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Rogue Element Embraces an Open Source Philosophy

Dan Mulligan

Rogue Element has become one of the first digital cinematography companies in the UK to adopt an Open Source policy for its rental division by providing Open Source Digital Camera Solutions.

In a move designed to unleash and encourage creativity, the Soho-based company is ensuring that 4K cinema is fully open to everyone by making AXIOM Beta Open Digital Cinema Cameras available to its rental customers.

AXIOM Beta cameras are the first products to be developed by apertus°, an Open Source cinema organisation founded by film makers and financed through crowd funding. The people behind apertus° were galvanised into action when they became concerned with the expensive and limited tools they were forced to work with every day. Instead, they wanted access to affordable devices and technology that delivered the highest possible image quality and could be customised to exactly suit their needs.

Since its formation in 2007, the apertus° project has applied an Open Source philosophy to everything it has developed. As no patents have been filed, anyone can access the technology behind its cameras and people are actively encouraged to adapt, modify, repair and even replicate them. To date, reaction has been very positive. Not only has the company achieved – and exceeded – its initial crowd funding target but it also has the backing of some very important film makers and cinematographers.

ASC and AIC Cinematographer Roberto Schaefer, who was responsible for films such as Quantum of Solace, Finding Neverland and Stranger Than Fiction, says: “I believe than an Open Source camera will allow us to customize the digital camera to our personal liking. That should include ergonomics and hopefully give the ability to get rid of the shoebox, front heavy trend of current designs. I look forward to using custom elements to create the new Digital Aaton, even though they are no longer in business. The design possibilities that I’ve seen from the apertus° project are exciting, as are the image creation possibilities. Not being locked in to any one company’s idea of what the images should look like is a breath of fresh (film) air. Currently in order to switch film stocks we have to change camera systems. The AXIOM will hopefully change all of that and allow us to change stocks with a physical switch.”

His views are shared by Emmy and Academy Award-winning DOP and Visual Effects Supervisor David Stump, who says: “The spirit of Open Source frees up the creative spirit to do something that no one else thought of,” while IMAX cinematographer Lee Ford Parker adds: “Open Source cameras are a step back toward the dark room, in which making the tools is part of the joy of making the art.”

The AXIOM Beta camera has just been released and is currently only available at cost to the community that backed the initial crowd funding campaign. Rogue Element was one of those backers and Managing Director Dan Mulligan says: “Open Source is a fantastic concept and we are delighted to be supporting apertus° by making this format available to the UK rental market. In taking on the Open Source philosophy, we hope to facilitate unfettered access to the technology and free up the creative spirit so that the cinema industry can engage in practices that encourage freedom of expression and is no longer limited by who can contribute.”

Established by Mulligan in 2001 firstly with camera rentals, Rogue Element then pioneered tapeless and file-based digital workflows and onset correction with 3D LUTs, S.two & Codex data recorders and Filmlight colour timing suites until 2011.
Now starting an Open Source operation for 2014 onwards Rogue will offer new camera solutions and options for the Broadcast & Features markets.

Rogue Element can also provide dailies and workflows for Arriraw (Alexa 16:9/4:3 sensors) RED RAW (RED Epic & Dragon 6K),Sony S-Log3 (Sony F65), Canon RAW (Canon C100/300/500), Cinema DNG (Blackmagic), GoPro and many other of today’s professional and niche camera systems. With this new operation for 2014 we want to pursue new avenues for the market.

Dan Mulligan, who has recently returned to Rogue Element after a three year stint at Technicolor, says: “The Arriraw format is now well established and there are a raft of high-end products catering for this market. We are still providing our customers with access to these workflows as they continue to develop, but thanks to our investment in the apertus° project we can now bring a very high quality Open Source 4K camera to the market at a much lower entry cost.”

Mulligan adds that for many film makers, cost can be an ongoing issue and the price of using high end equipment does bar many talented people from entering the market.

“This is why it is good to see the appearance of an Open Source camera system that has a much lower entry point,” he says. “The ability to create your own 4K camera and your own workflow is hugely beneficial for the film and broadcast industry because it will encourage content creation and allow people to get involved at much less cost.”

Rogue Element is not initially consider charging for the rental of its AXIOM Beta cameras. Instead, it will make its income through consultancy and through supplying additional new sensors, lenses, tripods etc., and add on services such as storage and workflow.

