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Archive of the New Products Category

DPA Microphones Get a ‘Royal’ Seal of Approval

Royal Blood 3

Mercury Prize nominees Royal Blood, one of the breakthrough bands of the year, have been using a range of DPA microphones on their recent UK tour.

“We use DPA’s d:facto™ Vocal Microphone on vocals and d:vote™ 4099 Instrument Microphones on snare bottoms and toms,” says Front of House engineer Phil Jones from Output Audio. “I was never a fan of snare bottom and now literally can’t imagine not using one.”

Jones adds that he is now a confirmed fan of the quality that DPA microphones deliver.

“They just sound great. The d:facto Vocal Microphone is genius. Even in a small club I can get it as loud as most dynamic mics without hideous feedback, but the sound quality and ‘intelligibility’ is still there. Both the d:facto and the d:vote 4099s sound very natural without having to use any obvious big cuts and boosts. It makes for a far better starting point EQ and processing-wise, as long as your source is good.”

Brighton-based Royal Blood consist of bassist & vocalist Mike Kerr and drummer Ben Thatcher. Jones started off playing the drums himself and so has a fine appreciation of the amount of spirited abuse Thatcher gives his kit.

“Honestly, I didn’t think the d:vote 4099s would survive with the way Ben plays drums,” Jones says. “A couple of times in the summer he pushed the whole drum kit over and I was mildly terrified what I would find when the risers got pushed round. But, fingers crossed, no problems so far. The d:vote 4099s are so small and discreet they just stay out of the way, which is extremely important. They sound very natural; they sound like the drums! I do very minimal EQ work and that’s what we like — natural sound.”

Working with a duo, even one as energetic and sonically bombastic as Royal Blood, brings a certain degree of precision to Jones’ work. “With only 17 channels to work with, it has to be perfect,” he says. “You’re not going to get away with losing the third keyboard or second backing vocal in a mix. If something is slightly off, you’re in big trouble; there’s nowhere for anything to hide. I’m constantly on my toes, but it does leave quite a bit of room for interesting FX and creativity.”

As part of that creative experimentation Jones has been using a DPA d:discreet™ 4091 Omni-Directional Miniature Microphone on Thatcher’s kick for a couple of months now and says that it has been an eye-opening experience.
“I come from more of a jazz background and for that, it would be amazing,” he says. “Outdoors, with lots of sub, and control of the sub especially, it’s brilliant. I get some extra bottom end that I can’t put my finger on and I love it.”

Royal Blood’s autumn tour and subsequent clutch of European dates were thrown into disarray when Kerr went down with tonsillitis. However, dates are being rescheduled, and it’s almost easier to find places where they aren’t playing in 2015 than where they are, with a support slot on a North American tour with the Foo Fighters being one of the highlights.

And where Royal Blood goes, from Europe to North America, Australia and beyond, Jones and his DPA mics go too.

“All of our DPA microphones were supplied by the company’s UK distributor Sound Network,” Jones says. “We now fly the mics round the world and use them for everything. We have some very expensive mics, but the results are fantastic and consistency is key. That’s especially true for broadcast when we can’t have total control, but we just turn up, turn it all up, and basically it sounds great.”

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

BenQ Announces New Product Lineup for the 2015 International CES

New treVolo Electrostatic Bluetooth(R) Speaker, Pro Gaming Monitors, Design-Focused Displays, and Colorific(TM) Projectors Let Users Do It All With Flying Colors

COSTA MESA, Calif. — Dec. 11, 2014 — BenQ America Corp., an internationally renowned digital lifestyle solutions provider, today announced its exciting new product portfolio for the 2015 International CES. Unveiling an all-new showcase that lets users do it all with flying colors, the company’s latest innovations include the official launch of BenQ’s treVolo electrostatic Bluetooth(R) speaker, a new line of fast-paced professional gaming monitors, design-focused photography and CAD/CAM displays, and Colorific(TM) projectors which produce color accuracy that goes far beyond the imagination. more

