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Oregon Shakespeare Festival: “The Meyer Sound System has Completely Changed the Artist & Audience Experience”

The 79-year-old Oregon Shakespeare Festival (OSF) in Ashland has chosen Meyer Sound MINA™ line array loudspeakers to anchor the first full reinforcement setup in its 1,190-seat, outdoor Allen Elizabethan Theatre. With a stage house and thrust stage originally built for non-amplified performances, the theatre now benefits from an architecturally pleasing audio solution that heightens vocal clarity and musicality for the audience, while making performing easier for the actors.

“The Meyer Sound system has completely changed the experience for both artists and audience,” says Bill Rauch, artistic director of OSF. “The amplification is so subtle in the Shakespeare plays that the audience often cannot tell the actors are amplified, but they appreciate hearing and understanding every word.”

The move to a full reinforcement system was prompted by several factors, including the scheduling of more musicals, concerns about comprehension of Shakespearean language, and the directors’ desire to free the actors from always facing forward to project. With the repertory theatre changing the complete set daily, it was important to OSF that the system blended into the architecture without being incorporated into the scenic design.

OSF’s audio staff worked with Meyer Sound to design a visually unobtrusive solution using split center arrays of MINA loudspeakers, with two arrays of seven covering the orchestra and two of five covering the balcony. Outer left and right clusters of two-each UPQ-1P and UPQ-2P loudspeakers per side add stereo dimension for music and effects, while four 500-HP subwoofers supply musical low end and convincing effects—such as the giant’s footsteps in Into the Woods.

“For a language-based theatre company such as ours, nothing is more important than to hear the words with clarity,” says Rauch. “During Into the Woods, the singers are able to be heard clearly over a 20-piece orchestra—a revelation on this stage.”

Douglas Faerber, head of OSF’s sound department, adds: “Our new system is working beautifully. We really love it. We’ve had feedback from audiences about how they appreciate the clarity and the even and natural coverage, and the directors have been ecstatic about what they’re hearing.”

In addition, six UPM-1XP, two UP-4XP, and seven MM-4XP self-powered loudspeakers provide under-balcony, box-fill, and front-fill coverage, respectively. System drive, optimization, and delay alignment is supplied by a Galileo® loudspeaker management system with one Galileo 616 and two Galileo 408 processors.

The audio renovation also includes a Yamaha CL5 digital mixing console and 32 channels of Sennheiser 2000 Series wireless systems with G3 beltpacks and MKE II Gold lavalier microphones.

Founded by Angus Bowmer in 1935, and recipient of a Tony Award for outstanding achievement in regional theatre, OSF presents an eight-month season of 11 plays in three theatres. Attendance at the approximately 800 yearly performances normally exceeds 400,000. The Allen Elizabethan Theatre was named in recognition of a $3 million grant from the Paul G. Allen Family Foundation. The new sound system was made possible by a gift from Judy Shih and Joel Axelrod of Ashland.

Prior to the 2014 season, another new Meyer Sound system was installed in OSF’s Thomas Theatre, with flexible deployment of UPJ-1P VariO™ loudspeakers along with UP-4XP and MM-4XP loudspeakers.

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Christie Poised For Continued Innovation with New Executive Appointments

Christie®, the global leader in helping customers create the world’s best shared experiences, today announced several senior management appointments for its product and solutions management, engineering and operations’ functions.
Jennifer Smith is promoted to executive vice president of Christie’s new Global Market Solutions group. In this new role, Smith is responsible for the identification of customer and market needs for Christie’s key areas of business and strategy to meet those needs. Her team brings a wealth of experience and will define the products, solutions and services needed to continue to maximize the value and benefit of these deliverables to Christie customers. Smith has been with Christie for 14 years and was most recently vice president, Global Engineering, prior to her promotion.

Succeeding Smith as vice president, Global Engineering for Christie, is Mike Esch, promoted from senior director of engineering. In his new position, Esch is responsible for the company’s global engineering team and will create ground-breaking products and solutions that meet the customer needs uncovered by Smith’s team. Esch has more than 15 years of engineering management experience, the majority of it with Christie.

In the new position of executive vice president, Operations, Ihor Stech is responsible for global operations, supply chain management, logistics and after-sale services. Working with Christie Professional Services and the Global Sales teams, Ihor will maximize Christie’s varied global service offerings, including such key areas as RMA, service inventory and service and repair locations. Stech has 14 years of Christie experience and nearly three decades of like-industry experience.

