60Hz and 7.1ch surround audio and transmits the signal up to 30 meters (100feet). It also enables to distribute one (1) video source up to four (4) displays and makes four (4) local keyboard and mouse accesses to the source.

By using GUI interface, user can select one of active transmitters for pairing in the receiver side. With these key features, 4 x 4 wireless routing system can be configured without any electrical connection.

HDWX-100 is Wireless HDMI Extender which supports:

- Wi-Fi standard: 802.11n, 5GHz, 2×2 MIMO, internal antennas (Maximum Throughput: 300Mbps)

- WPA/WPA2 and QoS

- Supports up to 1920×1080, 60Hz video and 7.1ch audio

- Has H.264 codec

- HDMI V1.3 and HDCP2.0 compatible

- Coverage distance (1:1 based)
- LOS (Line of Sight): up to 80meters
- NLOS: up to 30meters
: Typically 20meters (Indoor)

- Multi-cast: up to 1:4 distribution at 1920×1080, 60Hz

-USB backchannel: extend PC control to remote-site (RX)

OPTICIS HQ
#16FL Kins Tower. 8, Seongnam-daero, 331beon-gil, Bundang-gu, Seongnam-si, Gyeonggi-do, 463-844 Korea Tel: +82 31 719-8033 | Fax: +82 31 719-8032 | tosales@opticis.com

- Secure the electrical isolation

New optical DisplayPort extender, DPFX-100-TR is designed compact enough to be fitted into various installation environments with two (2) LC fibers connection. The transmitter and receiver set, DPFX-100-TR enables to transmit WQXGA (2560×1600) at 60Hz signal up to 300m (985feet) over two (2) LC multi-mode fibers, avoiding any tricks like scaling or data compression for lessening a burden of data transmission.

Between the transmitter and the receiver, pure fiber connection by two (2) LC fibers connector gives clean, secure and easy installation with no electrical hazard and a perfect electrical isolation. The DPFX-100-TR can be operated by USB power without external DC power adapter by plugging the supplied USB to DC plug cables to each module.

DPFX-100 is 2-Fiber DisplayPort Extender which supports:

- Supports DisplayPort 1.1a standards

- Extends WQXGA (2560×1600) at 60Hz

- Transmits DP data up to 300m (985feet) over two (2) LC multi-mode fibers (50/125um)

- Offers total data rate 10.8Gbps (2.7Gbps per lane)

- Supports Dual-mode DP (DP++)

- Supports auxiliary /l²C channel over fiber

- Compact design allows direct connect to the DP display

- Operated by USB power or DC power supplier

- Certifies FCC and CE standards for EMI/RFI emission

- Has DP receptacle and provides intermediate cable for flexible installation

-Includes two (2) +5V, 1A DC power adapters / two (2) USB to DC plug cables for the transmitter and receiver

OPTICIS HQ
#16FL Kins Tower. 8, Seongnam-daero, 331beon-gil, Bundang-gu, Seongnam-si, Gyeonggi-do, 463-844 Korea Tel: +82 31 719-8033 | Fax: +82 31 719-8032 | tosales@opticis.com

- Secure the electrical isolation

New optical HDMI extender, HDFX-250-TR is designed compact enough to be fitted into various installation environments with two (2) LC fibers connection. The transmitter and receiver set, HDFX-250-TR enables to transmit WUXGA (1920×1200) or 1080p at 60Hz signal up to 300m (985feet) over two (2) LC multi-mode fibers, avoiding any tricks like scaling or data compression for lessening a burden of data transmission.

Between the transmitter and the receiver, pure fiber connection by two (2) LC fibers connector gives clean, secure and easy installation with no electrical hazard and a perfect electrical isolation. The HDFX-250-TR can be operated by USB power without external DC power adapter by plugging the supplied USB to DC plug cables to each module.

It passes CEC, EDID & HDCP (High Definition Contents Protection) for better installation flexibility and compatibility.

HDFX-200 is 1-Fiber HDMI Extender which supports:

- Extends WUXGA (1920×1200) at 60Hz (1.65Gbps/ch) or 1080p at 60Hz (36bit, 2.25Gbps/ch)

- Transmits HDMI data up to 300m (985feet) over two (2) LC multi-mode fiber

- Supports HDMI1.3 up to 36-bit color depth

- Operated by USB power or DC power supplier

- Complies with CEC, EDID & HDCP1.2

- Certifies FCC and CE standards for EMI/RFI emission

- Has HDMI receptacle and provides intermediate cable for flexible installation

-Includes two (2) +5V, 1A DC power adapters / two (2) USB to DC plug cables for the transmitter and receiver

OPTICIS HQ
#16FL Kins Tower. 8, Seongnam-daero, 331beon-gil, Bundang-gu, Seongnam-si, Gyeonggi-do, 463-844 Korea Tel: +82 31 719-8033 | Fax: +82 31 719-8032 | tosales@opticis.com

- Secure the electrical isolation

Extron Electronics is pleased to announce the immediate availability of the VNR 100, a single channel recorder that digitally records and plays back high-definition computer graphics, video, audio, and data streamed in VN-Matrix® systems. It can simultaneously record and play back streaming content. This provides flexibility for recording and playback workflows, and can help increase the duty cycle of expensive source and presentation equipment. The VNR 100 presents a scalable solution that can be deployed in single source or multi-source applications.

“The VNR 100 is a scalable, advanced recording solution for quality-critical AV streaming applications,” says Casey Hall, Vice President of Sales and Marketing for Extron. “Its ability to record and play back simultaneously makes it ideally suited for a variety of streaming and recording applications.”

