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Extron Introduces Fiber Optic Transmitter for Simplified Integration of 3G-SDI Sources

Extron FOXBOX T HD-SDIExtron Electronics is pleased to introduce the FOXBOX T HD-SDI, a fiber optic transmitter that converts 3G-SDI video to streamline integration of SDI sources with non-SDI displays. The FOXBOX T HD-SDI uses Extron all-digital technology to provide perfect pixel-for-pixel transmission of video, audio, and control to a FOX Series DisplayPort, HDMI, DVI, or VGA receiver, including the FOXBOX SR HDMI scaling receiver. The FOXBOX T HD-SDI is ideal for wider system designs, supporting distance learning applications, auditoriums, houses of worship, and other environments that often include the use of broadcast-type sources such as PTZ cameras and professional or consumer-grade displays. more

HARMAN’s Martin Professional Provides Bright Effects for the International Circus Festival “IDOL”

Photo credit: Elena Blednykh (www.lenreport.ru)

Photo credit: Elena Blednykh (www.lenreport.ru)

MOSCOW, Russia — With a unique style of its own that miraculously intertwined the best traditions of Russian and Soviet culture as well as new trends of the modern entertainment industry, the World Circus Festival “IDOL 2014” took place at The Great Moscow Circus from September 10th through 14th. HARMAN’s Martin Professional fixtures played the main role in creating exciting lighting effects in accordance with the vision of the event.

Preparation time for the festival was limited as the event grounds had hosted another performance right before, so the technicians had to dismantle the previous installation and create a new rig for “IDOL” using 64 MAC 101s, 20 MAC Viper Profiles, 24 MAC Auras, 12 MAC III Washes, six MAC III Performances, 10 MAC III AirFXs, 12 Atomic 3000 DMXs with Atomic Colors, two Glaciator X-Streams, a Jem Hydra with 12 heads, and six Jem K1 Hazers with six AF-1 fans.

“The fixture park of The Great Moscow Circus has all the necessary creative instruments to implement my ideas,” said Roman Vakulyuk, Lighting Director. “I really like the MAC III Wash. It is a very powerful fixture with an excellent CMY color-mixing system. Thanks to its superior optics I can express all my ideas in lighting without any technical limits. In my mind, each big venue must have this kind of fixture as it can make a high-quality background for any light show.”

The lighting installation for “IDOL” at the circus was arranged in a special way. The main part was a large ring with MAC III Washes, MAC Viper Profiles, Atomic 3000 DMX strobes + Atomic Colors as well as MAC Auras. “It gave us an opportunity to make lighting compositions for the arena itself and the audience. The colors of those fixtures were not violent but soft and ‘lifelike’,” said Vakulyuk.

The second part of the installation was a top round truss with MAC III AirFXs, MAC III Performances and MAC Viper Profiles in several circles. Each circle is a rig with lighting fixtures – 360 degrees – which makes it possible to cover each section with effects inside and outside of the arena as well, as the action can take place in the spectator zone or in the space below the roof. “This 360° approach to the rig allowed us to work on the entire space of a huge arena, ” said Vakulyuk

The third part was located in the audience area with Compact MACs 101 as the workhorse creating a necessary volume effects from the audience during the show and their compact size was an advantage, as they did not make any obstacles for spectators.

“Currently, I work with the MAC III AirFX and MAC III Performance,” said Vakulyuk. “They are wonderful fixtures to create a beautiful scenography. I can easily make different animation effects – water, fire, and others. I like the set of features of those fixtures in comparison with traditional spots that offer colors and gobos only.”

During the five days of the festival, the lighting fixtures were never turned off. There was a continuous working process that included rehearsals, preprogramming and then shows in the evening.

“The festival was a tough schedule for us,” said Vakulyuk. “The lamps were on all the time and we never needed to reboot the fixtures. Martin’s gear really can work non-stop and it never fails.”

As a world leader in the creation of dynamic lighting solutions for the entertainment, architectural, and commercial sectors, Martin lighting and video systems are renowned the world over. Martin also offers a range of advanced lighting controllers and media servers, as well as a complete line of smoke machines as a complement to intelligent lighting. Martin operates the industry’s most complete and capable distributor network with local partners in nearly 100 countries. Founded in 1987 and based in Aarhus, Denmark, Martin is the lighting division of global infotainment and audio company HARMAN International Industries. For more information please visit: http://www.martin.com.