Harmonic Enhances Polaris Playout Management Suite With Cost-Effective Integrated Master Control Functionality

Polaris Play Automation Software Offers Rich Application Toolbox for Scheduled and Live Playout in Channel-in-a-Box Environments

SAN JOSE, Calif. — Dec. 9, 2014 — Harmonic (NASDAQ: HLIT), the worldwide leader in video delivery infrastructure, today announced its new Polaris(TM) Play channel-in-a-box (CIAB) automation software for the company’s Polaris playout management suite. Tightly integrated with Harmonic’s market-leading Spectrum(TM) media server system, Polaris Play blends a rich set of automated ingest, media preparation, and playout workflow capabilities that enable efficient and cost-effective management of up to four fully branded SD or HD channels, each with matched simulcast channels, in a single rack unit.

“Designed specifically for broadcasters with modest playout requirements and budgets, Polaris Play gives users a breadth of control capabilities that enable straightforward management of the critical elements that support an on-air channel,” said Tom Lattie, vice president, product management at Harmonic. “Users can leverage Polaris Play to drive a cost-effective CIAB model for their playout channels.”

Polaris Play provides a suite of master control room (MCR) tools that enable ingest, content preparation, segmentation, preview, and channel playlist control. Scheduled operations can be driven by traffic or by manually created playlists. Coupled with the Spectrum MediaDeck(TM) integrated media server and its high-density I/O capabilities, integrated file services, and native codec and file wrapper support, Polaris Play simplifies deployment and operation of the playout workflow.

The Polaris suite represents Harmonic’s evolving offering in the emerging Media Orchestration category, which is important as workflows consolidate and simplify. Within this suite, Polaris Play offers broadcasters a robust, yet attractively priced, CIAB solution powered by the industry’s most trusted server platform, enabling users to reduce both capital and operating expenses.

Polaris Play can be combined with the recently announced Harmonic Polaris Live manual device control application, enabling the Spectrum ChannelPort(TM) integrated channel playout system to fulfill both production and master control requirements for many live-to-air workflows. The resulting hybrid environment offers powerful and highly efficient integrated master control room (iMCR) capabilities, allowing users to switch between scheduled playout and manual playout of live events based on the schedule or on an ad hoc basis.

“The iMCR model can be a game-changer in that it enables users to drive graphics-intensive live-to-air workflows,” said Lattie. “Together, Polaris Play and Polaris Live offer the benefits of CIAB solutions — reduced equipment costs and workflow complexity — while providing the power and flexibility critical within the most demanding production environments.”

In addition to reducing hardware costs, the iMCR model supports highly flexible and efficient workflows that users can customize with Polaris Live’s simple touch-screen interface.

Polaris Play will be available in the first quarter of 2015. Further information about Harmonic and the company’s products is available at www.harmonicinc.com.

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About Harmonic
Harmonic (NASDAQ: HLIT) is the worldwide leader in video delivery infrastructure for emerging television and video services. The company’s production-ready innovation enables content and service providers to efficiently create, prepare, and deliver differentiated services for television and new media video platforms. More information is available at www.harmonicinc.com.

This press release contains forward-looking statements within the meaning of Section 27A of the Securities Act of 1933 and Section 21E of the Securities Exchange Act of 1934, including statements related to the anticipated capabilities and benefits of Harmonic’s Polaris(TM) Play software, Spectrum(TM), Spectrum ChannlePort(TM), and Spectrum MediaDeck(TM) products. Our expectations and beliefs regarding these products may not materialize and are subject to risks and uncertainties, including the possibility that the products may not meet some or all of their anticipated capabilities or provide some or all of their anticipated benefits, such as cost-effectiveness, giving users a breadth of control capabilities, simplification of deployment and operation, flexibility, and efficiency.

The forward-looking statements contained in this press release are also subject to other risks and uncertainties, such as those more fully described in Harmonic’s filings with the Securities and Exchange Commission, including its Annual Report on Form 10-K for the year ended Dec.31, 2012, its Quarterly Reports on Form 10-Q and its Current Reports on Form 8-K. The forward-looking statements in this press release are based on information available to Harmonic as of the date hereof, and Harmonic disclaims any obligation to update any forward-looking statements.