“We want people to try them so we are making them as easily available as possible,” Mulligan says. “With the Axiom Open Source we now have a camera solution coming from an opposing end of the release spectrum with a differing approach to its target audience. There should be more than enough room for both this and the higher end systems.”

-ends-

About Rogue Element:
Rogue Element provides digital cinematography filming services plus data and dailies, to the Film and Broadcast industries. A pioneer in tapeless and file-based digital workflows and on-set colour correction, the company’s growing rental division also supplies and supports a wide range of professional Digital Cameras including RAW camera systems and workflows, apertus° AXIOM Beta Open Source cameras and new solutions for RAW workflows.
www.rogueelementdigital.com

Event Safety Alliance To Host Industry’s First Ever Safety Summit in December

Take1

Event Safety Summit 2014 will take place from December 2-4, 2014 in Lititz, Pennsylvania. Registration is open at www.eventsafety.org.


Underscoring its commitment to make safety the number one priority of every live event producer, the Event Safety Alliance today announced that it will host the industry’s first Event Safety Summit from December 2-4, 2014 at the Tait Towers’ campus in Lititz, Pennsylvania.  The three-day symposium and hands-on workshop, which is funded in part by Fireman’s Fund and its managing agent Take1 Insurance, is designed to increase awareness of the many event safety risks present at live events and teach event producers to address those risks more effectively.  It will also focus on the importance of making sure that every live event has the right insurance coverage supporting it.

According to Event Safety Alliance Executive Director Jim Digby, “Everyone has a role to play in putting on a safe event. However, the ultimate responsibility for ensuring that both workers and guests make it home at the end of the night lies squarely on the shoulders of an event’s leadership, both legally and dutifully. Despite this awesome obligation, the event industry has, until now, lacked a comprehensive safety awareness program tailored to the specific needs of those working in leadership positions.”

Digby stressed that the three-day seminar is designed for anyone with significant authority for making reasonable safety decisions at live events, and those who could be held responsible if something goes wrong, including production managers, tour managers, stage managers, event producers, and vendor crew chiefs. “In creating the Event Safety Summit, we hope to bring together a wide array of thought leaders who are dedicated to driving cultural change in the live event industry.”

Classroom instruction will be led by subject matter experts who will engage participants in discussions tailored specifically to the live event industry. Topics will include: planning for severe weather events, creating a unified incident command system, the elements of an event safety plan and procedure, event safety access training, legal issues and the “standard of care,” partnering with public safety officials, and working effectively with your insurer.

“The importance of insurance cannot be overstressed,” Digby emphasized today, “And I am proud to say that we will have the full involvement of Fireman’s Fund, our Insurance Sponsor, and their managing agent, Take1 Entertainment Insurance, in the Summit’s program.  Insurance has become a critically important and complex component in preparing a comprehensive event safety plan for live events.  Fireman’s Fund and Take1’s expertise is going to be a very important part of the Summit’s agenda.”

Digby said it was going to be very interesting to hear these insurance experts address how insurance underwriting has changed with more focus on safety at live events and how that connection between insurance and the Event Safety Alliance’s mission is linked together.

Training and hands-on application will take place at Tait Towers’ campus in Lititz, Pennsylvania. Instruction will run from Tuesday, December 2, 2014 through Thursday, December 4, 2014. Registration cost per participant will be $1,750.00, which includes instruction, materials, food, entertainment and local transportation. Participants will be responsible for lodging and airport transportation costs. ESA will provide registrants with preferred hotel and transportation options.  A complete Event Summit 2014 schedule can be found at www.eventsafetyalliance.org.

- See more at: http://www.twice.com/thewire/event-safety-alliance-host-industrys-first-ever-safety-summit-december/54380#sthash.xiqPD0aD.dpuf

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Singer/Songwriter Passenger Rides Along with HARMAN’s AKG DMS700 V2 Wireless Microphone System

AKG_PassengerNORTHRIDGE, California – Renowned singer/songwriter Mike Rosenberg, better known by his professional moniker Passenger, is currently touring the United States. Delivering world-class audio to support his dynamic and intimate live performances, Rosenberg and front of house engineer Simon Kemp rely on a HARMAN AKG DMS700 V2 wireless microphone system for his acoustic guitars, along with a D7 vocal microphone, plus an AKG wireless stomp microphone for Rosenberg’s unique brand of percussion.

