A virtual press conference from Sound & Video Contractor

Archive of the News Category

Clay Paky Sharpy Fixtures and grandMA2 Consoles Help Deliver Powerful Message For “Stand Up to Cancer” Blockbuster Special

2When the fourth biennial “Stand Up to Cancer” special aired in the US and Canada on September 5 it raised more than $109 million for its groundbreaking collaborative research efforts. Some 60 Clay Paky Sharpy fixtures were deployed for the event with a complement of grandMA2 consoles controlling lighting and media. A.C.T Lighting is the exclusive distributor of both brands in North America.

More than three dozen broadcast and cable networks in the US and Canada telecast “Stand Up to Cancer.” The show, staged at LA’s Dolby Theatre, featured celebrity guests, music by Lupe Fiasco, Jennifer Hudson and Common, The Who, the Dave Matthews Band, and Ariana Grande, and inspiring stories about patients who have benefited from the research supported by the organization. Atomic Lighting of Lititz, Pennsylvania provided the Clay Paky fixtures and grandMA2 consoles.

“This show really means a lot to me,” says Brad Hafer, vice president of account management, at Atomic Lighting. “‘Stand Up to Cancer’ is about something real – it’s not just done for ratings. It made us all feel that we were contributing something to the cause.”

Allen Branton was the lighting designer for the special with Felix Peralta, Daniel K. Boland and Darren Langer the lighting directors. Peralta worked closely with Branton on the show design. “We’ve been associated with ‘Stand Up to Cancer’ before; its message is a very powerful one and the show has high production values, but not flashy ones,” he explains.

The Sharpys were used as strong beam lights and for their Sharpy dappling technique, Peralta points out. “Giant white walls acted as video projection surfaces, which we enhanced with accents of color or Sharpy dappling – treating the scenic pieces with the high-output fixtures to create a nice effect that you can’t get with a hard-edged light. It was a big part of the look of the show.”

Since the special was “a strong, video-driven show,” Peralta teamed with Laura Frank, screens producer and media programmer, on the media canvas. “She and I like to make sure the lighting and video stories come from the same center, that the transitions are the same, the color schemes complementary or matching,” he explains. “When lighting and video play together both are much more powerful.”

Frank, who is the principal of Minneapolis-based Luminous FX, says Kurtis Kennington of Digital Flodur designed the media content creating “about a dozen looks for the show, plus the band. The entire set was projection mapped so the environment was video driven.” Looks included themes of science and technology to support certain speakers; the band was often accompanied by photomontages of cancer survivors.

“The grandMA2 has been my preferred console for a while,” says Frank. “This show marked just the second time I was using the d3 server driven by grandMA2, and I was beta testing d3′s DMX control interface, which enables the grandMA2 to drive the time line-based d3.”

Boland, who heads LA’s Team Boland Productions, Inc., has been using grandMA desks for a decade or more. He deployed a full-size grandMA2 on “Stand Up to Cancer” where he programmed the key and audience lighting.

“The show was as much about lighting the people in the audience as those on stage,” says Boland. “We made sure everyone was lit, the color temperature was fine. During rehearsal we keyed at least six positions for the people making speeches and introducing the videos, including one on a round extension into the audience.”

Especially handy for Boland was the grandMA2′s special menu for using shutters on spots. “If the fixture has shutters you just choose the shutters menu and angle them easily by dragging your fingers,” he explains.

Darren Langer, the floor lighting director, worked closely with Boland to ensure consistent exposure levels for the talent and the audience and a “polished” look, Peralta says.

Peralta himself was responsible for lighting the environment for the show, including the scenic pieces and architecture of the house. He says production designer John Calkins partnered with Branton to create a “tasteful and powerful” environment that helped deliver the show’s strong message.

Peralta used a grandMA2 light to “make sure the environment complemented the video and gelled with it,” he points out. He’s been using MA family consoles for about 15 years. “It’s the only choice,” he says. “This was one of the first shows we did with the new 3.0 software, and we were very pleased with the additional features and improvements.

“For ‘Stand Up to Cancer’ we had the luxury of a good amount of time on site so we could program there at a very human pace,” he adds. “It’s uncommon to have that kind of time and we were very grateful for it so we could create a real hand-craft look.”