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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AMIA’s DAS Comes to New York in 2015

Experts Discuss the Management of Media Assets from Creation to Preservation
DAS Logo
(LOS ANGELES, CA) – AMIA has announced the preliminary lineup for its popular Digital Asset Symposium (DAS). DAS will be held on May 8, 2015 at The Museum of Modern Art in Manhattan.

“DAS is a unique international event that brings together an unparalleled cross-section of domain experts in a pragmatic, engaging and educational format to discuss the most current challenges and breakthroughs in managing digital assets today. I am extremely excited about witnessing the cross-pollination and convergence of ideas that will emerge from the amazing lineup of speakers and presentations we pulled together for this DAS,” said Chris Lacinak, the DAS New York program chair.

This is the second time AMIA has partnered with MoMA on the DAS event. With one of the strongest international film collections in the United States, MoMA is committed to the preservation of its media collection.

The preliminary lineup includes case studies from WWE Network, the Belgium Ministry of Culture, the HyperTED project, MoMA and John Hopkins University.

AMIA Board Member Tom Regal notes, “The DAS focus on case studies and discussion from content managers across a broad range of interests is distinct. The hosting of this event and the participation of MoMA, an institution that has led the charge in establishing best practice for preservation of museum based digital artworks is an outstanding opportunity.”

Registration for DAS will open December 3rd at www.DAS2015.org. For further information, visit www.DAS2015.org.


DAS addresses the full life cycle of the media asset – from content creation to rights management to assuring asset preservation – with speakers and case studies that address what works in the real world. Each part of the life cycle impacts the next and DAS is the only place where everyone is part of the conversation – content creators, post-production, systems designers, archives, asset managers – where commercial meets nonprofit and corporate meets public.

As the world’s largest international association of professional media archivists, AMIA is uniquely poised to bring together a broad range of experts. Members represent film studios, corporate and national archives, historical societies, labs, post production, universities, footage libraries and more. Because of this diverse membership, AMIA provides an opportunity to interact with every facet of the field and a single forum to address the best ways to preserve our media assets.

Media Contact:
Chris Purse
ignite strategic communications

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Becoming California Recorded with DPA Microphones

Sound Mixer for the documentary uses company’s d:mension™ 5100 Mobile Surround Microphone to capture the beautiful audio of the state’s national parks

DPA Microphones_dmension 5100_Becoming California2SACRAMENTO, CA, DECEMBER 2, 2014DPA Microphones played a prominent role in the making of Becoming California, a two-hour documentary sponsored by The California Environmental Legacy Project that explores the history and future of the state’s national parks. Narrated by award-winning actress Jane Fonda, and set to air on PBS this fall, the film features 15-minute segments of beautiful videography from each park. With its ability to capture everything from the birds in the sky to the elephant seals in the ocean, the DPA d:mension™ 5100 Mobile Surround Microphone proved to be the perfect microphone solution for these scenes.

DPA Microphones_dmension 5100_Tim OMalleyChosen by Production Sound Mixer Timothy O’Malley, the d:mension 5100 was an integral part of the documentary. “I used the DPA d:mension 5100 specifically for this film because there wasn’t a lot of dialogue to be captured,” he explains. “Instead, I captured the 5.1 surround sound effect of the environment, such as the wind hitting the trees, elephant seals snorting on the beach or birds calling to their mates. The wind was especially important because there’s a lot of it out there. The d:mension 5100 was the only solution. You can’t compare it to other products on the market; it’s just that good.”

In addition to the documentary, each park will feature its individual 15-minute segment in its welcome center, many of which are newly renovated. With more than 30 parks throughout the state, the entire project took more than a year to capture. On recommendation from his film professor at Humboldt State University, O’Malley was chosen for the documentary before his official college graduation. It was this same instructor who introduced O’Malley to the DPA d:mension 5100.