EDITOR’S NOTE – Product and company names used herein are trademarks or registered trademarks of their respective owners.

Photo Link: www.wallstcom.com/Harmonic/Harmonic-PolarisPlay_Screenshot.jpg

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HARMAN Professional Audio Supports APEC Welcome Dinner In Beijing

HARMAN_APEC_1BEIJING, China – In an effort to support the most influential economic forum in the Asia-Pacific region, local HARMAN distributor ACE recently provided sound reinforcement for the welcome banquet of the Asia-Pacific Economic Cooperation (APEC) forum in Beijing. ACE supplied a full range of HARMAN audio equipment and technical support, featuring a JBL VTX line array system, Crown I-Tech HD amplifiers, Soundcraft Vi6 mixing consoles, and BSS BLU-800 signal processors.

Ten national Chinese music performances were the highlight of the evening at the Beijing National Aquatics Center (Water Cube), where the banquet was held. Originally used for the 2008 Summer Olympics swimming competitions, the Water Cube is now used for grand theatrical events. On November 10, 2014, it was the perfect venue to welcome international VIPs for the 22nd APEC Economic Leaders’ Meeting.

To support this unique event, ACE supplied eight VTX V20 loudspeakers and four VTX S25 subwoofers for the main PA. In addition, ACE also provided 10 VTX F15 loudspeakers, 12 VTX F12 loudspeakers for stage monitoring and distributed fill, complemented by four VTX F18S subwoofers for outfill. The system was powered with 16 Crown I-Tech 4x3500HD and six I-Tech 12000HD amplifiers, and processed with eight BSS BLU-800 signal processors. Finally, at the heart of the audio setup were two Soundcraft Vi6 digital mixing consoles, providing the technicians with a stable and secure mixing process.

The banquet’s dazzling fireworks and lighting effects were matched only by the high performance PA system. Equipped with the revolutionary D2 dual drivers, the VTX V20 loudspeakers pushed clarity to the extremes as they delivered pure and unadulterated high frequencies at any output level. As always, ACE’s outstanding professionalism and seasoned technical team ensured a beautiful audio-visual feast throughout the night.

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and enterprise automation solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson ® and Revel®, the Company is admired by audiophiles, musicians and the entertainment 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 approximately 16,600 people across the Americas, Europe, and Asia and reported sales of $5.6 billion for the 12 months ended September 30, 2014.

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HARMAN’S AKG Introduces APS4 Antenna Power Splitter

AKG_APS4VIENNA, Austria — Providing even more options for owners of its range of wireless microphone systems, HARMAN’s AKG is introducing the new APS4 antenna power splitter. The APS4 antenna power splitter can be operated in an extended frequency range of 470 to 952 MHz for maximum flexibility and is available for DMS700, WMS4500, WMS470 and WMS420 receivers.

The APS4 features multiple technical improvements including a flat frequency response. It is a wide-band UHF active antenna power splitter that can feed up to four receivers with the RF signal coming from one pair of antennas. It also supplied power to all connected receivers via BNC cables (each of which is individually protected against short-circuits).

Adjustable RF-level attenuation settings guarantee maximum operating distance, even when using difference cable lengths and different types of cables. The APS4 comes in a rugged half-rack metal housing and works with all active and passive AKG antennas available on the market (including the RA4000 B/W, RA4000 W, SRA2 B/W and SRA2 W).

For easy system setup, the APS4 is shipped with additional accessories, including 10 BNC antenna cables (MKPS), plus a rackmount unit (RMU4000) that includes two antenna front-mount cables.

Two rear panel antenna inputs provide a 12 VDC supply voltage for powering up to three active elements per antenna path–for example, one active antenna (RA4000 B/W or SRA2 B/W) and two AB4000 antenna boosters connected to one RF input. Also located on the rear panel are two sets of four BNC antenna output connectors for feeding up to four diversity receivers and two additional antenna outputs for cascading up to three further APS4 devices. Remote power for antennas and receivers makes installation even easier.