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News, Product Applications |

JCB Upgrades HQ Presentation Theatre with Broadcast Pix

Billerica, Massachusetts – JCB, one of the world’s top manufacturers of construction equipment, recently installed two Broadcast Pix™ integrated production switchers as part of a major renovation of its 250-seat presentation theatre at its global headquarters in Staffordshire, England. The facility is used almost daily for a variety of programs, including dealer conferences, product launches, press conferences, internal meetings, and as part of factory tours for customers and the public. The upgrade completed the facility’s transition to end-to-end file-based HD production and delivery.

JCB has almost 12,000 employees across four continents and sells its products in 150 countries. The theatre is housed within the JCB VIP Visitors Centre, along JCB-Broadcast Pix Usewith The Story of JCB Exhibition, and is the base for its factory tours. It is also used for satellite broadcasts and webcasts by JCB’s internal JCB-Broadcast Pix Usecommunications department. The theatre has been in use for more than 30 years, but much of its equipment had become obsolete and minor retrofits over the years had created compatibility issues.

Feltech, a systems integrator based north of London in St Albans Hertfordshire, was tasked by JCB to create a flexible, professional space that would be the heart of the JCB communications operation. The project earned Feltech the Business Installation of the Year award at the 2013 AV Awards. It was completed in 12 weeks in time for JCB’s largest dealer conference in April 2013, and features HD video, surround sound, and intelligent moving head LED show lighting.

The new system was built around an all-new HD-SDI distribution backbone to provide consistent broadcast quality signal throughout the venue, which eliminated an array of converters and incompatible multi-format systems. “This standardization on one HD signal path allows us to route anything to anywhere as well as record any source,” said Peter Marsland, video production manager, JCB Worldwide Marketing.

Behind the audience, at the rear of the theatre, the production control room (PCR) serves as the central hub for theatre control, while the attached technical control room (TCR) manages the broadcast output from the theatre. The PCR is built around a custom designed console, with multiple quad split screens and preview monitors that are mounted above the control equipment but leave room for a direct view of the stage.

The new heart of the PCR is a Broadcast Pix Granite 6000 with HD-SDI inputs that can be routed throughout the facility via a Blackmagic Design Videohub. Non-standard video sources, such as the prompter, are converted to HD-SDI and are available on the matrix.

Usually, the 6000 feeds the theatre’s main screen, but it can also provide additional content to two 85-inch monitors on either side of the main screen, plus four 47-inch monitors suspended over the audience. “The side screens are used for speaker support and live cameras, especially when the main projection roller screen has been raised to reveal a machine, allowing the presenter to do a live walk-around presentation,” Marsland added.

In the TCR, the Granite 2000 distributes productions to adjacent conference rooms or as webcasts or satellite feeds. The two Broadcast Pix systems can be used to independently switch simultaneous productions or as a main unit and a backup.
The PCR and TCR are networked with the JCB video editing department via an EditShare Geevs ingest system, which allows outputs from the Broadcast Pix systems and the theatre’s three Panasonic robotic HD cameras to be instantly available in any of the venue’s six Avid-based NLE suites. “The tally data from the Granite 2000 is also recorded into the Geevs, which then automatically reassembles the show as an Avid timeline,” Marsland explained. “This allows the live show to be quickly versioned and packaged by one of our editors for distribution.”

During productions, JCB relies on Granite’s built-in camera control, graphics store, and other workflow tools. “The clip player is probably our favorite feature, as it allows us to cue and play multiple clips in quick succession in any order, so we can easily personalize presentations to an individual customer’s requirements,” Marsland noted. “What is even better is that now that we have the latest software upgrade, we have access to two internal clip players as well as control of our two external HyperDeck clip players directly from the Broadcast Pix panel.”

Another major selling point was Fluent-View, the built-in multi-view. “Fluent-View allows us to have customized screens for different shows or even different operators,” Marsland said, “so we can simplify the display and reduce the number of sources on screen for normal day-to-day use, but have the option to show a more complex layout that includes all the key layer previews we use on product launch events.”