The company stated that it is recognizing and expanding the responsibilities of the same hi-level team that helped grow Christie from a small portfolio of projection products in 1994 to where it is today, with more than 150 display products and solutions specifically designed to help customers create the world’s best shared experiences. It added that the appointees have the vision and the experience to ensure that the company continues to exceed customer expectations with the best products, services and solutions possible.

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Meyer Sound Launches User Training Videos for LYON Line Array System

Meyer Sound has released four online video tutorials to support users of the LYON ™ linear sound reinforcement system, the newest addition to its LEO™ Family of line array products. Covering topics that range from system design and rigging to optimization, the video modules are available for viewing on meyersound.com and Vimeo.com.

LYON Product Introduction: The comprehensive overview outlines the system’s coverage patterns, rigging features, connections, and integration with the 1100-LFC low-frequency control element and the Galileo® Callisto™ loudspeaker management system.

LYON Array Assembly: The video gives a step-by-step tutorial for presetting splay angles, lifting and locking an array, and pullback techniques. It also shows the rigging calculator features in the MAPP Online XT™ acoustic prediction software.

LYON Compass Presets and Controls: The module shows the user workflow for optimizing a LYON loudspeaker array, featuring presets in the virtual Galileo Callisto array processor, array configuration in zones, integration of 1100-LFC loudspeakers, and the U-Shaping™ filters for output equalization.

Using Array Correction and Delay Integration: The video demonstrates the use of array processing and correction and delay integration for Meyer Sound line array systems.

These training resources complement Meyer Sound’s industry-leading education program, which includes in-person seminars and online resources for all aspects of sound reinforcement, from audio theory and mixing workshops to in-depth courses on the design and optimization of complex systems.

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Masque Sound Blows the Roof Off The Acorn Theatre for Explosive New Musical, Atomic

Custom Audio Equipment Package Brings the Story of the Creation of the First Nuclear Bomb to Off-Broadway Stage

NEW YORK, JULY 30, 2014 — When the highly charged, new rock musical, Atomic ignited the stage at The Acorn Theatre at New York’s Theatre Row, Masque Sound, a leading theatrical sound reinforcement, installation and design company, was on-hand to provide a custom audio equipment package to support Sound Designer Jon Weston and his team.

Atomic is a thrilling new off-Broadway musical that blasts open the doors of The Manhattan Project, a Government-funded program of top scientists who were faced with the task of creating the world’s first Atomic Bomb. The production depicts Hungarian American physicist and inventor Leó Szilárd as the mastermind behind atomic power whose heart has reservations. Ethics, scientific progress and true love are tested as Szilárd discovers exactly what he’s capable of when someone believes in him.

One of Weston’s biggest challenges in designing the sound for Atomic was the theatre’s layout itself. “The space we were dealing with is very wide and shallow, so coverage was a big concern,” says Weston. “In order to address those issues, equipment selection and its placement within the theatre, was critical. To accommodate the large scale of the show, we created an extensive sound system with Masque Sound’s assistance and support. Working in such a vast space, it was important to both the composer and director that the sound accurately depicts the many different emotions that run throughout this production, and I think that this custom audio equipment package allowed us to achieve that.”

In order to attain the soundscape he desired, Weston turned to the Avid VENUE Profile Console, which provides the sound quality, flexibility and reliability he was after. The main speaker system is comprised of a pair of d&b audiotechnik C7-TOP 15-inch two-way speakers. “The C7-TOP is a very musically-inclined, accommodating speaker,” Weston says. “It doesn’t wrap around or spill everywhere; its range goes exactly where it’s intended to and not much comes off the sides. It really is an excellent speaker and ideal for this production. We rounded out the main system with EAW JF200s and Meyer Sound UPA-1Ps, and it really sounds great.”

The surround system features RE Audio MT18s and Meyer Sound UPQ-1Ps that are also used as part of the effects system. The large, low end of the system includes d&b audiotechnik B4s and Q-subs, and Meyer Sound 650Ps. “The goal in the design of this surround system was to have an abundance of speakers working well within their set range, as opposed to having fewer speakers set up in a way that they sound draining,” adds Weston. “The system appears loud because of the contrast, but in reality it isn’t that loud.”