As a sound engineer who also has a strong relationship with his artist, Kemp is in tune with Rosenberg’s unique requirements of his audio setup. “He is very thorough, knows exactly what he wants and he has the ears to make sure he gets it,” Kemp said. “We are constantly improving and critiquing the sound.”

Kemp notes the most daunting challenge of Passenger concerts is translating a folk singer with an acoustic guitar into a sound that can reach up to 6,000 people per night. “The sound needs to be very gentle for the quiet songs and a massive ‘in-your-face’ sound for the big songs,” he commented. “It’s a great challenge.

To meet this challenge, Passenger uses a DMS700 V2 wireless microphone system for acoustic guitars. “We had a test with all the other wireless options available and we were not sold on the quality with any of them until we got to the DMS700 V2,” Kemp said. “We tried the DMS700 V2 and [Rosenberg] thought he was plugged in. I would be amazed if anybody could actually tell the difference—it sounds incredible and is very easy to use.”

Kemp chose the AKG D7 as Passenger’s vocal microphone for several reasons. “The main factor is that it sounds incredible because I can get so much gain before feedback,” Kemp noted. “He’s amazingly dynamic so I need the gain, and this microphone is dynamic with the sonic quality of a condenser.”

“The tour has been amazing so far,” Kemp concluded. “We started off with festivals in the summer and are now in the middle of our US tour. Europe and Australia are next. We have been getting amazing reviews.”

For more information, please visit www.akg.com/pro

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, 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 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

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Canon U.S.A. Introduces New REALiS WUX6000, Expanding the REALiS Pro AV Installation LCOS Projector Lineup

CANON REALiS WUX6000

MELVILLE, N.Y., October 16, 2014 – Canon U.S.A., Inc., a leader in digital imaging solutions, announced today the new high brightness REALiS WUX6000 Installation LCOS projector, designed for professionals seeking a balance of outstanding picture quality and performance and excellent price for medium-to-large display environments. Featuring LCOS Technology with Canon’s unique AISYS-enhancement (Aspectual Illumination System), the Canon REALiS WUX6000 Installation projector is built to deliver native WUXGA (1920 x 1200) high resolution still and motion images with intricate detail, accurate color, and high contrast (up to 2000:1). This new projector offers multiple image-mode settings and adjustments, a choice of optional Genuine Canon projection lenses to match a variety of screen sizes and installation environments, motorized lens shift for easy positioning and projection from multiple angles. The new projector also features extensive connectivity (including HDMI, DVI-I, and RJ-45), leading network interfaces, excellent burn-in resistance for long periods of continuous projection, and low-power consumption.

“As the new Canon flagship Installation LCOS projector, the REALiS WUX6000 is ideal for users in multiple markets such as education and business, or professionals in security monitoring and government,” said Yuichi Ishizuka, president and COO of Canon U.S.A., Inc. “This projector combines bright, high-resolution image quality, advanced picture adjustments, installation versatility, and low-cost per lumen to deliver an excellent combination of price and performance value and quality.”
DICOM

A separate model, the REALiS WUX6000 D Pro AV Installation LCOS projector, is also available with all of the same features as the REALiS WUX6000 plus a special DICOM Simulation Mode for displaying monochrome digital X-rays, CAT scans, and MRIs with superb grayscale gradation. This unique mode, which offers both clear and blue base color temperature presets, simulates the results of devices compliant with the Digital Imaging and Communications in Medicine (DICOM) Part 14 standard*. This feature makes the REALiS WUX6000 D ideal for those in the medical education and training fields, or other specialized applications like black and white photography where an expanded range of gamma adjustment is required.
Imaging Choices

Equipped with a powerful new image processing engine the new Canon REALiS WUX6000 Installation LCOS projector can display many different types of video and computer signals with precise color, deep blacks, and virtually blur-free movement. Given the wide range of image-origination and image-viewing formats, the WUX6000 projector offers extensive image quality and color adjustments to suit user preferences. This includes seven different pre-set Image Modes, nine Color Adjustment modes, and ten Advanced Image Adjustments for helping to optimize image reproduction. In addition, Advanced Professional Calibration Settings are included to support customized installations. These include Edge Blending to combine the displays of two Canon REALiS WUX6000 units into a seamless, extra-wide projection. Additionally a Picture-by-Picture feature enables two high-quality images from two digital inputs (via DVI and HDMI) to be projected simultaneously side-by-side in one letterboxed image. With the REALiS WUX6000 D, users can choose between viewing DICOM SIM monochrome images and sRGB color images side-by-side to enhance the learning experience.
Projection Flexibility