JCB operators also use Fluent Macros, Broadcast Pix’s file-based macros system, to save sequences and recall frequently used split screens and DVE moves. Plus, the high-speed fiber link to the facility’s edit suites enable rapid transfer via Fluent Watch Folders, so any newly edited material can be on the air within seconds. “For example, we now frequently film delegate activities on the nearby demonstration site and cut together a short highlights film to show people at the end of the day,” Marsland said.

Previously, JCB had a multi-format AV presentation switcher and a “myriad of converters and separate routers for analog composite, component, VGA, DVI, and SDI sources,” according to Marsland. The new Granites are much simpler to use than the previous system, he noted, and have allowed the company to enhance its presentations.

“All our crew find the Broadcast Pix very intuitive to use,” Marsland said. “Ease of use is very important to us, as most days we only have a single operator in the control room to look after vision, sound, graphics, and lighting. The Broadcast Pix systems have certainly given us much more flexibility, faster show setup, and the ability to combine several sources across multiple screens to provide a more polished production.”

About Broadcast Pix Founded in 2002, Broadcast Pix is the leader in integrated production switchers, with customers in more than 110 countries. Available in several configurations, from compact systems with end-to-end integration to large-scale systems for high-end live productions, Broadcast Pix switchers include CG, dual clip stores, file-based macros, external control software, and customizable multi-view and virtual sets with patented control options. Broadcast Pix also offers ReVue next generation slow motion systems, fX3D real-time 3D graphics, Rapid CG dynamic graphic playout software, and VOX voice-automated live video production, each designed to enhance our highly integrated live production switchers. Customers include leading broadcast, corporate, education, government, religious, sports, streaming, and visual radio studios. Learn more at www.broadcastpix.com.

Broadcast Pix and Granite are trademarks of Broadcast Pix, Inc. Patented. Made in USA.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Detachable Servo Unit for FUJINON Premier PL 25-300mm Cabrio Zoom Making U.S. Debt at CCW/SATCON

Wayne, N.J. – First shown at the International Broadcasters Conference in Amsterdam in September, a detachable drive unit for FUJINON’s 4K Premier PL 25-300mm Cabrio [ZK12x25] zoom lens will make its U.S. debut at CCW/SATCON in New York City on November 12-13. The FUJINON 25-300 Servo Unit is an optional onboard unit for remote control of the zoom, focus and iris adjustment on the 25-300mm Cabrio. It provides for quick and smooth zooms, reframing, focusFUJINON 25-300 Lens and iris controls. The FUJINON 25-300 LensOptical Devices Division of FUJIFILM North America Corporation will exhibit in Booth #958 during CCW/SATCON.

“This drive has all the advantages and features of the other Cabrio lens drives,” said Thom Calabro, director of Marketing and Product Development for the Optical Division of FUJIFILM. “The optional drive removes the need for external, rod-mounted motors which can take time to line up accurately or can slip if they are not tightened properly. This drive unit comes off quickly and is very easy to put back on.”

The 25-300mm self-calibrates quickly when powered up. Lens metadata is supplied through the Cabrio’s 20-pin serial connector or the contacts in the lens mount. The lens supports Lens Data System (LDS) and /i Technology metadata formats.

It can be used as a self-contained ENG-style or cine style lens. When used without the drive, it can be controlled using cinema industry standard wireless controllers as well as existing FUJINON wired and wireless units.

Equipped with a 35mm PL mount, the PL 25-300mm boasts a high zoom ratio covering the focal length of 25mm to 300mm. Designed using the latest proprietary optical simulation software, the PL 25-300mm offers exceptional optical performance in the center of the image and in the corners of the frame. The digital servo’s 16-bit encoding assures operators that all lens data output—including the position of the zoom, iris, and focus—is extremely accurate.

The PL 25-300mm lens is the latest in the company’s popular Cabrio series, which includes the Premier PL 19-90mm, the PL 85-300mm, and the recently introduced PL 14-35mm lenses.

JVC Professional (Booth #1117), Sony Electronics (Booth #1101), and Hitachi Kokusai Electric (Booth #860) will also have FUJINON lenses on their cameras at CCW/SATCON.