Additionally, Masque Sound supplied a microphone package featuring Sennheiser MKE-2s for the cast, as well as a wireless package featuring Sennheiser 5212 and 3532s. Masque Sound also provided frequency coordination for the 14 channels of wireless used for the show.

“Working with Masque Sound allows me to maximize my available options and budget,” says Weston. “It’s all about the relationship with the shop. I usually deal one-on-one with department personnel at Masque Sound, and they are always willing to go that extra step to help, which is critical to the success of a production’s sound design. I am very specific in my visions, and I know that can sometimes slow things down a bit, but they are always happy to oblige me, which is wonderful. The equipment Masque Sound provides, especially the microphones, are always top-notch. Even legacy equipment, which I like to use, is in stock and always in great shape. In addition to Masque Sound, I could not do what I do without the hard work of my personal team. Mixer/Associate Josh Millican and Assistant Sound Josh Staines do a great job of bringing it all together every performance.”

Atomic, running for a limited eight-week engagement, officially opened on Sunday, July 13 and is slated to run through August 16 at The Acorn Theatre at Theatre Row (410 West 42nd Street, between 9th and 10th Avenues). To learn more about Atomic, visit www.atomicthemusical.com.

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.

Entertainment and Film Industry Veteran Tony Miceli Joins Electrosonic

Electrosonic is pleased to announce that Tony Miceli has joined the company as Executive Consultant working with the Entertainment sales and the Design Consulting teams. Tony will be based in Electrosonic’s Orlando office.

Tony has been a leader in the entertainment industry for more than 25 years. He cofounded Soundelux Entertainment Group in Hollywood, California, and Orlando, Florida, in 1991 and, as its president, was the driving force behind their theme park creative development, audio-visual technologies design and installations, sound design, video and animation production and their Academy Award-winning feature film soundtracks. For the last ten years he has run his own company, Tony Miceli Creative, LLC., and worked as the Creative Media Director and Producer for Universal Creative.

“Tony has a very unique skill set that will be a big asset to our Entertainment business,” notes Chris Conte, Electrosonic’s VP of Entertainment. “He has extensive experience in audio and video system design, sound design and mixing and show programming. Tony is also an accomplished writer, director and producer of content with a focus on projection mapping and visual experiences. His direct experience in media creation, including audio composition, video, animation and graphics, will allow us to support our clients and also support our creative media associates in a variety of ways.”

Tony will work in concert with the design, sales and management teams to build and maintain new client relationships, perform senior level design consulting services, and develop business for existing and new markets.

“I am very excited to be joining Electrosonic and look forward to what the future holds,” says Miceli. “I have had the great fortune of participating in some benchmark setting projects over the years, working side by side with the Electrosonic team, and I’ve always been impressed with the quality and professionalism they have consistently delivered. My experience in various aspects of entertainment is a good match for Electrosonic’s roster of innovative projects and will help forge new business relationships while delivering the next generation of groundbreaking experiences.”

Most recently Tony, through Tony Miceli Creative, LLC., provided all AV design and installation and creative media production on Legoland Florida’s “World of Chima.” Tony did concept design development and creative direction for the redesign and renovation of theme park Parque de las Ciencias in Bayamon, Puerto Rico, and co-created, wrote and directed the 3D projection mapping show experience “La Isla del Encanto” at the historic Ballaja Plaza Mayor in Old San Juan, Puerto Rico.

While with Universal Creative, Tony worked with the theme park design development team on Universal Studios Dubailand. Also at Universal Creative, Tony was Music Director and Sound Producer, responsible for all sound effects, music selections, editing and mixing for all of “The Wizarding World of Harry Potter” land, including “Harry Potter and The Forbidden Journey,” “Dragon Challenge” and “Flight of the Hippogriff.”

Many of the Brooklyn native’s projects have received Thea and Telly Awards, including “Terminator 2 3D,” “Men in Black: Aliens Attack,” ‘Daytona USA,” and “The Amazing Adventures of Spider-Man – The Ride” to name just a few. In 1995, his company Soundelux won an Academy Award for sound effects editing for “Braveheart.”