“My film professor taught me everything I know about sound – how to record dialogue, record orchestral arrangements or hair metal bands, and scoring for film,” says O’Malley, who graduated with a film degree in May 2011. “He also showed me all of the different microphones and mic patterns that I could use for these different recording styles. In theory, the d:mension 5100 shouldn’t work because the mics are so close together, but it is perfectly engineered with these little capsules and plastic spacers, which make it sound great. The d:mension 5100, along with my Sound Devices 788T recorder, were my first two equipment purchases after college.”DPA Microphones_dmension 5100_Becoming California

Full of stunning cinematography, astonishing aerials, 3D animations and an original score led by Grammy Award-winning musician Pat Metheny, the goal of Becoming California is to reconcile human nature with ecological nature on America’s West Coast. It explores how past, present and future relationships will impact California’s environment and whether nature and civilization can co-exist.

DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is 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 on DPA Microphones, please visit www.dpamicrophones.com.

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Matrox at Integrated Systems Europe 2015 — Product Preview

Multi-display graphics cards, H.264 encoders/decoders, video wall controller boards, video streaming and recording appliance and multi-camera recording app to be showcased

Matrox® Graphics Inc. and Matrox Video will be sharing stand 11-F68 at ISE 2015 (Amsterdam RAI, Feb. 10-12). Matrox Graphics Inc. will demonstrate the new C-Series™ multi-display graphics cards, the cost-effective Matrox Maevex™ AV-over-IP encoders/decoders and the field-proven Matrox Mura™ MPX video wall controller boards. Matrox Video will showcase the popular Monarch™ HD video streaming and recording appliance and the new VS4Recorder Pro™ multi-camera recording app.

Multi-display Graphics Cards
Matrox C-Series multi-display graphics cards deliver outstanding performance, stability, and usability to power video management systems and small-scale display walls in control room, digital signage, enterprise, industrial, security, A/V, and embedded system applications. C-Series cards feature 2 GB of on-board memory and secure mini DisplayPort connectivity. Matrox C680 supports up to six 4K/UHD displays. More displays can be supported by inserting two C680 cards into a system. The board-to-board framelock feature ensures synchronization of all displays to reduce tearing on digital signage and video walls. Matrox C420 is the fastest quad card with passive cooling for increased reliability and silent operation.

H.264 Encoders/Decoders
Matrox Maevex 5100 Series H.264 encoders and decoders deliver exceptional-quality AV streaming at low bandwidth over standard IP networks for display or for storage anywhere on the LAN. Maevex encoders, priced at only $999 US (MSRP), can be combined with Maevex decoders or a third-party software decoder to stream up to Full HD AV content to displays and projectors for digital signage, presentation/education, corporate information display, collaborative video wall and many other applications. Maevex is multi-functional in design and can also be used to record desktop sessions to NAS, whether for review or evaluation purposes. Maevex comes bundled with Matrox PowerStream™ software for easy remote device management, stream switching and streaming/recording parameter adjustment, including user-definable bit rates between 100 Kbps and 25 Mbps.

Video Wall Capture and Display Boards
Matrox Mura MPX Series capture and display boards feature flexible inputs and high-quality outputs allowing AV integrators, system builders and equipment manufacturers to easily and cost-effectively build high-density video wall controller systems supporting custom video walls with up to 56 inputs and outputs. Exceptional-quality scaling, switching and compositing of source content including HDCP feeds are easily managed through intuitive software control options including Matrox MuraControl™, third-party software and simple integration with existing AV control systems. Rich transitions and eye-catching effects can be applied to both recorded and live content using the latest Mura Network API — a platform that software developers have used to build their own powerful video wall control solutions for Mura-based video walls. At ISE 2015 a Matrox P690 graphics card will be used alongside Mura MPX to power an independent console display.

Video Streaming and Recording Appliance
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, a USB drive, or a network-mapped drive. The Monarch SDK, an HTTP-based API, includes documentation and sample code that let AV and broadcast equipment developers write applications to configure and control Monarch HD streaming capabilities, giving them a very straightforward way to include a high-quality webcasting service as part of their overall product offerings. Monarch HD can also be integrated with a Crestron® controller, which allows operators to easily start and stop streaming and recording from within the familiar Crestron interface.

Multi-camera Recording App
VS4Recorder Pro is designed for use with Matrox VS4™ quad HD capture cards. Each VS4Recorder Pro system frame-accurately captures up to four video and audio inputs to create files for use with popular editing apps from Adobe, Apple and Avid and for archiving. H.264 is provided in either MOV or MP4 wrappers. AVI files can be created using the high-quality Matrox MPEG 2 I-Frame codec. MOV QuickTime files can be created using DV, DVCPRO, DVCPRO50 and DVCPRO HD. VS4Recorder Pro also functions as a multiviewer, offering pristine video quality even when monitoring interlaced sources on progressive computer monitors. VS4-based systems are also ideal for multi-camera live production streaming with Telestream® Wirecast® for Windows® or StudioCoast vMix software.