Pre-recorded content can be streamed while an independent source is recorded in time-slip applications, and chase-play capabilities allow time-shifted delays to be introduced into a live stream. Additionally, multiple VNR 100 units can be configured to accommodate recording and playback of AV content presented on multi-screen display systems. As a part of Extron’s line of VN-Matrix streaming solutions, the VNR 100 is ideally suited for AV streaming and recording applications with the most demanding quality and performance requirements. Common applications for the VNR 100 include command and control, training and simulation, multi-site houses of worship, and staged entertainment events.

TAMPA—More than 30 acts performed over five musical stages during Funshine Fest, held May 3-5 on the fairgrounds of Florida State in Tampa with an attendance of 20,000. Main stage artists included Train, the Smashing Pumpkins, REO Speedwagon, Styx, the Wallflowers, Cheap Trick, New Found Glory, Gary Allen, and Chris Carrabba of Dashboard Confessional.

ESI Audio of Tampa provided audio production, and this year, the new NEXO STM was used as the Live Nation Amphitheatre main stage line array. Company President, Erick Celeiro, functioned as FOH tech and Ozzy Giron acted as monitor tech on the rig. The system consisted of 15 M46 per side flown, 15 B112 per side flown, 32 S118 subs ground stacked, 10 NUAR racks that included 2x 4×4 NXAmps, and four M46s stacked on S118 subs for front fills. The entire system was running from front of house via the Dante network to the amp racks. A Yamaha PM5D was at the front of house mix position.

About the new STM system, Live Nation Amphitheatre production manager Andy Martinez said, ” I have seen many systems come in and out of here, and never had a system that rigs and flies so easy and sounds amazing.â€� And, REO front of house engineer, Neil Schaefer, added, “I had the pleasure of using the NEXO STM, and having had plenty of time in front of NEXO rigs over the years, my expectations were high. The STM PA is very tidy with clever rigging. Most important, it sounded very good. Smooth, powerful, and responsive; a very nice rig indeed!â€�

The NEXO STM Series (Scale Through Modularity) loudspeaker cabinets are the first of its kind on the market and combine the best of Alpha functionality with the technical innovation of GEO waveguide designs, delivering a powerful, flexible, and easy to use system. STM enables line array systems to scale up or down depending on event audience size, from 1,000 to 100,000 people. STM is unique in that it is the first vertical array system to offer scalable LF, making it easy to add extra bass cabinets for increased power and headroom, without introducing unwanted phase anomalies.

The outdoor Pavilion Stage used a NEXO GEO T line array along with a Yamaha CL5 at front of house used by mix engineer Jan Javier, with a CL1 at monitors for engineer Rob “DH� Durkee. “I felt very comfortable taking the CL out for the three-day festival with multiple bands, some with their own engineers, some without,� states Javier. The CL screen is like the difference between a regular VHS tape and a Blue-Ray DVD. I was using AES outs all the way to the amps. The system sounded great, the desk was very easy to use from the first day. The next day, I put the Premium Rack’s Portico Compressor in stereo in the left and right, and what a difference, just passing through the unit; smooth and warm become the words to best describe the sound. I used the DCAs, as I am used to mixing that way. Assignments are very easy, and finding my way around the desk is simple and very intuitive.�

“The guest engineers were amazed at the sound of the desk and how friendly it is, notes Javier. All who used it said they would tour with it.â€� Javier said they ran the stage rack onstage, and ran a cat6 snake out. He also said he noticed the pre-amps are much more responsive and a lot warmer out of the box. The Pavilion Stage hosted Lone Bellow, Tonic, Big Sam’s Funky Nation, and Dead Confederates. “They all loved the sound.â€�

The Concourse Stage housed a Yamaha CL1 at front of house with mixing by Bryan Rogers and Justin Lenards. An LS9 was used for monitors. Rogers said the CL1 was “like butter… smooth and creamy.â€� Lenards who mixed FOH and Monitors said “Love it, great little console.â€�

For more information on ESI Audio, visit www.esiaudio.com.

For more information on the NEXO STM and Yamaha CL Series, visit www.yamahaca.com.

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Photo ID: NEXO STM and Yamaha PM5D during FOH mix for Styx
Photo ID: L to R: Pat Clark, VP ESI, Yamaha’s Brian Coviello, Andy Martinez, Live Nation Amphitheater Technical Director

(c) Kraftwerk

Kraftwerk will perform THE CATALOGUE 1 2 3 4 5 6 7 8 at the Sydney Opera House starting on 24 May. The band will perform one studio album in full at each concert, combining it with stunning visual backdrops, including interactive 3D projections, sound and animation.

Dataton WATCHOUT is distributed in Australia and New Zealand by WATCHOUT Premium Partner Interactive Controls Pty Ltd.

Fredrik Svahnberg, Marketing Director at Dataton says: “For each of the eight shows, WATCHOUT manages projected 3D content on a large stage backdrop creating a powerful abstract presence in front of audiences wearing polarized 3D glasses. To create the lighting effects on the four illuminated controller desks, a Pixel-gate LED video controller uses an additional DVI output from the main screen with the WATCHOUT “Tier� feature. The main timeline in WATCHOUT is chasing timecode from Kraftwerk synthesizers (MTC converted into SMPTE). The Kraftwerk synthesizers are also used for live visual interaction controlled via MIDI commands.�

ENDS

Images: © Kraftwerk

www.dataton.com
www.interactivecontrols.com.au