About Electrosonic
Electrosonic, celebrating its 50th anniversary, is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, control rooms, and corporate meeting rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

Learn more about Electrosonic. Visit http://www.electrosonic.com

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The Garden Relies on Forscene to Accelerate Editing Workflow for ‘On the Yorkshire Buses’

LONDON — July 29, 2014 – Forbidden Technologies plc (AIM: FBT), the AIM-quoted owner and developer of the market-leading cloud video platform Forscene, announced that award-winning U.K. production company The Garden used Forscene to speed up its logging and editing workflow on the eight-part reality series “On the Yorkshire Buses,” a show it is producing along with GroupM Entertainment for Channel 5. Forscene ensured that all producers, editors, and loggers had immediate access to footage as soon it was ingested from the shoot location and that they could work on it simultaneously, thereby saving time and money.

“We started editing in London whilst we were still filming in Yorkshire. We had to be able to scan and log footage at the same time, without holding up the editing process. Forscene was the quickest, easiest way to handle our footage in preparation for the edit, and it was incredibly easy to set up and use,” said Claire Birch, production manager at The Garden. “With Forscene, everyone could log in and see the footage instantly and when you consider the cost of FTP uploads or sending DVDs from the location, Forscene was not only faster, but far more economical. Another bonus was that our post house already had a Forscene server, and several people on our team were already familiar with the tools.”

During the course of production, the production team used Forscene to view and log more than 2,000 hours of footage, from a variety of sources and in various formats. Whilst in edit, producers then worked in Forscene, alongside the editor, to search for and identify key moments.

Later, after filming was complete and the entire operation was back in London, producers used Forscene to fact check and quality control original rushes.

The Garden also considered Forbidden’s support to be a major advantage of using Forscene.

“The Forscene team were always on hand for advice and technical assistance, and the online support was brilliant too,” Birch said. “Our loggers would use the chat tab to speak to the Forscene support team for assistance and found that the technicians were prepared for anything.”

“The Garden is responsible for creating programmes for major broadcasters in the U.K. and beyond, and by using Forscene on this production, they were able to access the content as quickly as it could be filmed and ingested, which saved precious time on a production where time was of the essence,” said Greg Hirst, business development director, Forbidden Technologies plc. “The Garden’s situation is a good example of how Forscene can accelerate the workflow on any multisite production.”

More information about Forscene can be found at www.forscene.co.uk. More information about Forbidden Technologies can be found at www.forbidden.co.uk.

# # #

About Forbidden Technologies plc
Forbidden develops advanced technologies that enable media makers and broadcasters to create and distribute compelling viewing experiences to demanding worldwide audiences. Forbidden’s flagship product, Forscene, is the world’s most advanced cloud-based video post-production platform. It allows post-production professionals to make and deliver stories with high quality and production value in demanding, fast-paced landscapes. Quoted on the London Stock Exchange Alternative Investment Market, Forbidden partners with high-profile media and technology organisations, including Atos, BIM, deltatre, EVS, and Key Code Media. More information about Forbidden can be found at www.forbidden.co.uk. More information about Forscene can be found at www.forscene.co.uk.

Visit Forbidden at IBC2014, Stand 8.B38e

Photo Link: www.wallstcom.com/Forbidden/Forbidden-YorkshireBuses.jpg
Photo Caption: The Garden used Forscene to speed up its logging and editing workflow on the reality series “On the Yorkshire Buses.”

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AV Stumpfl gives Norwegian rock ‘Wings’ for Pink Floyd tribute concerts

YouTube video: watch?v=BeOmGmiHa-s&feature=youtu.be © Blank

Unique projection mapping, blending and warping in spectacular setting

Everyone is familiar with the idea of a rock concert, but few events take the word ‘rock’ as literally as the recent series of outdoor gigs staged in Norway by the Pink Floyd tribute band Puls. Against the dramatic backdrop of the Kilden-Fjæreheia quarry in Grimstad, the band played six sold-out nights to audiences who were wowed not just by the music but by the spectacular projection-mapped backdrop that was created courtesy of AV Stumpfl’s Wings AV multi-image control technology.

Event design and production for the Puls concerts was the responsibility of Norwegian company Blank. Tomas Håvik, CEO of AV Stumpfl’s Scandinavian distributor Preqbi AB, recalls the project’s technical origins:

“Blank were searching for a solution that could deliver edge-blending and warping of multiple projected images, automated according to a timeline and with built-in media serving capability. We advised them that Wings AV could deliver exactly what they needed, and once the decision had been taken, we helped them with education and support.”