About Fujifilm
FUJIFILM North America Corporation, a marketing subsidiary of FUJIFILM Holdings America Corporation consists of four operating divisions and one subsidiary company. The Imaging Division provides consumer and commercial photographic products and services, including: photographic paper; digital printing equipment, along with service and support; personalized photo products; film; and one-time-use cameras; and also markets motion picture archival film and on-set color management solutions to the motion picture, broadcast and production industries. The Electronic Imaging Division markets consumer digital cameras, and the Graphic Systems Division supplies products and services to the graphic printing industry. The Optical Devices Division provides optical lenses for the broadcast, cinematography, closed circuit television, videography and industrial markets, and also markets binoculars. FUJIFILM Canada Inc. sells and markets a range of Fujifilm products and services in Canada. For more information, please visit www.fujifilmusa.com/northamerica, go to www.twitter.com/fujifilmus to follow Fujifilm on Twitter, or go to www.facebook.com/FujifilmNorthAmerica to Like Fujifilm on Facebook. To receive news and information direct from Fujifilm via RSS, subscribe at www.fujifilmusa.com/rss.
FUJIFILM Holdings Corporation, Tokyo, Japan brings continuous innovation and leading-edge products to a broad spectrum of industries, including: healthcare, with medical systems, pharmaceuticals and cosmetics; graphic systems; highly functional materials, such as flat panel display materials; optical devices, such as broadcast and cinema lenses; digital imaging; and document products. These are based on a vast portfolio of chemical, mechanical, optical, electronic, software and production technologies. In the year ended March 31, 2014, the company had global revenues of $23.9 billion, at an exchange rate of 102 yen to the dollar. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit: www.fujifilmholdings.com.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

WorxAudio Technologies Helps Inspire Worshippers At Northeast Worship Institute 2014

JKell_HiFairless Hills, Pennsylvania, November 2014… Each spring, Calvary Full Gospel Church hosts the Northeast Worship Institute (NWI), a gathering where highly experienced educators provide training for worship teams, worship leaders, and tech teams. Because the ability to hear clearly is crucial if one is to benefit from the classes, organizers wanted the best sound-reinforcement capabilities for this year’s event. They found it in a system from the TrueLine catalog of WorxAudio Technologies, a division of PreSonus Audio Electronics.

Full-service audio-visual integration firm Horizon AV of Pitman, New Jersey, was contracted to handle sound reinforcement for this year’s event. After meeting with NWI’s organizers, Horizon AV COO Joshua Kell elected to deploy two WorxAudio TrueLine XL5T-P line array systems and a pair of WorxAudio TL218SST-P subwoofers.

Reports Kell, “The WorxAudio system we deployed was for the main hall and as a result was used for larger gatherings. The two XL5T-Ps were flown on each side of the stage at a height of 20 feet using Genie towers. The distance between the left and right hangs was 50 feet. For low-frequency support, the two TL218SST-P subwoofers were positioned next to each other, directly in front of the stage.” more

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

PixelFLEX Builds on Innovation with LDI Release of FLEXUltra LED Tile

The 2mm FLEXUltra LED Tile

The 2mm FLEXUltra LED Tile

Nashville, Nov. 5th, 2014 — LED screen manufacturer PixelFLEX will release the FLEXUltra, a 2mm curveable LED display, at the LDI Convention 2014 in Las Vegas, November 17-23.

Capable of creating convex or concave curves up to +/- 10 degrees per tile, the FLEXUltra is designed to combine maximum design flexibility with ease of installation to make FLEXUltra one of the most dynamic LED display products on the market.

The FLEXUltra concept incorporates unique machined aluminum frames that are customized to the installation allowing the client complete and unlimited control over their design. Additionally, FLEXUltra is front-accessible and the panels can be quickly removed by utilizing two magnetic grip handles to remove the panel from the frame without disassembling the entire wall.

“As a company we are always thinking what makes our products different and how we can make the product easier for our customers to use on every level,” said David Venus, PixelFLEX’s director of marketing. “We feel the creation of the FLEXUltra is truly a one-of-a-kind pairing of both ultra-high resolution LED with a well-thought-out framing system that allows for precise installations and seamless deployment.”

With a cabinet made of special high tolerance, machined aluminum and the newest full black-face LED technology, the FLEXUltra can be utilized in many different types of install applications. With a brightness of 1200 Nit and a combined frame and tile weight of 25 lbs, the FLEXUltra keeps in line with the high quality and lightweight characteristics PixelFLEX LED products have become known for. In addition, a high refresh rate provides a static and flicker-free display, making it extremely friendly for both photo and video applications.