The APS4 also features a new black front for a sleeker appearance. APS4 sets are available in four different power supply variants: EU, US, UK or none included.

More information on the APS4 can be found at http://www.akg.com/aps4

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and enterprise automation solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson ® and Revel®, the Company is admired by audiophiles, musicians and the entertainment 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 approximately 16,600 people across the Americas, Europe, and Asia and reported sales of $5.6 billion for the 12 months ended September 30, 2014.

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Extron New USB Extender that Supports a Wide Range of Devices Now Shipping

Extron USB Extender PlusExtron Electronics is pleased to announced the immediate availability of the USB Extender Plus, which extends signals from USB peripheral devices located up to 330 feet (100 meters) away from the host computer using a single CATx cable. The extender supports USB 3.0, 2.0, 1.1, and 1.0 devices with data rates up to 480 Mbps. Direct connection of USB peripherals to a remote host eliminates the need for additional IP network drops, equipment, software, or drivers. For streamlined integration, the transmitter includes USB peripheral emulation that supports trouble-free booting of the host. Also, the receiver features an integrated four port hub with 5 Volts, 500 mA available on each port to power attached devices. The capabilities and low profile design of the USB Extender Plus ensure simplified device integration in a wide variety of environments, such as installation within a courtroom, classroom, lecture hall, or conference space. more

Discovering New Uses For The Martin Audio MLA Mini

MLA Mini J Roddy Walston 1

By E. Wayne Sowder

My ultimate goal as a Front of House engineer is to make sure the artist has a clear pathway to each member of his or her audience. That’s why I’m always researching new products, networking with other techs and remaining my own toughest critic as I work to sharpen my skills.

Time is the most unforgiving factor in live sound production, and everyone has fought a losing battle against the clock trying to solve unexpected problems. So discovering tools that increase audio performance and reduce the amount of system set up and tuning time is really exciting. These tools are especially important to regional sound companies who provide systems and techs for a diverse mix of musical genres and venues on a one off basis.

When RMB Audio added Martin Audio MLA Mini enclosures to an inventory that already included the MLA Compact system, the sound techs started evaluating the system using the factory presets for basic “speaker on a stick” configurations. It wasn’t until Matt Johnson began testing the VU-NET network features that we discovered the software had presets for “Single” and “Double” front fills.

Typically, we’d used Martin Audio W8LM cabinets equally spaced on the downstage edge. Substituting the powered MLA Mini speakers for lip fills would allow the entire system to be controlled on the same network, saving setup time and facilitating control, eliminate the need to carry an amp rack, occupy a smaller footprint on the stage and in the truck pack.

At the time, the next show requiring lip fills was at the Red Hat Amphitheater in Raleigh, North Carolina for the “Rock and Roll Marathon” with New Politics, a Danish Dance-Rock band, headlining and Love Canon, a regional bluegrass band, opening the show. We decided to use the MLA Mini in the single configuration since it was the closest to our normal front fill package.

MLA Mini Love Canon 2

The first thing we noticed after turning on the Minis was the voicing similarity between the MLA Compact main hang and the front fills. Walking from the coverage of the main hang into the coverage of the front fills the clarity remained constant without adding additional EQ.

Moving onstage, we immediately noticed that the MLA Mini also mirrored the excellent rear rejection characteristics of larger MLA systems. This was very helpful since the Love Canon microphones were in close proximity to the front fills.

We chose to deploy the MLA Minis in double-stacked mode for artists with a louder stage volume, such as Parliament Funkadelic and J Roddy Walston & The Business. The results were impressive, using the “Double” program in VU-NET compensated for any variations caused by adding additional cabinets and provided a front fill package that caused several FOH engineers to comment that they’d mixed shows where the mains weren’t that strong or sounded that good.