About Matrox
Matrox is a world leader in graphics, imaging, and video technology providing an extensive array of real-world relevant OEM and end-user solutions to businesses and individuals across a diverse range of professional markets, including media and entertainment, finance, digital signage, medical imaging, manufacturing, factory automation, security, government, and enterprise computing. For more information, visit www.matrox.com.

Masque Sound Custom Audio Package Resonates With Audiences at U.S. Premiere of New Musical, The Hunchback Of Notre Dame

1-Ciara Renée (center) & the cast of La Jolla Playhouse's US premiere production of THE HUNCHBACK OF NOTRE DAME - Photo by Kevin BerneNEW YORK, NY, DECEMBER 2, 2014 — When five-time Tony® and Laurence Olivier winning/nominated sound designer Gareth Owen was presented with the task of ringing up a spectacular and captivating sonic landscape for the U.S. premiere of Disney’s The Hunchback of Notre Dame at La Jolla Playhouse, he turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, for his audio equipment needs.

Based on the Victor Hugo novel and featuring the Oscar-nominated score from the 1996 Disney classic film, The Hunchback of Notre Dame is the only stage collaboration from two masters of the American musical theatre, composer Alan Menken and lyricist Stephen Schwartz. In this brand new production, an emotionally rich score highlights the music’s orchestral power in an intimate retelling of the famous love story of the bell-ringer Quasimodo, the gypsy Esmeralda and the gallant Captain Phoebus.

2-Michael Arden (center) & the cast of La Jolla Playhouse's US premiere production of THE HUNCHBACK OF NOTRE DAME-Photo by Kevin Berne“My primary objective in designing the sound is always making sure that the audience can hear all of the words to the story,” says Owen. “It seems obvious, but I cannot tell you the number of shows that I see and can’t clearly hear what the performers are saying. Masque Sound was able to provide me with the equipment I was looking for to attain this sonic clarity and, as a result, allowed us to achieve our goal.”

Another goal of Owen’s was to try to make the show sound as exciting as possible, from a musical standpoint. “I will often go to a show and see a massive orchestra in the pit, but they might as well not be there,” he says. “You can hardly hear them. They are tucked away and the audience is not getting any excitement from them. I consider my sound designs very cinematic in nature and want them to be exciting and enveloping. Once I’ve made sure the audience can hear all the words, I make a concerted effort to try and make the music as dynamic and involving as possible, as is the case with The Hunchback of Notre Dame.”

In order to bring that level of excitement to the design, Owen finds close collaboration with the show’s music department and cast to be essential. “To a sound designer, the music department can be your best ally,” adds Owen. “I like to work with the various musical department heads to learn what it is that they want to hear and do my best to deliver it. Additionally, I find that if I can give the cast exactly what they need in order to perform to the best of their abilities, and give an energetic, accurate performance, the end result is a great sounding show, even if technically tricky to accomplish.”

3-Patrick Page (center) and the cast of La Jolla Playhouse's US premiere production of THE HUNCHBACK OF NOTRE DAME-Photo by Kevin BerneOne of Owen’s biggest challenges in designing the sound for The Hunchback of Notre Dame was found in the acoustics of La Jolla Playhouse. “The one tricky thing about the theatre is that it has very hard walls with lots of reflective surfaces,” says Owen. “With all of that sound bouncing around, speaker choice was critical and that’s where the audiotechnik d&b speaker system that Masque Sound supplied really came into its own. I’ve been a huge advocate of d&b for years and find that, when it comes to constant directivity of wave forms and frequency response, d&b speakers are so much more cohesive and accurate. They were a huge help in cutting down on reflections and induced noise from the walls.”