Kent Bakke, General Manager at Blank, explains: “Our challenge was that we wanted to map the actual face of the quarry that provides a backdrop to the band’s stage set. The face of this ‘mountain’ measures about 55 metres wide by 20 metres high, and our render size for the project was 3120 x 1200 pixels, with a 256 pixel overlap between the two halves of the image.

“The Vioso module of Wings split the image into a multi-display, blending and warping the output of six high-output HD projectors with ease. We also used Vioso to create and edit the video content, building up an exact replica of the ‘mountain’ in 3D.

“The content was stored and played back using the Wings Engine media server, with the Wings Avio control protocol allowing secure and perfectly synchronised connection via MIDI to the show’s lighting-control desk. This meant that the video timeline was perfectly sync’d to the music and associated lighting cues, every step of the way.”

With an audience of around 950 people per night seated in a U-shaped amphitheatre exactly opposite the quarry wall, each show culminated in a spectacular climax that echoed the finale of Pink Floyd’s ‘The Wall’, with pieces of rock from the quarry appearing to break up and fall towards the stage and theatre.

Tobias Stumpfl, Commercial Director, AV Stumpfl, concludes: “From video editing to large-scale projection, interactivity and show control, our Wings platform does it all. With the support of local partners such as Preqbi AB and the superb creativity of customers like Blank, our technologies are delivering spectacular results that wow audiences all over the world.

“We congratulate everyone involved with the Puls concerts in Norway and look forward to many more exciting applications of Wings to come!”

Some useful links:

Facebook:
@AV.Stumpfl.Pro
@blank.no
@Preqbi-AB

More information about Preqbi AB can be found at www.preqbi.se.

About AV Stumpfl
AV Stumpfl is an award-winning Austrian company that designs, manufactures and markets a range of high-performance mobile and installation projection screens and multi-display and show control systems for professional and business applications. As a family business, its founders started the company out of a passion for the advancement of presentation and installation technologies. The product range is warranted for 24/7 usage. AV Stumpfl is located in Wallern, Austria, and is supported by a global network of distribution and service partners.
www.avstumpfl.com

Heuvelman Uses Riedel Gear to Create Integrated A/V, Data, and Intercom Solution for Rabobank Hockey World Cup 2014

Enabling Transport of All Signals Over One Cable, Riedel Equipment Significantly Reduced Complexity of Complete Media, Data, and Communications Infrastructure

SOEST, Netherlands — July 29, 2014 – Riedel Communications, provider of pioneering real-time video, audio, data, and communications networks, today announced that the Netherlands’ Heuvelman Sound & Vision B.V. used Riedel equipment to provide an interconnected digital TETRA system and intercom system for the Rabobank Hockey World Cup 2014, which concluded June 15 in The Hague. Throughout the field hockey tournament, the Riedel installation supported HD video transport for two LED screens in Kyocera Stadium, audio and video for displays across the press village, and flexible data and intercom communications across the event.

“Riedel gear was a perfect fit for this project because it alone would allow us to connect a digital TETRA system to an intercom system,” said Arjen Buijs, sales manager at Heuvelman Sound & Vision B.V. “The versatility and reliability of Riedel systems are always a compelling reason to use the gear, and they provided seamless interoperability and smooth performance throughout this tournament.”

The Rabobank Hockey World Cup 2014, consisting of 76 matches, represented both the men’s and women’s World Cup tournaments, and as many as six matches took place each day. To support the event, Heuvelman deployed Riedel’s MediorNet real-time network along with an Artist intercom system, using the compact Juggler digital trunked radio network solution to enable connection of 220 Motorola TETRA radios to the Artist system over MediorNet.

The high degree of interoperability among Riedel solutions allowed all signals to be carried over a single cable. This benefit significantly reduced the volume and complexity of cabling required for all A/V, data, and communications signals, in turn making it easier to establish cable runs including the lengthy connection from the control room to the stadium.

As a whole, the installation included five MediorNet frames, distributed across both the main Kyocera Stadium and the temporary GreenFields Stadium, as well as the Artist digital matrix intercom system for wired communications. The wireless Motorola radios were tied into this system via Riedel’s Juggler. Riedel provided on-site support throughout installation and testing, as well as remote support throughout the event.

“We are proud that Riedel gear is repeatedly selected for the world’s top sports events,” said David Bouma, sales manager, Riedel Benelux. “The Rabobank Hockey World Cup was one of the biggest sporting events in the history of The Hague, and Riedel equipment played a key role in supporting successful production and contributing to fans’ enjoyment of a premier field hockey event.”

Further information about Heuvelman Sound & Vision B.V. is available at www.heuvelman.nl.

Further information about Riedel and the company’s products is available at www.riedel.net.

# # #

About Riedel Communications
Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro audio, event, sports, theater, and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fiber backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Founded in 1987, the company now employs more than 400 people at 11 locations in Europe, Asia, Australia, and the Americas.

Visit Riedel Communications at IBC2014, Stand 10.A31

Photo Links:
www.wallstcom.com/Riedel/Riedel-EquipmentRackatHockeyWorldCup.jpg
www.wallstcom.com/Riedel/Riedel-KyoceraStadium.jpg

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Engineer John Delf Puts HARMAN’s Soundcraft Realtime Rack Plug-in Engine to the Test on 5 Seconds of Summer World Tour

SYDNEY, Australia – Having toured the United Kingdom, United States and Australia with Australian pop rock band 5 Seconds of Summer, front of house engineer John Delf was one of the world’s first professionals to put the HARMAN’s Soundcraft Realtime Rack to use. Delf has been using his Soundcraft Vi4 digital console in conjunction with the Realtime Rack—a massive library of plug-ins from Universal Audio, compatible with all Soundcraft Vi Series digital consoles.

“I have been using the Soundcraft Vi desk range for many years now so I was very excited when they announced the release of the Realtime Rack,” Delf said. “I had heard great things about the Universal Audio plug-ins, so the thought of using these in combination with the Vi4 that I was using on the 5SOS tour was a very exciting prospect.”

According to Delf, the Realtime Rack has opened up a new world of possibilities. “The onboard dynamics and effects on the Vi range are exceptional but to be able to scan through the entire UAD catalogue and insert other extremely tasty emulations is so cool,” he said. “I am able to put two or three different compressors and pre’s into all my important channels and switch between them, trying out which ones are best for each application.”

In addition, the Realtime Rack enables Delf to create processing and effects combinations that would not be practical if he was using outboard hardware. “At one point I was running three compressors on my kick drum microphone and it sounded great—not something that would have been practical using actual outboard gear,” he noted. “The advantage of the virtual emulations is that I can create chains that in the real world I could only ever dream of.”

Of equal important is the Realtime Rack’s ease of use—a crucial benefit on tours where every second is at a premium. “Once the Realtime Rack is cabled up to the Vi it’s very easy to add the effects to your existing channels and you can still use them in combination with the onboard desk dynamics and effects. All internal connections are done though the MADI interface so once you have the ins and outs sorted in the Realtime Rack, it’s very simple to link those into the channels.”

According to Delf, the diversity of effects at his disposal gives him a virtually limitless sonic array to choose from. “A kid in a sonic sweetshop probably best describes using it,” he quipped. “The only downside is that once you have used the Realtime Rack you will really miss it next time you have to do a show without one!”

“It just adds that extra bit of magic to your mix that was only previously available to studio engineers, but is now quite literally at the fingertips of the live engineer, via a great touchscreen. Thank you Soundcraft, I really loved using this piece of kit.”

For more information on John Delf’s recording studio, please visit www.theedgestudios.co.uk

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 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 global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

Kramer Introduces the VS−62H−Ultra HD Meeting Room Automatic Matrix Switcher

Kramer Electronics is pleased to announce the new VS−62H dual−output fully−automated, 6X2, HDMI matrix switcher. The VS−62H is a 4K router with a total data rate capability of 8.91Gbps (2.97Gbps per channel) supporting Ultra HD (4K) signals.

The VS−62H features a small desktop form−factor with embedded webpage control that allows full configuration of the system, in addition to the traditional Kramer P3000 protocol and front panel controls. The system features three levels of automation per−output (Last Connection, Priority and Manual Override). These simple modes allow for a controller−free operation which make the VS−62H an ideal switcher for environments such as meeting−rooms, classrooms and entertainment venues. The video detection for automation is based on actual video clock signal recognition.

The two independent outputs are geared towards dual−screen or video−conferencing applications with resolutions of up to Ultra HD (4K). As part of the automation support, there is also a display standby feature that automatically turns off an output to which no input is routed. In compliance with the Kramer digital standards, the system fully re−clocks and equalizes the signals, enabling advanced EDID configuration and HDCP support control.

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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.

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