For a Nickel Creek concert at the Roanoke Performing Arts Theater, we worked with their FOH Engineer David Sinko who has a very interesting process of sound checking where he mixes in mono, plays 30s music and is very discerning. When I told him that the less you do to the MLA system, the happier you’ll be if distance and elevation data is drawn correctly, that’s exactly what he wanted to hear. He doesn’t like to spend the entire day tweaking a system.

We were walking the room with David before the show and it seemed like in the center three or four rows back the front fills seemed to be in front of the system and the Main hangs were disappearing or being overpowered by MLA Minis. We decided to shorten the start of the main coverage and David asked if we’d have to rehang the speakers and I told him we could do it all on the computer via the VU-NET system, which definitely surprised him.

MLA Mini New Politics

Matt Johnson, RMB Audio’s MLA tech for that show quickly changed the start coverage of the main hang using only the MLA software and moments later David re-walked the coverage and was very pleased with the results. The group had the chance to an extended rehearsal that day which allowed all of RMB’s techs to evaluate and experience the performance of the combined MLA systems. Walking and sitting in various parts of the venue from front row to the last row in the balcony confirmed that each audience member would hear the same mix that David was hearing at the FOH position.

RMB Audio also deployed the MLA Mini in a unique way at the Koka Booth amphitheater for a performance by Josh Groban and the North Carolina symphony. The venue has an area of tall trees that provide shade from the sun at house right where many patrons have begun seating themselves. Because the area was too far off axis from the main hang to provide quality audio, Robert Weddings of RMB suggested that we use an additional MLA Mini four-box, one sub system to provide coverage for the area. I wasn’t on the show, but I heard from all of the techs that the boxes were projecting far back into the house, with full range coverage 150 feet back.

The fact that the MLA Minis are on the VU-NET network makes them an integral solution for any changes in terms of EQ, time alignment and the ability to monitor how hard the system’s being pushed or how much headroom you have.

MLA Mini J  Roddy Walston 3

When we first set up the MLA Mini at the Red Hat amphitheater in Raleigh, we were walking house left to house right and the transition from the main hangs to front fills was transparent retaining all of the clarity and intelligibility. The surprising thing was when we did groups with more stage volume and used the double front fills, there was a nice low mid energy coming off of them, so it never sounded thin nor overwhelmed by the stage volume.

The Mini front fills can keep up with some pretty loud stages. They are surprisingly powerful boxes that easily carry from edge of stage to front of house position.

Overall, MLA lets the laws of physics work for us by only putting sound where people are instead of sending it to every part of the room and generating reflections and other noise. The technology has become a game-changer in delivering sound and how the system should sound because without all of the room reflections and clutter, the mix becomes much cleaner and more defined, especially in terms of getting a better stereo field throughout the house.

Photos: New Politics, Love Canon, J Roddy Walston & the Business,

For more about Martin Audio, please click www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

Matrox Monarch HD Streaming and Recording Appliance Now Offers Automatic Configuration Tools

AV integrators and video delivery platform developers can easily integrate powerful and economical Monarch HD H.264 encoders to provide a unified, consistent and branded user experience

Matrox® Video today announced the immediate availability of automatic configuration tools for the popular Matrox Monarch™ HD streaming and recording appliance. AV integrators and video delivery platform developers can use the powerful tools to design a single device management interface for detecting, configuring, and controlling Monarch HD units in remote locations using easy-to-develop XML information sets that can be viewed by any text editor or displayed in any webpage.

Matrox_Monarch_HD_angled_180x92

For example, specialized CDNs and video platform providers who wish to offer a branded plug-and-play user experience can use the new automatic configuration tools to give their customers a very simple installation procedure. The customer would just insert a USB key containing the customized automatic configuration file, boot the new Monarch HD and be ready to stream at exactly the right settings.

Similarly, IT administrators in corporate and education environments with deployments of multiple Monarch HD units on a network can use the new tools to manage all of the units from a single application or portal. Streaming and recording parameters need not be set by each individual user.