The large audiotechnik d&b speaker system that Masque Sound provided included 24 T-Series boxes for stage left and stage right, a T-Series center cluster, as well as Q-Series loudspeakers and B2 subwoofers. The front fills featured E5 loudspeakers, while the out fills were E8 loudspeakers, and E0 loudspeakers comprised the surround sound system. On stage, there was a mixture of E3s, E4s and E5 loudspeakers. Owen chose an Avid VENUE Profile System for the front of house console and utilized another for his monitors. In addition, Owen relied on several Yamaha 01V96 digital mixers to sub-mix various aspects of the show, including the 32-piece choir that is present on stage for the duration of the show.

“Gareth’s design for this musical was impeccable,” says Scott Kalata of Masque Sound. “Even at the show’s first preview, which I attended, the clarity of the dialog along with the show’s dynamic range perfectly matched what I was seeing onstage.”

In addition, as part of its custom audio equipment package, Masque Sound also provided an extensive microphone package that included DPA, Shure and Audix microphones, as well as 36 channels of wireless featuring Sennheiser EM 3532s and SK 5212 belt packs.

“Masque Sound delivered, supplying everything needed to create this soundscape,” concludes Owen. “Scott Kalata really looked after us and Gary Stocker was once again amazing to work with. He was onsite to solve any problems and ensured that everything was working properly. This was a great collaboration, and my team, including Joanna Lynne Staub, associate sound designer; Dave Horowitz, head of sound; and Zoe Blackford, assistant sound designer, all did a wonderful job and worked tirelessly to ensure the show’s success. I have a philosophy that I like to stand in the theatre on opening night, look at the sound system and know that there is nothing in the theatre that doesn’t need to be there. I consider that a sense of professional pride, and I am proud to say that held true on this production.”

The Hunchback of Notre Dame is scheduled to run through Sunday, December 14 at La Jolla Playhouse’s Mandell Weiss Theatre. The next stop for the production is New Jersey, where it will play at the Paper Mill Playhouse in March 2015. For more information, please visit www.lajollaplayhouse.org.

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 led by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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Clay Paky B-EYE K20s Get The Thumbs Up at The Colosseum at Caesars Windsor Hotel and Casino

DSC_6291Caesars Windsor Hotel and Casino in Windsor, Ontario has added 26 Clay Paky A.leda B-EYE K20 LED-based moving lights to the inventory of its concert venue, The Colosseum. A.C.T Lighting, Inc. is the exclusive distributor of Clay Paky lighting fixtures in North America.

A 5,000-seat venue, The Colosseum ranks #15 among venues in North America in desirability, service and shows, reports production supervisor Dan Leroux who toured for 25 years with Metallica, Pearl Jam and other top bands. “Artists come through this venue and are blown out of the water. We have close to 600 fixtures in the air, 10 moving pods on back and front truss, and all the latest lights, including B-EYE K20s.

“When a recent artist came, they left their lighting truck in Detroit because they didn’t need it. Another major headliner didn’t need to bring in their two trucks. Our rig is used by artists 90 percent of the time, which saves time and labor. They bring their ground packages and that’s it.”

Leroux noticed K20s on several TV shows, including a concert by Soundgarden and asked Andrew Beck, general manager of A.C.T Lighting Canada, Inc., about the fixtures. “Andrew brought some for us to see and the director and vice president of Caesars said we’ve got to buy these!” he recalls. “I’d never seen a fixture like it before. It’s amazing what it can do, and its brightness and color saturation are unbelievable.”

Each of the 10 lighting pods at The Colosseum has a K20; six pods are mounted on the upstage truss and four on the front truss. The remaining 16 K20s are positioned on the ground. PRG Toronto supplied the fixtures.

“The fixtures really made an impression when a network television show was here,” Leroux says. “Their lighting director told me he changed his plans and was going to use them in the show’s upcoming rig – they made that heavy an impact on him.”

Leroux likes “how versatile the K20s are: You can use them as a wash, as a spot, even turn them into a Sharpy with the size of that beam. I love having independent control over every pixel, the effects macros are amazing and the colors are vibrant with true reds and purples.”

He admits to being “pretty fussy about fixtures” and says he looks at a lot of lights that don’t make the grade. “Automated fixtures are changing, the technology is changing and the K20s are years ahead of everything else. It’s a real world-class fixture. Clay Paky hit on a winner with this product.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, added, “This venue sounds perfectly suited for our B-EYE’s. Their versatility should work well for any performance they bring in.”