Ethercon data and Neutrik True One power connectors give the FLEXUltra rock-solid, dependable connections, and the magnetic guide ports allow for secure fixing of panels to frames.

For more information about PixelFLEX and its growing product lines, visit booth 2081 at LDI 2014, November 17-23 or at pixelflexled.com. To attend the LDI 2014 conference in Las Vegas and view the FLEXUltra and other products, find out more at ldishow.com.

Culture Club Kicks Off Reunion Tour with HARMAN’s Soundcraft Vi3000 Console and the Realtime Rack, Soundcraft’s UAD Plug-In Engine

Scraft_CultureClubLONDON, United Kingdom – More than 30 years since winning the world over with pop classics like “Karma Chameleon” and “Do You Really Want to Hurt Me”, Culture Club is reuniting for a string of concerts throughout North America, to be followed by a multi-arena tour in the United Kingdom. The band’s longtime front of house engineer, Jimmy Sarikas, aka “Mixologist”, recently purchased a HARMAN Soundcraft Vi3000 console, which he put to use for a private Culture Club performance at the Heaven nightclub in London. The console was sold through SSE Audio Group, Soundcraft Vi Select dealer.

Jimmy purchased the Vi3000 for multiple purposes, including live mixing as well as studio and mobile recording. “I’m a one-stop shop, so I needed a console that could perform multiple functions,” he said. “I can roll up to a festival and do live multi-track recording and broadcast, and I have multiple duplication systems in my truck, so I can give you 200 CDs in a half-hour after the show.”

The first task for Jimmy’s new desk – was a private performance from the group at the Heaven nightclub in London.

Alex Penn, Sales Director for SSE Audio Group commented, “As SSE Hire has been working with Culture Club on various recent events, and SSE Audio Group has been long term suppliers of Soundcraft Vi consoles for both Hire and Sales, Jimmy got in touch with SSE Sales when he decided that the Vi3000 was his console of choice. As Jimmy really wanted to use all of the available features of the console we had to develop some customised packaging solutions, housing two screens (record overview and Realtime Rack) in the case, as well as the Realtime Rack itself and a UPS.”

According to Jimmy, the Vi3000 offers multiple benefits compared to other consoles on the market. “For starters, the sound quality of the Vi3000 is just amazing,” he said. “Vi Series consoles have always had an amazing sound and that’s the case with the Vi3000. The second major factor is ease of use. I personally feel that manufacturers are making boards that are too small. I want some faders! My arms are more than capable to open as wide as 24 faders, so it’s Soundcraft all the way for me.”

For the Culture Club shows, Jimmy is running 53 channels to accommodate the multiple vocals and diverse instrumentation on stage, which includes two piano players, several guitars, a brass section and a variety of percussion. Jimmy is also utilizing the Soundcraft Realtime Rack, a 1RU box that features a library of Universal Audio plug-ins.

“I’m loving the Dante connectivity because I record 64 channels in and 64 channels out for virtual sound checks as well as my multi-track recordings,” Jimmy noted. “I’m working with two machines for that [Mac Minis with SSD hard drives]. Both computers fit in a 1RU rack located in the flight case of the Vi3000: one is my recording device and the other is the Realtime Rack.” The computer with the “Realtime Rack” software also records a redundant 64 channels of multi-track audio via the secondary Dante output. The two screens also slide into compartments in the case. Can you believe all this and the Vi3000 in one box on wheels?”

In addition, Jimmy’s positive experience with Soundcraft boards in the past played a factor in his decision to add the Vi3000 to his arsenal. “I’ve used Vi6 consoles at festivals before and they always felt a bit daunting at first, but the truth is that Vi consoles are probably the easiest control surfaces to use,” Jimmy said. “There aren’t any hidden pages—what you need is right in front of you.”