“We have been approached by many organizations who love the feature set and economical price point of Monarch HD but who want to integrate it more completely within their own video management platforms,” said Dan Maloney, technical marketing manager, Matrox Video. “
“The new automatic configuration tools give these solution providers an easy way to offer a powerful H.264 encoder with a superior user experience.”

Matrox Monarch HD is a small, easy-to-use H.264 encoder designed for professional video producers who need to simultaneously stream a live event and record a mastering-quality version for post-event editing. From any HDMI input source such as a camera or switcher, Matrox Monarch HD generates an H.264-encoded stream compliant with RTSP or RTMP protocol. While encoding the video at bitrates suitable for live streaming, Matrox Monarch HD simultaneously records a high-quality MP4 or MOV file to an SD card, USB drive, or network-mapped drive.

See Matrox Monarch HD in action at 2015 tradeshows including ISE (Amsterdam, Feb. 10–12, stand 11-F68), BVE (London, Feb. 24–26, stand J19) and NAB (Las Vegas, April 13–16, booth SL5817).

Price and availability
Priced at $995 US (€799, £699) not including local taxes and delivery, Matrox Monarch HD is available through a worldwide network of authorized dealers. The new automatic configuration tools are enabled in Monarch HD firmware release 2.1.1, which is now available to registered users as a free download from the Matrox website.

About Matrox Video
Matrox Video is a technology and market leader in the field of 4K, HD and SD digital video hardware and software for accelerated H.264 encoding, realtime editing, audio/video input/output, streaming, A/V signal conversion, capture/playout servers, channel-in-a-box systems and CGs. Matrox’s Emmy award-winning technology powers a full range of multi-screen content creation and delivery platforms used by broadcasters, telcos, cable operators, post-production facilities, live event producers, videographers and A/V professionals worldwide. Founded in 1976, Matrox is a privately held company headquartered in Montreal, Canada. For more information, visit www.matrox.com/video.

Prism Sound Makes Its Audio Interfaces Even More Affordable

Prism Sound Atlas

As part of its commitment to offering customers the best possible value, Prism Sound has introduced a new pricing structure for three of its critically acclaimed audio interfaces.

The new pricing structure, which significantly reduces the cost of purchasing a Prism Sound Lyra 1, Lyra 2, Titan and Atlas audio interface, has been applied globally and is being backed by a special Christmas offer of a further 5% discount.

“We are adjusting our pricing to reflect the continuing evolution of the pro audio market,” says Prism Sound’s Sales and Marketing Director Graham Boswell. “This area of the pro audio business has exploded in recent years with vast numbers of musicians, producers, DJ’s and others entering the market with project or home studio and mobile applications for audio interfaces. These changes mean that we can offer lower prices and enable many more people to enjoy the premium sound quality that we strive for in our products.”

The new prices see the cost of a Lyra 1 audio interface dropping to just £995 plus VAT $1,745). Equally large reductions have been applied to the other interfaces, especially the Atlas which is reduced by more than £1,000 ($1,700).

“All of our audio interface products have been carefully designed to meet customer needs, and every one of them incorporates the same no-compromise design and acclaimed converter performance that users have long come to expect from Prism Sound’s high quality audio products,” Graham Boswell adds. “By making these units even more affordable, we aim to help spread the word about improving the quality of digital audio for today’s consumers. This is a cause that has been championed by leading figures in the global music business such as Sir Paul McCartney, Neil Young and many others.”

Prism Sound’s Lyra 1, Lyra 2, Titan and Atlas USB interfaces incorporate Prism Sound’s latest and award-winning CleverClox clocking technology and the company’s popular mic pre’s as standard. Each one offers recording professionals the ultimate in audio quality and ease of use.

Prism Sound will be showing its entire product range, including its flagship ADA-8XR modular converter, at CES Suites #29-217 and 219, at Venetian Towers, Las Vegas from January 6th – 9th 2015, and at NAMM 2015 in Los Angeles, from January 22nd – 25th (Booth 7120).

For more information about Prism Sound products and the new pricing structure, please visit www.prismsound.com or contact your nearest Prism Sound dealer.