Further contributing to the versatility of the new Canon REALiS WUX6000 Installation LCOS projector are its multiple optional high-resolution interchangeable Genuine Canon projection lenses to meet the needs of a wide range of installation environments ranging from 40 inch to 600 inch image sizes. These include a Fixed Ultra Wide Angle Lens (0.80:1), and a Wide Zoom (1.0 – 1:5:1), 1.5x Standard Zoom (1.49 – 2.24:1), 1.7x Long Zoom (2.19 – 3.74:1), and a 1.95x Ultra Long Zoom (3.55 – 6.94:1). Four of the lenses feature a motorized zoom and focus, and each is designed to help minimize brightness loss between their wide- and tele-ends. All lenses are the same physical length to avoid overhanging in lift systems.

The projector also includes a motorized lens-shift feature for easy position adjustment of the projection area via remote control. A new Lens Position Memory function further adds flexibility by enabling users to store up to four lens position settings, making it easy to switch between various projector set-ups. Memorized items include zoom, focus, lens shift, keystone, aspect ratio, screen color, and digital image shift.

Advanced installation features to help optimize projection quality include four-point keystone correction to independently adjust each corner of the image, and up-to-27 test patterns to facilitate calibration and adjustment during installation. Screen adjustment options include: a screen color setting to adjust the color balance according to the color of the projection surface, digital image shift to move the image horizontally and vertically, and support for 16:10, 16:9, and 4:3 aspect ratios.

The design of the new Canon REALiS WUX6000 Installation LCOS projector allows for 360-degree installation for projection at any angle, which can be an ideal and handy feature for tradeshows, theatrical events, museum, and amusement applications. To help maximize lamp life, this 360-degree installation includes a Vertical Projection Mode. Fan speed is adjusted depending on whether the projector is facing upward or downward. The REALiS WUX6000 projector can also be stacked or installed side by side in multi-projector configurations.
Versatile Connectivity and Networking

In addition to its HDMI® and DVI-I connectors, the new Canon REALiS WUX6000 Installation LCOS projector also features a USB Type A port, Component (Mini Dsub15), stereo audio inputs, and an audio output for connecting to external speakers or a sound system. The projector also includes a built-in five-watt speaker and a mini-jack for connecting an optional hand-held wired/wireless remote controller.

Industry-standard control and networking inputs include RJ-45 and RS-232 serial connection enabling authorized users to manage and control the projector from any PC or third-party control system like Crestron or AMX. The REALiS WUX6000 projector also supports PJLink for networked projector control and monitoring of lamp hours, usage, and other variables.

A built-in Network Multi Projection (NMPJ) function enables the Canon REALiS WUX6000 to project the output of one or more locally or remotely networked PCs. Four NMPJ modes enable selective sharing of visual information – they include Direct (1 PC to 1 projector), Meeting (10 PCs to six projectors), Classroom (10 PCs to six projectors), and Broadcast (1 PC to 12 projectors).
Economy and Convenience

The improved reflectivity of the LCOS panels used in the new Canon REALiS WUX6000 Installation projector helps increase the projector’s energy-saving “Eco” performance by delivering more efficient luminance from Canon’s previous installation models. The projector employs a lower-power consumption rating of 0.076 watts per lumen (455w/6000lm) as compared to other projectors in this product class. The REALiS WUX6000 projector also offers multiple power management settings that allow users to pre-set stand-by durations, execute power operations, and auto-assign functions to the power button. A simplified maintenance design allows the air filter and lamp to be replaced while the projector remains ceiling-mounted.
Price and Availability

The Canon REALiS WUX6000 and REALiS WUX6000 D Installation LCOS projectors have suggested list prices of $5,499 and $6,149 respectively and are scheduled to be available through authorized Canon dealers in November 2014. Both models are backed by Canon U.S.A.’s Projector and Lamp Limited Warranty.

For more information please visit www.usa.canon.com/projectors.

About Canon U.S.A., Inc.

Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With approximately $36 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents granted in 2013+ and is one of Fortune Magazine’s World’s Most Admired Companies in 2014. In 2014, Canon U.S.A. has received the PCMag.com Readers’ Choice Award for Service and Reliability in the digital camera and printer categories for the 11th consecutive year. Canon U.S.A. is committed to the highest level of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. In 2014, the Canon Americas Headquarters secured LEED® Gold certification, a recognition for the design, construction, operations and maintenance of high-performance green buildings. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss and follow us on Twitter @CanonUSA. For media inquiries, please contact pr@cusa.canon.com.
###

† Based on weekly patent counts issued by United States Patent and Trademark Office.

DICOM is the registered trademark of the National Electrical Manufacturers Association for its standards publications relating to digital communications of medical information. All referenced product names, and other marks, are trademarks of their respective owners.

*The REALiS WUX6000 D is not cleared or approved for medical diagnosis and should not be used for these purposes.

**When projecting from an upward position, the lamp life is greatly shortened and the projector may become damaged when the lamp reaches its limit. Please read the User Manual prior to operating the projector in this position.

Availability, prices, and specifications of all products are subject to change without notice. Actual prices are set by individual dealers and may vary.

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ABS Refreshes KGW News Studio with Updated Lighting Package, Video Wall

SEATAC, WA — Professional video and audio systems integration firm Advanced Broadcast Solutions (ABS) has installed a new lighting package for the main news studio of KGW, the NBC affiliate serving Portland, Ore. (DMA #23), and provided a new nine-panel video wall system to update part the set. The Gannett-owned station went live with the new lighting on Aug. 30 and the new video wall on Sept. 22.

Close to 120 incandescent lights were replaced with a mix of 68 Brightline KGWfluorescent and LED lighting instruments, which are controlled via DMX using the station’s existing ETC lighting console. The studio is lit with daylight balanced instruments to match shots from the station’s downtown studio, which features a background with wall-to-wall windows.

Fluorescent lights were used for the set’s base lighting because they “provide more cubic dimension of light cover at a lower cost than what we could do with comparable LED technology,” explained Joe Cervone, Brightline sales manager, who was part of the ABS installation team. “Fluorescent allows us to get the full set lit and then we sculpt with LED.”

The new Planar Clarity Matrix video wall system displays graphics and video backgrounds during show segments. Installed by KGW personnel after training from Planar, the video wall is tilted a few degrees at the top so light will not spill onto its nine 46-inch LCDs. The video wall replaced a rear projection system that had been part of the set since 2006. John Waikart, KGW assistant director of technology, said the old system “just didn’t have the ‘pop’ we needed to look good on the air.”

“Between the lighting and the new Planar wall, it feels like we have a new set,” said David Boyd, KGW director of technology. “As expected, there were some concerns with the plan to pull out the proven incandescent lighting and install new fluorescent and LED lighting, but we were impressed with the professionalism of the installation and the finished product. It looks much better than what we had before. The set has more lighting texture and more depth of field.”

Beyond a better on-air look, the new fluorescent and LED lighting also reduced ambient temperature in the studio by 87 percent, according to ABS. “Basically, minimal cooling is required for the studio now compared to the old system,” Boyd added. “We know there will be significant energy savings.”

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

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Society of Motion Picture and Television Engineers (SMPTE) IBC2014 Wrap-Up

SMPTE News from IBC2014 more

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Extron Now Shipping Single-Gang DTP Wallplate Transmitters for HDMI

Extron DTP T HWP 331 DExtron Electronics is pleased to announce the immediate availability of the DTP T HWP 231 D and DTP T HWP 331 D, single-gang Decora®-style transmitters for sending HDMI, audio, and bidirectional RS-232 and IR signals over a shielded CATx cable to Extron DTP-enabled products. The DTP T HWP 231 D extends signals up to 230 feet (70 meters), while the DTP T HWP 331 D extends signals up to 330 feet (100 meters). The one-gang form factor provides maximum space efficiency in wall mount, floor box, and furniture mount applications. The transmitters support computer video up to 2560×1600, HDTV 1080p/60 Deep Color, and 4K resolutions. Both models also accept analog stereo audio signals for simultaneous transmission over the same shielded twisted pair cable. They feature remote power capability, plus bidirectional RS-232 and IR pass-through for remote AV device control. The single-gang wall-mountable design of the DTP T HWP 231 D and DTP T HWP 331 D provides the convenience of placing input connections precisely where they are needed. more

Grand Ole Opry Backs Up Reputation as “Country Music’s Most Famous Stage” with HARMAN’s Studer Vista 9 and Vista 5 M2 Digital Consoles

Studer_Opry_1NASHVILLE, Tennessee – As even casual country music fans are aware, the Grand Ole Opry is an institution of American music. The Opry stage, with its trademark barn façade backdrop, has hosted music’s most accomplished recording artists for almost 90 years. Without fail, live audiences are comprised of fans from around the world, while radio and television broadcasts also extend to listeners and viewers across the globe. However, while the Opry is steeped in tradition, it also stays on the cutting edge of technology to deliver top sound quality to its live fans and worldwide audiences. Demonstrating this commitment, the Opry recently purchased a HARMAN Studer Vista 9 digital console for its broadcast services and a Studer Vista 5 M2 as its new FOH console.

With shows on Tuesday, Friday and Saturday at Nashville’s Grand Ole Opry House (including occasional back-to-back shows on Fridays and Saturdays), the Opry’s technical staff operates at a hectic pace with little margin for error. For its broadcast and post-production work, the Opry chose a Studer Vista 9 digital console.

“We have been digital for a long time on the broadcast side, but we went with the Vista 9 because it was purpose-built for live broadcast and post,” said King Williams, Broadcast Engineer, who mixes the live radio broadcasts and handles the post-production work, while also remixing performances for the Opry’s marketing department to utilize. “Having the automation capability for both broadcast and post is important.”

The FOH console at the Opry is a Studer Vista 5 M2 console, which features a TFT metering system capable of displaying signal levels from mono through to 5.1 channels on each input, with a configurable lower area which can be used to display bus assignments, surround images or the unique History Mode. Metering for ‘layer 2’ signals can also be viewed, while the Control Bay screen can be used to provide configurable user pages with up to 40 meters.

“We are working with 96 inputs and the Vista 5 M2 is set up on four banks of 10 on the top and six layers deep,” said Tommy Hensley, FOH Engineer for the Opry. “I use three of those banks for inputs and a VCA in the middle. The console is very easy for me to navigate and I love the meter board. Being able to see the history right in front of me is a huge advantage. It’s a great console and easy to operate.”

Until the Opry upgraded to the Vista 5 M2, the FOH console was the last piece of analog audio equipment remaining. However, the Vista 5 M2 has provided all the benefits of digital technology while retaining the warm sound and tactile operation of an analog desk. “The recall on the analog board was just faders and soft keys—none of the mic pres, EQs, or limiters were recallable,” Hensley said. “Needless to say, the Vista 5 M2 has made my life way, way easier.”

“I love the comps and gates on the M2 as well,” Hensley added. “The Lexicon reverbs sound great, and we have that feature on both Vista consoles here.”

For the in-house and broadcast elements, built-in cue lists were priorities when deciding on both Vista consoles.

“Considering the number of artists we work with every week, we have tons of snapshots that we need to save to be able to recall the settings for each artist,” said Kevin McGinty, Audio Engineer at the Grand Ole Opry. “Lots of consoles are not able to handle the cue lists that we require. We have several hundred snapshots for both consoles, and the Vista boards are able to store the tons of information we have in a very efficient way.”

“The Vista 9 is set up to where I run down the cue list, recall the snapshots and fire away,” Williams added. “It’s important that I take a full snapshot of every artist, including mic preamp settings, because I am responsible for the multitrack recordings.”

According to Hensley, it’s not just the depth of the cue lists that make a difference; the ability to organize the lists alphabetically is an often-overlooked but crucial feature. “It’s something that a lot of consoles don’t have,” he said. “Having those alphabetized cue lists helps us access those snapshots right away, which is important because most of the artists only play one or two songs, then you have a few commercials and you have to adjust to the next artist right away. It’s really convenient to easily find the snapshots, quickly review them and lock them in.”

Other HARMAN equipment at the Grand Ole Opry includes a Soundcraft Si Expression 2 in the video department and an Si Expression 3 that is used as a sidecar to the Vista 9, via a MADI interface. “We run radio commercials and other content on the Expression 3 and sometimes we’ll get some playback from the video department that goes from the Expression 2 to the Vista 9 and Expression 3,” Williams said. In addition to the Si Expression consoles, the Opry features HARMAN’s JBL VERTEC® line arrays for its main PA system and BSS Soundweb London DSP for the Opry’s 70-volt system.

In addition, Studer’s commitment to customer support and hands-on service has stretched the value of the Opry’s investment in the Vista consoles. “Working with Rob Lewis [Studer’s US Sales Director] and James Tunnicliffe [Soundcraft Studer Field Support and Applications Engineer] has been an absolute pleasure,” said Jon Mire, Technical Services Manager for the Grand Ole Opry. “They have been there for us whenever we’ve needed them and provide the best support I could ask for. That kind of attention to detail makes a huge difference.”