For more information on Jimmy Sarikas, please visit www.mixologist.co.uk or www.payperviewconcerts.co.uk

For more information on Culture Club, please visit www.culture-club.co.uk

For more information on SSE Audio Group, please visit www.sseaudiogroup.com

Soundcraft and Harman products are distributed in the UK and ROI by Sound Technology Ltd, for more information, please visit www.soundtech.co.uk

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News, Product Applications |

Brand New Metropolitan West Space Debuts with Versace Event and Extensive WorldStage Installation

versace-party-web-preview-5-1252One of the most glittering events during New York’s Fashion Week was the Anthony Vaccarello x Versus Versace Spring/Summer 2015 runway show and after-party at the new Metropolitan West venue. Signaling the notoriety of the event, Naomi Campbell, Rihanna, Nicki Minaj, Lady Gaga, Bella Thorne, Rachel Zoe and Victoria Justice all made appearances. Metropolitan West is a new event facility designed and built by the Metropolitan Pavilion organization and is the sister facility of Metropolitan Chelsea. Both facilities utilize WorldStage as the exclusive provider of audio, video/staging and lighting services.

The x Versus Versace 8 pm runway show, spotlighting the young diffusion line of the Versace fashion house, and after-party marked the first event since the new space opened its doors. During the months prior to opening, WorldStage had installed a comprehensive audio, video and lighting system to meet the demands of prospective Metropolitan West clients. The systems represent provide state-of-the-art performance while being cost effective, providing clients a wide range of configurations and minimal visual interference as much of the hardware is finished in white to match the interior design.

x Versus Versace utilized both the first and second floors of Metropolitan West. “Since we were supporting not only a full runway show on the first floor but a large party and concert performance on the second floor, we augmented the installed system with additional gear from our warehouse inventory. However, for almost all events we’ll see at the space, the built-in system will be able to handle it.” says WorldStage account executive/project manager Frank Mejia. “Scenically, the client brought in additional walls for the party and we provided the AV package for the performance by St. Vincent.”

KCD partnered with Todo Productions on the creative for the evening. “Anthony (Vaccarello) wanted a clean, modern, white light venue for the show,” says Susan Schroeder with Todo Productions. “He used a lot of graphic patterns in his collection, which we adapted for the graphic design of the runway. Upstairs at the party we used lighting and projection to get that graphic look in the very modern, white space. We also played with the infinity of reflections of the models in a lot of mirrors.”

Frank Mejia notes that WorldStage met the twin challenges of readying Metropolitan West for its debut as well as ensuring it met the needs of KCD and Todo for x Versus Versace’s dual events. “John Ackerman, Vice President – Systems Integration, Barry Grossman, Chief Engineer and I worked hand in hand with the management and operations team of the venue to make sure everything was at 100 percent by the load-in day,” he says.

For the high-profile fashion event WorldStage was charged with implementing the creative visions of lighting designer Joe Saint of IMCD Lighting and audio designer Eric Bechtel of Audible Difference Inc. (ADI).

In all, nearly 100 moving lights, 150 conventional lights and various LED fixtures were used to light the fashion show, party and performance. For sound 40 Yamaha and 34 d&b speakers were used, running from Avid and newYamaha QL1 mixing desks.

“We were the first production at Met West, and WorldStage was great about working together with us to make everything happen for our show,” says Schroeder. “WorldStage really impressed me by putting our needs first.

WorldStage Inc., the company created by the merger of Scharff Weisberg Inc and Video Applications Inc, continues a thirty-year legacy of providing clients the widest variety of entertainment technology coupled with conscientious and imaginative engineering services. WorldStage provides audio, video and lighting equipment and services to the event, theatrical, broadcast and brand experience markets nationally and internationally.

Millennia is Hardly Strictly Bluegrass The Devil is in the details

Millennia is Hardly Strictly Bluegrass The Devil is in the details

Forty-eight channels of Millennia HV-3R preamps were used to capture the main stage performances at the Hardly Strictly Bluegrass event in San Francisco’s Golden Gate Park http://www.hardlystrictlybluegrass.com/2014/ Diablo Digital http://www.diablodigital.com/ provided the live recording systems for the event. They choose Millennia HV-3R preamps as the front end.

48ch HV-3R 2014 Hardly Strictly Brad MadixBrad Madix, one of Diablo Digital’s principals and award winning live sound engineer said, “When you are recording and broadcasting a live event featuring nearly one hundred world class performers in front of over 650,000 people, there is no second chance.  We wanted to use the Millennia preamps to make sure that we captured every nuance with the greatest accuracy possible.”