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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 dScope Series III audio analyser system.

Prism Sound’s Lyra 2 Makes its Las Vegas Debut

Luca Pretolesi

Studio DMI, a private facility that focuses on mixing and mastering electronic music, has incorporated a range of Prism Sound equipment, including a Lyra 2 audio interface that is being used to record mixes and A/B two different sound sources.

Based in Las Vegas, Studio DMI is owned by European Music Market Inc, which also owns two publishing companies and an entry level entertainment service company called Weebang. EUMM also operates The Studio at The Wynn, a high-end recording facility in The Wynn Casino Hotel that is made available to very high end producers and artists performing at The Wynn’s venues.

Ronnie F Lee, CEO of EUMM, says: “Studio DMI is more than a studio – it is a concept based on the engineer lifestyle and creative process. Literally speaking, we have combined the word ‘studio, which means study in Italian, with DMI, which stands for digital music innovation. The basic philosophy comes from the heart, soul and mind of Luca Pretolesi, who is the creative side of our business and handles all the engineering and training of our engineering associates. Luca has 25 years’ experience of producing, performing, mixing, mastering and pioneering electronic music. This has given him a very unique grasp on the EDM industry.”

The choice of Prism Sound equipment was taken by Pretolesi after he visited the Winter Music Conference in 2013. He opted for a Prism Sound MEA-2 Equaliser, an MLA-2 Compressor and a Lyra 2 audio interface, which he installed in Studio DMI along with a new Maselec MTC-1X stereo mastering console.

“The MTC1 serves as the brain for the entire studio. It is like the hub between the mixing and mastering process,” Luca Pretolesi says. “Even before mastering, it acts as a great way to monitor multiple sources with no latency or added colour, check mono compatibility and side information – and it is all done with one finger. During mastering, it is also great to have the ability to flip between inputs, mid/side information and add parallel processing with just your hands. It allows you to make changes very quickly using only your ears rather than a mouse and your eyes.”

Pretolesi adds that, based on his 20-plus years of experience, the Prism Sound MLA-2 is by far the most transparent and musical compressor he has ever heard.

“You can really get it pumping but it doesn’t colour the sound,” he says. “I usually use a low ratio with a slow attack but it is very versatile and you can do a lot of very versatile compression.”

Pretolesi is equally impressed with his Prism Sound MEA-2 Equaliser that, like the MLA-2, is mostly used during the final stage of the mastering process.

“I usually spilt this into two parts,” he explains, “the top end, which I use for more surgical EQ-ing and the low end, between 40-300hz, which gives the sounds a great attitude and weight. The MEA-2 is capable of some very heavy lifting on the low end without losing the transients or the overall sound.”

Studio DMI’s Lyra 2 audio interface plays a bigger role in the recording and mixing process than in mastering.

“We included the Lyra 2 because we were looking for a fantastic converter to capture our mixes with the great high end sound that Prism Sound is known for,” Pretolesi says. “However, we also wanted the ability to A/B two sources, which we can do with Lyra 2 because it is a two in/four out interface.”

Studio DMI is now using its Lyra 2 to record a mix while also comparing it to reference tracks.

“Non-traditionally, I also use it musically by clipping the input to achieve a certain sound on a lot of my mixes,” Luca Pretolesi adds.

Studio DMI is primarily Luca Pretolesi’s facility, while the Wynn Studio operated by Studio DMI attracts high profile producers and artists such as Diplo, Lil Jon, Gareth Emery, MakJ and Morgan Page.

“We are currently in the process of creating an educational division to spread Luca’s passion and knowledge about mixing and mastering electronic music,” Ronnie F Lee adds. “This will be a unique learning opportunity that targets post graduates from more traditional schools and focuses on application more than theory.

The first three day workshop under the Studio DMI.edu brand will run in the first quarter of 2015, in either Las Vegas or Los Angeles. Courses will be offered in English, with other languages made available later in the year.

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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 dScope Series III audio analyser system.

For more information: www.prismsound.com

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