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DCIM100GOPROATHENS, GEORGIA: The University of Georgia Bulldog football team plays all of its home games in Sanford Stadium on the school’s main Athens, Georgia campus. Georgians have long stood behind the Bulldogs, and Bulldogs football is a distinguishing feature of autumn in a place where the average high temperature doesn’t drop below sixty degrees until December. Fan turnout has always been consistent at Bulldog home games, which has motivated a long series of stadium expansions. Today, Sanford Stadium can accommodate just shy of 93,000, making it the tenth largest stadium in the United States. In response to new rules allowing more music play during games and in recognition of how important sound quality is to the game day experience, the University of Georgia authorized an overhaul of Sanford Stadium’s sound system. Composed of Danley Sound Labs Jericho Horns, SBH-10 column loudspeakers, and BC-415 subwoofers, the new system dramatically improves coverage, low-end extension, and clarity.

“The old system had been installed for a decade and never covered the stadium evenly,” said Chris Williamson, athletic facility coordinator at University of Georgia. “There were several large dead spots, including a big one over the student section. Of course, that’s one of the most important sections for building the right game day atmosphere. In addition, new rules would allow us to play more music during the games, but with a subpar sound system, that would only highlight the system’s deficiencies. It had been intended primarily for speech reinforcement, not music playback. The previous system had subs but they just didn’t provide enough low end to add enough presence.”

Univ_Georgia_Scoreboard“There is increasing recognition that the stadium itself, including its sound and video systems, is a critical tool in keeping the momentum on the field going in the right direction,” said Pete Dugas, president and founder of TSAV, the Athens-based firm that installed the system and that collaborated on the design with Mike Hedden, Danley president. He continued, “Home field advantage is more than the fans themselves, it’s also how the sound system inspires the fans. We’ve been working with a number of Division I athletic facilities, but Sanford Stadium is near and dear to us. The Bulldogs are our hometown team.”

Univ_Georgia_Scoreboard_SpeakersTSAV looked at a range of feasible sound systems for Sanford Stadium, including a number of distributed systems and a number of end-fired systems. The TSAV engineers converged on an end-fired system using primarily Danley Jericho Horns with Danley subwoofers. In the spirit of due diligence, Dugas asked Hedden to come up with his own design without sharing the plans that TSAV had converged on. “The differences between Mike’s independent design and our own were small, indicating that our plans were sensible,” said Dugas. “Not only would the new system meet the university’s performance goals, it would do it without straining their budget.”

Five Danley Jericho J3 Horns provide main coverage of the opposite end zone and both adjacent sides, and three Danley OS-80 loudspeakers provide down-fill for the end zone seating immediately below the scoreboard. Like all Danley loudspeakers, the J3s and OS-80s are based on Synergy Horn technology, which delivers full-range content from a single horn. As such, their output possesses excellent intelligibility, fidelity, and pattern control. That pattern control keeps energy off the field so that the referees can speak without feedback, a situation that had caused considerable problems with the old system. Two of Danley’s new SBH-10 column loudspeakers provide additional side-fill coverage below the scoreboard. Mounted horizontally, they deliver 10 x 100-degree dispersion from a single horn, with all of the same benefits of the Synergy Horn designs. Four beefy Danley BC-415 subwoofers bolster the low end.

Considering the old system had lumpy coverage with worse than +/– 10dB swings, the new Danley system is better than +/– 2dB, and whereas the old system had no content below 70Hz, the new Danley system is still active at 25Hz. “We’re happy with the results, and the performance is close to model projections,” said Dugas. “There were adjustments to make, of course. The new low end rattled the scoreboard, which we had to fix, along with too much low end by the university president’s suite. That was easy to adjust. It was nice to see how it all came together with everyone working so cooperatively. The SPL is now 26dB greater than it was before, and the fact that everything is point source has improved fidelity tremendously. A Bulldogs fan myself, I’m looking forward to enjoying the system at every home game!”

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


FOR-A to Showcase Video Switcher & Signal Processing Technology at GV Expo 2014

Cypress, CA – At this week’s Government Video Expo, held December 3-4 at the Walter E Washington Convention Center in Washington, D.C., FOR-A America will display several of its popular video switcher and signal processing equipment. The company will exhibit within the Communications Engineering, Inc. (CEI) booth, #401.

“GV Expo is a highly targeted, important show for FOR-A,” said Jay Shinn, Vice President of FOR-A America. “It brings together video production, broadcast, digital media and government video specialists in one compact, two-day conference. It’s an opportunity for us to show how our FA-1010technology FA-1010specifically benefits this particular user group. It has always been a very successful show for us in terms of talking with current customers and meeting potential customers who are not as familiar with our product range.”

At the show, FOR-A will demonstrate its HVS-100 portable video switcher. The unit is capable of 4K production and offers a wide range of functions, including mixed HD/SD input, frame synchronization, multi-viewer capability, re-sizing engine, 2.5D wipe effects and DVE and keyer with chroma key. An ideal fit for government applications, the HVS-100 is currently in use for in-house video production and creation of training videos and live presentation events for the U.S. Navy.

Another video switcher that will be shown at GV Expo is the cost-effective HVS-390HS unit. Offering powerful M/E functionality that allows for greater user flexibility and control, the HVS-390HS offers up to three different control panels and five remote AUX control panels that can be used simultaneously. The built-in Web browser function gives users even more control, allowing operators to set up and edit the switcher via a Mac, PC or tablet. The HVS-390HS is currently deployed in a variety of government applications, including use by NASA to produce live rocket launch event coverage at Wallops Flight Facility.

FOR-A will also showcase signal processing technology. The company will demonstrate its FA-505 multi-channel signal processor. First introduced earlier this year at NAB, the five-input, five-output signal processor features up/down/cross/aspect ratio conversion capability on each input and is ideal for 4K applications. The FA-505 also features a powerful synchronizer that includes frame/line/AVDL modes, video delay line of up to eight frames, full RGB color correction, and 16 channels of embedded audio per channel, with the ability to remap channels from any input to any output.

Another FOR-A signal processor that will be shown at GV Expo is the award-winning FA-1010 multi-channel unit. With 10 video inputs and outputs, the new FA-1010 offers multi-channel routing between sources as well as effective video and audio signal processing for line, relay, reporting, production, editing and delivery applications.

GV Expo is Washington’s largest technology event for video, broadcast and AV professionals. Last year’s event featured over 150 exhibits and drew 6,000 registrants.

About FOR-A
FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A’s product line, call 714-894-3311 or visit our web site at www.for-a.com.

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PixelFLEX Wins Parnelli Award for Innovative FLEXCurve LED Screens

Las Vegas, Nov. 22, 2014 — One year after releasing the PixelFLEX FLEXCurve at Live Design International’s (LDI) annual tradeshow, the versatile LED rental product capable of +/- 10 degree convex or concave curves won The Parnelli Award for Indispensable Video Technology of the Year.


The annual award show for the live event industry recognizes outstanding companies, individuals and products for their influence on the production business. A jury of peers made up of nearly 40,000 subscribers to PLSN and FOH magazines vote for this award, making the recognition even more significant.

In 2014, the FLEXCurve LED panels have been used in designs for multiple tours including Country Music Entertainer, Luke Bryan, numerous award shows, athletic events and high profile corporate shows.

Featuring a compact, strong and modular design, the FLEXCurve panel can transform from straight to curved by adjusting four fast-loc tabs on each wing of the panel allowing +/- 10 degree curve. Available in outdoor and indoor models ranging from 4mm to 16mm, the FLEXCurve family of screens is made with precision-cut aluminum weighing less than 40 pounds. FLEXCurve’s has a rig and click installation system, making for a seamless, fluid connection between panels. Strategic handle placements allow for an easy set up by one person.

Designed with the touring client in mind, the slim and sleek cabinet design is hot swappable and allows for mixing various pitches within a wall. The system allows for easy serviceability with quick module replacement features like captive screws, Neutrik connectors and IP65 reliability. These panels ride four to a case.

“It is such an honor to be nominated, let alone win a Parnelli Award, and we are so grateful our company and products are being recognized in the industry,” said Jeremy Byrd, PixelFLEX founder and president. “All of the nominees make great products, and being in the same category with them is an absolute honor.”

For more information on PixelFLEX’s FLEXCurve and other LED video products, visit www.pixelflexled.com. Follow PixelFLEX at www.Facebook.com/PixelFLEXUSA and @LEDCurtain.

For a full list of Parnelli Award winners, visit PLSN.com.

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