“The headroom of the Millennias along with their extremely wide dynamic range allowed us to work without sound checks over the entire three days. Setting gain wasn’t critical. We could operate with levels a bit on the low side to prevent our digital converters from clipping and still got amazing sounds. Really great sounding and simple to use – perfect in a situation when you’re flying by the seat of your pants!”

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Sound Devices 970 Audio Recorder Earns NAMM TEC Award Nomination

Company’s First Dedicated Rack-Mounted Audio Recorder Features 64 Tracks of Dante and MADI

REEDSBURG, WI, NOVEMBER 4, 2014 – Sound Devices, specialists in professional audio and video products, is pleased to announce that its 970, the company’s first dedicated rack-mounted audio recorder, which boasts an impressive 64 channels of Dante and MADI with FileSafe™ technology, has been nominated for the 30th Annual NAMM TEC Awards in the category of Outstanding Technical Achievement, Recording Devices.Sound Devices 970 - front panel

Founded in 1985, and presented by the TEC Foundation for Excellence in Audio, the TEC Awards are the longest-running awards show specifically recognizing outstanding achievement in product innovation and sound production. The awards ceremony will take place on Saturday, January 24, during the 2015 NAMM Show, one of the world’s largest global music industry trade shows, held annually in Anaheim, CA.

“We are honored that the 970 has been nominated for the prestigious TEC Award,” says Paul Isaacs, VP Marketing and Product Design, Sound Devices. “It’s great to receive such recognition from the professional audio industry for our first dedicated rack-mounted audio recorder. For audio professionals requiring a significant number of audio channels, the 970 is an incredibly powerful and flexible tool, backed by Sound Devices’ reputation for high-quality audio and reliability.”

A half-rack, 2U audio recording device, the Sound Devices 970 simplifies any application requiring high-quality, high-track-count audio recording, including live musical productions, concert recordings, and drama- or reality-based productions. Incorporated into the 970, FileSafe recovers audio files if, during recording, drives are unintentionally removed or power is lost.

Sound Devices 970 records 64 channels of monophonic or polyphonic 24-bit WAV files from any of its 144 available inputs. These inputs include 64 channels of Ethernet-based Dante, 64 channels of optical or coaxial MADI, eight channels of line-level analog and eight channels of AES digital. Any input can be assigned to any track. In addition, 32-track recording at 96 kHz is supported. The 970 records to any of four attached drives, which include two front-panel drive bays and two rear-panel e-SATA connected drives. Material can be recorded to multiple drives simultaneously or sequentially. This eliminates time-consuming post-record copying, and allows for continuous long-form, high-track count recordings.

With its built-in, rock-steady Ambient Recording Lockit time-code technology, the 970 is well-suited to operate as a master clock. It can also slave or be jammed to any other time-code source. All common production time-code rates and modes are supported. The 970 also supports word-clock synchronization from an external word clock, video sync, MADI or AES. To simplify the connection of multiple digital inputs, SRCs are available for all MADI, Dante or AES inputs.

The Sound Devices 970 also features an embedded Web-based control panel for machine transport and setup control over Ethernet-based networks, as well as file transfer over the data network with SMB. File metadata editing of scene name, take name, notes, track names and reel folders can be performed during, before and after recording across all drives. In addition to RS-422 and GPIO control, the unit also operates as a bridging interface between analog, AES digital, MADI and Dante connectivity.

Additionally, the Sound Devices 970 features the company’s proprietary PowerSafe™ technology. PowerSafe circuitry has a built-in 10-second power reserve. In the event of power loss, the unit continues to operate for up to 10 seconds, then stops any file operation and shuts down. This ensures that a complete power loss has no effect on the recording. In addition, 970 features FileSafe, which automatically detects and repairs corrupted file headers when drives are mounted. Should this occur when a drive is inadvertently removed during recording, the user can simply reinsert the drive and FileSafe will automatically repair the files.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production.

Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Berlin-Adlershof, Germany. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.com.