“When it comes to music venues, few can match the prestige of the Grand Ole Opry, so when it comes to technology, there can be no sacrifice in performance,” said Mike Franklin, Senior US Sales Manager, Studer. “This is a tremendous showcase for the capabilities of Studer digital consoles in live and broadcast environments and it’s a pleasure working with the team of true professionals at the Opry.”

For more information on the Grand Ole Opry, please visit www.opry.com

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, 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 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

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Wohler Names Dayan Sivalingam Director of Engineering for Company’s RadiantGrid Business Line

SAN FRANCISCO — Oct. 16, 2014 — Wohler Technologies today announced that Dayan Sivalingam has been appointed as the company’s director of engineering for the RadiantGrid(TM) business line. more

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HARMAN’s JBL Line Arrays and Crown Amplifiers Provide Soundtrack for Hungarian Summer Festivals

HARMAN_StrandfestBUDAPEST, Hungary – Popular around the world, HARMAN’s JBL VTX and VERTEC® line arrays, and Crown I-Tech HD amplifiers, were particularly in demand this summer at festivals throughout Hungary. For celebrations large and small, held indoors and outside and with audiences up to 30,000 people, JBL was the top choice for MEDIA EVENT Ltd., one of Hungary’s largest event producers. The system was recommended and supplied by Zsolt Szarvas of MS-Rent (Microsound Ltd. Division), a major European dry hire PA rental company (www.microsound.hu). MS-Rent has been a long term partner of JBL for over nine years and invested heavily in the new VTX V25 system around a year ago in order to meet the increasing demand and requests from the wide variety of international touring artists visiting Hungary.

From an extravaganza held in downtown Budapest to the beach festival at Lake Balaton, JBL systems that proved popular over the summer included VTX V25 line array loudspeakers, two subwoofer models (the VTX S28 and VTX G28) and VERTEC line array loudspeakers. Crown I-Tech 4x3500HD amplifiers powered the systems.

“I am very proud of the quality of sound we were able to deliver for events across Hungary this summer,” said Gabor Pocz-Nagy, main sound engineer with MEDIA EVENT. “We have a long tradition of summer festivals in our country. It’s an important part of our heritage to organize events that are enjoyed by natives and visitors alike. The value of the sound produced by the JBL and Crown components made this summer’s festivals even more appealing for thousands of people.”

Festivals in Hungary produced by MEDIA EVENT and equipped with JBL and Crown systems from MS-Rent include:

• The main stage at the Belvarosi Fesztival, a free music festival held in inner-city Budapest in late May that features live jazz, rock, pop and folk concerts on three different stages.

• Viva Comet, an international music competition Hungary has been sending contestants to since 2004.

• The OTP Simple Main Stage at Fishing on OrfU, a festival combining camping and music that offered festival goers more than a thousand tents this year.

• The A38 Stage at the Sziget Festival, one of the largest multicultural events in Europe, that is held on an island – known as the Island of Freedom – in the heart of Budapest. Now in its 22nd year, the festival attracted nearly 400,000 fans from more than 70 countries in addition to the approximately 5 million who followed along online.

• The Pepsi Main Stage at the 38th annual EFOTT, the festival for university and college students, popularly known as “the country’s biggest student party.” The lineup on the Pepsi Main Stage this year included Ivan & the Parazol, Fish! and Paddy and the Rats.

• The Petőfi Radio – Telekom Main Stage at the Strand Festival, which took place in August as part of the musical event circle around Lake Balaton. The vast majority of the performers came directly out of the alternative/underground Hungarian music scene.

• The OTP Junior-Petofi Radio Main Stage at the 22nd annual Volt Festival, held for six days each summer near the city of Sopron, which sits on the Austrian border near Lake Neusiedl. The festival is known as a “family friendly” event that attracts children and the elderly in equal numbers. This year’s festival culminated with a performance by the Arctic Monkeys and drew 120,000 fans with an additional 500,000 following online.

• The 2014 Balaton Sound festival attracted 145,000 fans over the span of four days and five nights. The Party Arena and Jäger Stage were both equipped with HARMAN audio systems, where top performers included Muzzaik, Hot X, Statik and Ludmilla.

The VTX systems were sold through Bert Audio, HARMAN Professional’s distributor in Hungary (www.bertaudio.hu).

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, 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 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

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