Masque Sound Struts its Stuff for National Tour of Six-Time Tony Award®-Winning Musical, Kinky Boots

Kinky Boots Tour - Photo by Matthew Murphy

Kinky Boots Tour – Photo by Matthew Murphy

Kinky Boots, winner of six Tony Awards® including Best Musical, sings and dances its way across the United States for its year-long national tour with the help of Masque Sound, a leading theatrical sound reinforcement, installation and design company. Tony Award®-winning Sound Designer John Shivers, along with his long-time associate and collaborator, David Patridge, relied on Masque Sound to provide the custom audio equipment package for the tour.

In Kinky Boots, Charlie Price has reluctantly inherited his father’s shoe factory, which is on the verge of bankruptcy. Trying to live up to his father’s legacy and save his family business, Charlie finds inspiration in the form of Lola. A fabulous entertainer in need of some sturdy stilettos, Lola turns out to be the one person who can help Charlie become the man he’s meant to be. As they work to turn the factory around, this unlikely pair finds that they have more in common than they ever dreamed possible… and discovers that when you change your mind about someone, you can change your whole world.

Kinky Boots, directed and choreographed by the Tony Award-winning Jerry Mitchell, is brought to life by music and lyrics from Grammy® Award-winner and Tony Award-winner Cyndi Lauper and a book by Tony Award-winner Harvey Fierstein.

Shivers’ and Patridge’s goal of recreating and delivering the incredible sound that Broadway audiences are accustomed to, due in part to the custom audio equipment package that Masque Sound also supplied for the Broadway show, proved a daunting task. “When designing the audio we had to plan ahead for venues of vastly different sizes and shapes, as is typical when touring Broadway shows,” says Patridge. “One week, the production may run in a large civic auditorium with five levels of seating; the next week, it may be in a house more akin to a Broadway theatre with 1500 to 1800 seats. This tour really runs the full gamut as far as venues, including outdoor theaters and even hockey arenas.”

d&b audiotechnik V-Series line arrays in the speaker towers comprise the main sound system. “We first auditioned the V-Series when we worked on Holler If You Hear Me on Broadway, and we really liked the fact that the speaker was capable of clear, intelligible sound with a lot of impact, despite the compact size of the box,” adds Patridge. “We had a lot of assistance from Gary Stocker at Masque Sound, who created custom speaker tower designs for the tour. He was able to incorporate the V-Series into the towers, which is something that Masque Sound has never done before. Stocker took our ideas and turned them into reality, which saved us a lot of additional engineering, time and work.”

For the console, Masque Sound provided a DiGiCo SD7T, the same live digital console that is used on Kinky Boots’ Broadway production, as the designer wanted to keep the programming intact matching the Broadway show. “The SD7T’s channel count allows our engineers to incorporate all of the monitor inputs into the same console as front of house,” says Patridge. “The SD7T is the only console that would provide the 128 channels that were needed to handle our requirements along with the features that we were looking for. We are very happy that the Masque Sound crew was willing to go the extra mile to accommodate our requests.”

Masque Sound also supplied d&b audiotechnik D80 amplifiers. The amplifiers fit four channels of amplification into two rack spaces, which is an important space-saving feature for a touring production. In addition, the cast utilized a selection of DPA 4061 microphones, along with Sennheiser SK 5212 wireless packs and EM 3732-II receivers for the roughly 40 channels of wireless used on the show.

“As always, Masque Sound was able to provide us with everything that we needed for the tour,” concludes Patridge. “The challenge, with any tour, is making sure that the sound crew is able to translate the sound design that we envision. A lot of it is very subjective, with the team, at the end of the day, relying on the mixers to make the show work across all of the different venues. In this regard, Head Audio Mixer Ben Madden and Assistant Audio Mixer Brian Kallaher are the people who make this production happen from city-to-city and to them we are very grateful.”

Kinky Boots kicked off its national tour on September 4 at The Smith Center for the Performing Arts in Las Vegas. The tour is scheduled to play through most of 2015 and will make stops in 32 cities, including Portland, Seattle, Denver, Los Angeles, San Francisco, Detroit, Nashville, Houston, Dallas, St. Louis, Philadelphia, Chicago, Minneapolis and Boston.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Large Venue, Loudspeakers, Microphones, News |

About

Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

Calendar

November 2014
M T W T F S S
« Oct    
 12
3456789
10111213141516
17181920212223
24252627282930

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication