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Sennheiser and Full Compass to Co-Sponsor Recording Clinic Featuring Leslie Ann Jones of Skywalker Sound and Wolfgang Fraissinet of Neumann

Grammy® Award Winning, Veteran Sound Engineer to Illustrate Recording Best Practices, Fraissinet to Discuss Large Orchestral Microphone Choices and Techniques

MADISON, WI, July 28, 2014: Audio specialist Sennheiser and Full Compass Systems, a national leader in Professional Audio, Professional Video, A/V, Lighting and Musical Instrument sales, announced they are co-sponsoring a very special audio recording clinic on Thursday, September 11th at the Full Compass facility in Madison, WI. The event will feature renowned, Grammy® award-winning sound engineer Leslie Ann Jones, who will demonstrate recording techniques and best practices when recording in the studio; and Wolfgang Fraissinet, President of Marketing and Finance at Neumann, who will discuss microphone choice and techniques for recording large orchestras, among other topics.

During this very special event, every attendee will receive a complimentary pair of Sennheiser HD 439 On-Ear headphones. In addition, attendees have a chance to win one of two valuable giveaways: a Sennheiser MK4 large diaphragm studio microphone with shockmount and a pair of Sennheiser MOMENTUM On-Ear headphones.

Leslie Ann Jones:

Leslie Ann Jones, who is Director of Music Recording and Scoring with Skywalker Sound, has been a recording and mixing engineer for over 30 years. She began her career at ABC Recording Studios in Los Angeles in 1975 before moving to Northern California in 1978 to accept a staff position at the legendary Automatt Recording Studios. There she worked with such artists as Herbie Hancock, Bobby McFerrin, Holly Near, Angela Bofill, and Narada Michael Walden, and started her film score mixing career with “Apocalypse Now.”

From 1987 to 1997 she was a staff engineer at Capitol Studios located in the historic Capitol Records Tower in Hollywood. She recorded projects with Rosemary Clooney, Michael Feinstein, Michelle Shocked, BeBe & CeCe Winans, and Marcus Miller, as well as the scores for several feature films and television shows. In 2003, she was nominated for a Grammy Award for Best Engineered Recording, Classical, and received a Grammy Award for The Kronos Quartet’s recording of Berg: Lyric Suite, which won Best Chamber Music Album. In 2012, she won a Grammy Award for Best Engineered Album, Classical for Quincy Porter: Complete Viola Works by Eliesha Nelson & John McLaughlin Williams.

Wolfgang Fraissinet:

Wolfgang Fraissinet, who will discuss microphone choice and techniques for orchestral recording, is President of Marketing and Finance at Neumann Headquarters in Berlin and serves as Chairman of the International Advisory Board of the Deutsches Symphonie Orchester located in Berlin. Since 2005, Fraissinet has been a producer of international music recordings, such as several masterpieces and symphonies from Beethoven, Brahms, Tchaikovsky, Bach, and Mozart. He has recorded a number of Jazz productions, which were produced both in Germany and the USA. He has also studied classical piano at the Berlin Conservatory.

Fraissinet joined Neumann in 1990 and shortly thereafter was appointed as General Manager for the global activities of Marketing and Sales at the company’s headquarters in Berlin. In 2010, Fraissinet added Neumann Studio Monitor Systems as a new business unit, which has since gained wide acceptance in the professional audio community, growing year over year since the launch of Neumann’s first studio monitor, the KH 120.

For more information on this very special event, visit the registration page at www.fullcompass.com/lajones. Seating is limited.

Sennheiser
Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Conn. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the scientific and engineering award of the academy of motion picture arts and sciences. For more information, please visit www.sennheiserusa.com.

Captions:
1. Leslie Ann Jones, Director of Music Recording and Scoring with Skywalker Sound
2. Wolfgang Fraissinet, President of Marketing and Finance, Neumann Berlin

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‘The Bachelorette’ Co-DP Andre Martinez Lights on Location with Zylight F8 LED Fresnel

LOS ANGELES – It never fails. There you are, waiting to shoot a gondola scene in Venice, Italy, but the gondolier is unable to dock at your predetermined – at pre-lit – location. What do you do?

If you are the co-director of photography for ABC’s popular reality PROGRAM, The Bachelorette, you grab a Zylight F8 LED Fresnel and get the shot.

“I needed another moonlight source from a balcony to accommodate the new landing point,” recalled Andre Martinez, who has worked on ABC’s The Bachelor and The Bachelorette for several seasons. “Running another cable and ballast to set an HMI would have taken a fair amount of time. In less than five minutes, my gaffer had a battery-powered F8 in place and we were ready to roll.”

Known for shooting in exotic locations, the shows are exciting but challenging to shoot. Martinez works to create a “beautiful quality of a light in a reality environment where cameras often see nearly 360 degrees,” he said. “I try to create a setting that not only looks nice but also appears free of equipment – and feels natural for the cast who aren’t trained to hit marks like an actor would.”

Both series are shot primarily using the Sony PDW-F800 camcorder, though the Canon 5D Mark III is used for time lapse, B-roll and underwater footage. Martinez also keeps about eight GoPro cameras on location and has used the compact Canon C300 for a few specific events. The Bachelor and The Bachelorette are shot in 720p to make the show look less “filmic” and more “real” for the audience, according to Martinez.

Interview setups are the most controlled parts of the shows. Often shot in tight quarters, contrast and depth of field are concerns. Martinez also tries to incorporate WINDOWS, lanterns and other potential light sources in the frame. “Our art department does a wonderful job helping to create a background environment,” he explained, “and then I try to light in relation to and motivated by the space and art direction. Often the light on the cast member is just a key and a back light with a soft bounce fill.”

Martinez used two Zylight F8 LED Fresnels during a 10-week stretch of shooting for the current season of The Bachelorette. “Transporting the F8 is quite easy. It fits in a relatively small road case, and the fact that it doesn’t require a ballast or head feeder cables makes it that much more self-contained,” he said.

“With the battery adapter, in no time I can have a ‘punchy’ light with spot/flood capabilities anywhere I need it,” Martinez added. “In the past, I’d often have to carry a backup PORTABLE GENERATOR for shooting an arrival scene or something far from our main location. The Zylight F8s give me all the light I need quickly without running miles of extra cable or carrying a second generator.”

Long before the 10-week shoot was over, Martinez was sold on Zylight. “I hope from now on to always have at least one Zylight F8 in my lighting arsenal for any project. It puts out a lot of light, especially considering that you can power it with a battery,” he said. “It has a really nice quality of light, and its color temp remains true throughout the dial as you dim it.”

ABOUT ZYLIGHT LLC
Founded in 2003, Zylight LLC is the leading manufacturer of intelligent LED lighting instruments for the film and video production industry. Every model in its easy-to-use lighting system produces fully calibrated bright white light, while some also provide a spectrum of adjustable colors without gels. Full wireless control and DMX integration are included, and AC or DC power options are available. The Zylight state-of-the-art LED system is truly the most unique and FLEXIBLE LIGHTING system on the market today. With more than 50 dealers worldwide, Zylight continues to develop innovative LED lighting solutions to help make your job easier. More Than Bright – Zylight. Find out more at www.zylight.com.

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WSDG A HIT FOR HONG KONG’S METROPLEX AT KITEC

HONG KONG: The Metroplex, a luxurious 9 screen multiplex cinema, opened this year in Hong Kong’s iconic Kowloon Bay International Trade & Exhibition Centre. Situated adjacent to the widely popular Star Hall, a 3600 seat scene of many major international concerts, The Metroplex is a self-operated independent cinema showing a wide range of films ranging from Hollywood blockbusters, to international award-winners, festival entries, local, specialty and independent films. Beyond its cutting edge technical advantages, Metroplex has the flexibility to cross platform live streaming, concerts & shows, multi-media conferences, and many other events. To support these presentations, the complex was designed to host premieres, dinners, cocktail parties, and business gatherings.

An investment property of Hopewell Holdings Limited. The complex reflects the Group’s vast experience in operating large-scale venues, and it establishes a new level of lavish comfort for filmgoers. Their unique concept was to bridge the gap between film and music by creating crossover events and festivals that would benefit from the venue’s diverse dining, socializing, large and small theaters and intimate screening rooms. Deeply concerned with the need to provide their audiences with the highest quality audio. To achieve that level of acoustic excellence the developers retained the services of the Walters-Storyk Design Group.

Company Principal/Director of International Relations, Sergio Molho reports that WSDG provided a comprehensive review of the architectural master plan layouts and prepared a detailed analysis of the acoustic package recommendations provided by a local consultant. Particular attention was addressed to issues of Sound isolation and (RT60) internal room acoustics. The client’s primary concern was to assure absolute Sound isolation between the movie theaters and the large event hall located on the upper floor specifically with regard to NC and STC parameters. House #1, the Metroplex’s largest theater, accommodates an audience of 430. The five other public theaters (#2-6) seat groups of 151, 138, 136, and 97 guests respectively. Additionally, three plush VIP Screening Suites (#’s 7,8, 9) have been created to host elite clusters of twenty guests each. Theaters 1 & 3 and all three of the VIP Suites offer opulent reclining lounge chairs, state of the art lighting, exquisite interior designs and Dolby® Atmos™+ Dolby Surround 7. 1 sound. The four other theaters are outfitted with Dolby Surround 7.1. The futuristic lobby and dining areas provide an unsurpassed ambience for elegant gatherings.

“These theaters are among the most sumptuous we have ever seen,” Sergio Molho concludes. “The developers spared no expense in creating a new standard of luxury and comfort for their guests, no extravagance was overlooked. Their mission statement was clear, ‘we are here to pamper our audience and to provide the ultimate environment for ideal viewing and listening excellence’. We made a special point of doing everything possible to help them reach that goal.”

Photos

1. Metroplex Lobby
2. Metroplex Cinema 1
3. Metroplex Dining Hall
4. Metroplex VIP Screening Suite #8

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Walters-Storyk Design Group has designed over 3500 media facilities worldwide. Credits include Jimi Hendrix’s 1969’s Electric Lady Studios; NYC’s Jazz At Lincoln Center and Le Poisson Rouge; broadcast facilities for The Food Network, ESPN, and WNET; major education complexes for NYU and Berklee College of Music Boston and Valencia, Spain; media rooms for Hoffman La Roche, and other corporate clients. Recent projects include NYC’s TEC award winner Jungle City Studios and private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk (an adjunct professor at Berklee College,) Beth Walters, Sergio Molho and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications.WSDG has collaborated with such noted architects as Frank Gehry, Rafael Vinoly, Norman Foster, Oscar Niemeyer, Phillipe Stark and Nicholas Grimshaw. WSDG is a seven-time winner of the prestigious NAMM TEC Award for outstanding achievement in Acoustics/Facility Design. The firm maintains offices in NY, SF, LA, Miami, Buenos Aires,Belo Horizonte, Basel, Beijing, Barcelona, Mexico City, St,. Petersburg and Mumbai.

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Flux releases IRCAM SPAT v3 for AAX/AU/VST

Flux completes migration to v3 with the release of SPAT v3 adding support for AVID AAX and 64 bit systems.

Oceanside, California, USA – Flux Sound and Picture Development of Orleans, France is proud to announce the release of SPAT v3, a positional audio plug-in combining three independently definable surround reverbs in a single plug-in with the ability to position and animate, with full automation, mono and stereo sound sources within these reverberant spaces.

SPAT may also be used to position and animate sources with all reverbs disengaged. This advanced feature set makes SPAT an indispensable tool for post-production professionals for ADR.

SPAT has been embraced by many within the community of orchestral composers as a tool for placing instruments on a virtual performance stage for position-correct and convincing orchestral emulations.

SPAT v3 adds support for AVID’s new AAX Native plug-in format. In addition to AAX, Audio Units and VST remain supported on both Mac and Windows. SPAT v1 remains available for users of RTAS systems.

All Flux v3 audio tools support both 64 and 32 bit systems with sample rates up to 384K. The Flux v3 platform delivers exceptionally rich, informative and responsive metering with near zero CPU cost by distributing UI processing to your systems’ GPU. All Flux audio tools are 8-channel ready for surround applications up to 7.1. The only exception is the distinctly named Stereo Tool freeware.

SPAT v3 is available to current SPAT users for no charge. Download SPAT v3 here: www.fluxhome.com/download

In celebration of both the release of SPAT and the completion of the Flux migration to v3, Flux is offering SPAT, the IRCAM TOOLS bundle containing SPAT and all upgrades to SPAT at a 30% discount, effective immediately.

Locate an authorized dealer for Flux and IRCAM Tools by visiting the exclusive Flux US distributor: www.AudioSage.com.

About Flux
Flux Sound and Picture Development of Orleans, France are developers of advanced software audio tools compatible with all major DAWs. Flux specializes in advanced dynamic control, rich real time analysis and EQ. Flux produces the IRCAM Tools line of psychoacoustic post-production tools in collaboration with the prestigious IRCAM Institute of Paris.

Montreal Jazz Festival Front Loaded With Yamaha Consoles

Guy Vincent

BUENA PARK, Calif.—From June 26-July 5 at venues across Montreal, the annual Montreal Jazz Festival featured a boat load of musical guests from Earth, Wind & Fire, B.B. King, Tony Bennett, and Diana Krall, to Aretha Franklin, Diana Ross, Terence Blanchard, and Nikki Yanofsky to name a few.

Solotech of Montreal provided the majority of the audio production for the 30 stages and stacked them with Yamaha digital audio consoles. Yamaha Commercial Audio Systems pitched in for five of the stages: Scene TD, the main outdoor stage, was outfitted with two Yamaha CL5 digital consoles and three Rio-3224D input/output boxes. Two CL5s and two Rio-3224Ds were in position at Theatre Maisonneuve, Lounge Heineken used a QL5 and one Rio-3224D, and Club Soda and Savoy both had new Yamaha QL5 digital audio consoles. The Savoy also used a Rio-3224D.

Front of House engineer, Guy Vincent, has been mixing sound for over 30 years and says he has worked with a lot of digital boards but his favorite is the Yamaha CL5. “The feature I like the most Is the Premium Rack. It is amazing how warm the sound is by activating any of the plug-ins. I also like the custom faders.” Vincent used a CL5 at the Maisonneuve Theater during the Festival mixing Terence Blanchard and others. He is currently on tour with Florence K using a CL5.

Front of house engineer, Richie Forte, used his own personal Yamaha LS9-32 console at the Metropolis during the Festival for artist Nikki Yanofsky. “According to my dear friends at Yamaha, my LS9 was one of the very first in eastern Canada, a fact I’m very proud of,” states Forte. “I’ve taken this little workhouse and pushed it beyond its limits. With the use of a fiber optic snake capable of transporting 32X8 of the LS9′s 32X16 i/o, plus one channel of bi-directional high speed EtherSound transport built in, I am able to use the two MY card slots on the LS9 to connect to my two Yamaha SB168-ES stage boxes for a total on stage analog i/o of 64X24.”

Richie Forte

Forte said that his current console as well as the two Yamaha digital consoles he previously owned, have preformed flawlessly and reliably. “It’s this ease of use, size, weight, flexibility, and “bang for buck” price point that has kept me a loyal Yamaha user and owner since 1997.” He’s now in Europe and using a Yamaha CL5 and says he’s “truly blown away by the sound of the console” and equally happy that its flexibility and workflow has been greatly refined and fulfills everything on his wish list. “I’m looking forward to upgrading to a QL5, my fourth Yamaha console very soon!”

Stephane Grimm

Stephane Grimm, who mixed The Jordan Officer Trio and Betty Bonifassi Chants on a new Yamaha QL console at both Club Soda and Club Savoy, said he’s really into the new QL and has used a Yamaha CL a number of times. “I was really impressed by the QL, and having the touch screen makes it totally easy to use, Grimm says. The four user layers is a wonderful feature especially now that you are able to color identify the faders, making it impossible to miss the channel you’re looking for. I also like the fact that it is fully compatible with the CL series, without even having to convert the file. WOW!” Grimm also said the new plug-ins is a great feature. “The 2-band Dynamic EQ, works very well especially on vocals and other instruments that change tones.”

For more information on Yamaha digital consoles, visit www.yamahaca.com.

-END-

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

HARMAN’s AKG WMS4500 Wireless Microphone System Delivers True Sounds to Danny Janklow’s Sound Barrier

LOS ANGELES, California – Dubbed the “Charlie Parker of the 21st Century” by Terell Stafford, Danny Janklow recently completed a multi-faceted project that represents the modernization of tap dancing and jazz music. While using HARMAN’s AKG WMS4500 wireless microphone system, he created Danny Janklow’s Sound Barrier to celebrate America’s musical roots while moving forward with an innovative sound, breaking genre boundaries with soulful and vibrant music.

Having used AKG equipment for his performances in the past, Janklow relied on the AKG WMS4500 wireless microphone system and the SR4500 stationary receiver to project clear and audible sounds from his saxophone. For this particular project, he performed at Herb Alpert’s Vibrato Jazz Grill, the premier jazz space in Los Angeles.

“The sound of AKG’s microphone system cuts through the entire venue, and everybody heard it clearly,” said Janklow. “Even during my past performance at the outdoor stage of the LACMA Museum, the sound was able to cut through an auditorium of 10,000 people. However, for this musical story to be told, we needed both the tap dancers and great music. Thanks to my AKG system, I was able to deliver the right sounds to accompany the dancers.”

The AKG WMS4500 system is known for its flexibility and liberates artists from burdening handheld microphones. For Janklow, this is an integral part of his show, as he needed the freedom to interact with onstage tap dancers, and with the audience.

“I played all sorts of music since the age of 11, including jazz, classical and R&B, and I have never had a microphone system that was so convenient. It was truly life-changing,” said Janklow. “Also, the clarity that I hear during shows and recordings is incomparable. It has a clear definition of the timbres, it cuts very nicely and best of all, it blends well with other musicians onstage.”

For more information on Danny Janklow, please visit www.dannyjanklow.com

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.

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DPA Microphones Announces Trade-Up to d:fine Promo

LONGMONT, CO, JULY 28, 2014DPA, Inc., the U.S. arm of DPA Microphones, is pleased to announced a new trade-up rebate program for its d:fine™ Headset Microphones. Participants will receive a $100 mail-in rebate for every purchase of select d:fine Headset Microphones, provided they additionally trade-in a competitor headset. The promotion is only valid on purchases made from an authorized U.S. dealer between July 28, 2014 and October 3, 2014.

The DPA d:fine Headset Microphones raise the bar for head-worn microphone solutions. Offering industry-leading sound quality, the mics are ideal for singers, public speakers, actors, musicians, house of worship leaders and broadcast professionals who insist on superior voice reproduction, comfort, ease of setup and a discreet look. They are available as both directional and omnidirectional mics, with single- and dual-ear mounts, to cover a broad range of applications. They are also available in black, brown and beige with a variety of boom lengths and adapters for every professional wireless system.

“This trade-in program is the perfect, cost-effective way for current and potential DPA users to upgrade the tools they need most,” says James Capparelle, director of marketing for DPA, Inc. “We hope that all headset microphone customers take advantage of this limited-time promotion. We’re confident that it will not only appeal to current DPA enthusiasts, but will also open the doors to an array of new DPA fans.”

This special program is available to all U.S.-based microphone customers. In order to receive a rebate for each headset, customers must trade-in an equal number of competitor headset microphones. The following DPA and competitor microphones are included in the promotion:

Eligible d:fine Headset Mics:

d:fine Directional
d:fine Omnidirectional
d:fine 88 Directional
d:fine 66 Omnidirectional
Both single- and dual-ear mounts, as well as all colors, boom lengths and connector types are part of the campaign.

Offer excludes the classic d:fine 4066 and 4088 Headset Microphones.
Eligible Non-DPA Head-worn Mics:

Audiotechnica – MicroSet or Microearset Series
Countryman – ED, E6, H6 or Isomax Series
Crown – CM Series
Samson – SE50 or DE50
Sanken – HWM Series
Sennheiser – Ear Set, HS or HSP Series
Shure – MX, WBH or WCM Series

To claim the $100 rebate, customers must mail in a completed form, proof of purchase of the new DPA d:fine and the non-DPA headset that is being traded to DPA’s U.S. office, postmarked no later than October 31, 2014.

For more information about DPA, Inc.’s promotion, please visit the Trade Up to d:fine promotion info page or contact your local authorized dealer.

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to 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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PreSonus Helps Avengers S.T.A.T.I.O.N. Come Alive

New York, NY — July 2014… After nearly half a century, more than 700 comics, and a dozen motion pictures, fan fascination with Marvel’s The Avengers franchise shows no sign of slowing down. The newest iteration, Avengers S.T.A.T.I.O.N. (Scientific Training And Tactical Intelligence Operative Network), has just opened its doors in Manhattan’s Discovery Times Square, in the home of what was once the famed New York Times building.

As the exhibition’s audio supervisor, Mark Edward Lewis, explains, Avengers S.T.A.T.I.O.N., produced by Victory Hill Exhibitions in association with Marvel Entertainment, is “an amazing, interactive, multimedia integration of Marvel characters that we love, with cutting-edge audio and video technology, in a giant 10,000-square-foot exhibit housed in one of the most celebrated legacy venues in America.”

Visitors to Avengers S.T.A.T.I.O.N. can enjoy a wealth of exhibits that both excite and inform — everything from exploring Captain America’s Birth Pod and the Tesseract Portal Device to soaring in a flight simulator and witnessing a particle accelerator. “It’s very science-oriented,” says Lewis. “Each of the rooms is a different kind of science that is fun, but you’re also learning about DNA and gamma radiation and bio science and all sorts of other things.”

Sound plays an important part of the exhibit’s interactive experience, with Lewis and senior sound designer Frank Serafine creating a powerful sonic environment to complement the exquisite visual experience. As Serafine explains, the challenge was not only to create an amazing sonic experience but to do so in an environment that bore all the earmarks of an acoustical nightmare.

“The biggest problem we had was isolation,” he says. “The space is basically a concrete basement with parallel walls, and we had to find a way to keep the sound from each part of the exhibit from leaking through to the rest of the space.”

Lewis and Serafine found the solution by bringing in a range of PreSonus® near-field monitors, including Eris™ E5 and E8 and Sceptre™ S6. “The PreSonus monitors – the S6 in particular — are some of the most directional speakers I’ve ever heard,” says Lewis. “They enabled us to focus the sound within a really narrow area where people would be standing, while keeping it isolated from the rest of the exhibit.”

The 5.25-inch E5 and 8-inch E8 feature Kevlar® low frequency transducers, low-mass silk-dome tweeters, responsive Class AB amplification, and professional acoustic-adjustment controls. The S6 features a unique coaxial transducer, combining DSP time-correction and point-source design for a symmetrical soundstage and micro-definition imaging.

To handle low frequencies, Lewis and Serafine chose the PreSonus Temblor™ T10 subwoofer. The T10 features a 10-inch, glass-composite, low-frequency transducer and a front-firing, bass-reflex acoustic port. “For us, the T10 was the ideal sub for delivering strong bass frequencies in this kind of enveloping room,” says Lewis. “Because the T10’s port is in the front, sound doesn’t get projected out the back and bounce off the ceiling and walls. Anywhere we had an enclosed space, the T10 was the perfect thing for us.”

The need for multiple tracks of audio playback was another area where PreSonus offered an ideal solution, with Lewis and Serafine opting for AudioBox™ 1818VSL and 22VSL multichannel interfaces.

“When you’re running 220-plus speakers and 168 discrete channels in a 10,000 square foot exhibit, you’ve got to have DSP,” Lewis observes. “What’s great about the AudioBox VSL is that it’s got more than enough DSP per channel — not just EQ, but compression, limiting, even some reverb. We’ve got discrete control of the sounds, which makes it a great alternative to using a lot of expensive DTS encoders.”

Serafine points to wireless iPad® control as one of the most important advantages in using the AudioBox 1818VSL. “Once the exhibit is set up, all of these workstations will be behind walls,” he explains. “Having the ability to mix and adjust remotely via an iPad means we don’t have to open up a wall to adjust the sound. It’s a huge advantage.”

PreSonus Studio One® DAW was more than up to the task of playing back the multiple tracks of music and effects. “Some of the soundscapes are comprised of a large number of tracks, and stability is not something we can compromise on in a setting like this,” remarks Serafine. “Studio One is one of the most rock-solid programs out there, and it sounds fantastic.”

Lewis sums it up: “As multimedia artists, audio is one of the most immersive tools we have. If it’s done well, it becomes an integral, powerful, but almost unconscious part of the experience — passive but moving at the same time. The sounds we choose, the way we mix them, and the equipment we use to convey that to the audience, are all critical to the experience. And PreSonus is a big part of that experience.”

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About PreSonus

Founded in 1995, PreSonus Audio Electronics, Inc., is a leading designer and manufacturer of audio-recording and live-sound software, hardware, and related accessories. PreSonus’s software, microphone preamps, signal processors, digital audio interfaces, digital mixers, control surfaces, loudspeakers, and other products are used worldwide for recording, sound reinforcement, broadcast, sound design, and Internet audio.

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Lee Boylan Joins the PreSonus Europe Team

Belturbet, County Cavan, Ireland, July 2014… Highly respected multi-instrumentalist, producer, and engineer Lee Boylan has joined the PreSonus® Europe Ltd. team as a product specialist. In his new position, Boylan will demonstrate PreSonus products to dealers and distributors in Europe, the Middle East, and Africa; provide technical support; and generally assist PreSonus distributors in the region.

“We’re delighted to have Lee on our team,” says PreSonus Europe Ltd. Managing Director Michelle Lynch. “His knowledge, experience, and ability to work with a wide variety of people are exactly what we’ve been looking for.”

“I’m very excited to get the opportunity to work with such a passionate and innovative company as PreSonus,” responds Boylan. “It’s a pleasure to be given the task of showing people how great these products are every day.”

In addition to his responsibilities with PreSonus, Boylan operates a recording studio and works as a live-sound engineer in his native city of Dublin, Ireland. He had a number 1 hit album in Ireland with his band Fight Like Apes and has played in a wide variety of other bands, including drumming with John Illsley (ex-Dire Straits). Boylan also holds a Masters degree in Music and Media Technology from Trinity College Dublin.

For more information about PreSonus, please visit www.presonus.com.

***

About PreSonus Audio Electronics, Inc. – Founded in 1995, PreSonus Audio Electronics, Inc., is a leading designer and manufacturer of audio-recording and live-sound software, hardware, and related accessories. PreSonus’s software, microphone preamps, signal processors, digital audio interfaces, digital mixers, control surfaces, loudspeakers, and other products are used worldwide for recording, sound reinforcement, broadcast, sound design, and Internet audio.

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Thunder Audio Rolls and Roars with L-ACOUSTICS

Thunder Audio's Tony Villarreal (left) and Paul Owen with a few of their new L-ACOUSTICS K1 enclosures

Detroit/Nashville sound company purchases K1 system after taking K2 on Vampire Weekend tour

LIVONIA, Michigan — After putting a new K2 loudspeaker system through its paces – including a recent trek on Vampire Weekend’s North American tour leg – Thunder Audio, Inc. has expanded its inventory with a large-format K1 system from L-ACOUSTICS.

According to Thunder Audio Business Development Manager Greg Snyder, the company is currently taking delivery of 48 K1 enclosures, as well as bringing the rest of its total L-ACOUSTICS inventory up to 36 K2 and 24 KARA elements, 18 K1-SB and 34 SB28 subs, six ARCS II and 22 LA-RAK, each loaded with three LA8 amplified controllers. An additional 48 K2 are also on order for the first quarter of 2015.

“K1 has become the industry’s first choice for live audio reinforcement systems, but K2 is the reason we finally became a member of the L-ACOUSTICS family,” says Snyder. “It’s a stellar system for arena tours, like Vampire Weekend, as well as the perfect support box for K1 on larger stadium and festival shows. We are thrilled with the linearity in performance across L-ACOUSTICS’ entire product range and excited about the solutions that these systems will provide for our clients.”

Vampire Weekend performing on Thunder Audio's K2 system in Chicago

Client response has, indeed, been very favorable. Neil Heal, Vampire Weekend’s FOH engineer since late-2007, commented on his use of Thunder Audio’s K2 rig. “The typical configuration on our most recent American tour leg was left and right arrays of 14 K2, plus eight KARA outfills and four SB28 per side, all of which sounded fantastic. It seemed odd to be using so few subs, but more than that would have been overkill with K2, which is such a full range enclosure with a really nice usable low end. Vampire Weekend’s mix is all about vocal and instrumental clarity, and I could literally run the rig without subs in most arenas, but having just a few of them more than adequately filled out the low end.”

“We used K2 both indoors and outdoors, with arrays ranging between eight and 14 boxes per side, and I’m very impressed with the sonic consistency we got from night to night,” he continues. “K2′s ‘steerability’ with Panflex is also really nice in the event that Jonny [Winkler, Thunder Audio FOH systems engineer] had to hang the arrays near a glass wall or whatever; we could aim the top end away from it, which is great.”

Thunder Audio’s Winkler appreciates not only the fidelity of K2, but also the ease with which the system flies and strikes. “We flew the rig so fast each day that the lighting guys and carpenters were angry with me,” he laughs. “It takes longer to get the pins pre-set than it does to fly it, and that doesn’t even take that long. We have several other manufacturer’s boxes in our inventory here at Thunder Audio, and this is by far the fastest and easiest. I’ve flown an entire K2 rig totally by myself in less than four hours.”

Vampire Weekend heard via L-ACOUSTICS K2 at Chicago's UIC Pavilion

As for Heal, his only regret is that he didn’t have the system earlier. “The band was out on the road for 17 months and carried another PA for most of the tour because K2 simply didn’t exist when we started,” he says. “But I really prefer K2. It’s awesome. I’d love to have it every night, without a doubt. But it’ll be available on the next tour, and I’ll certainly take it out again. Plus, our festival stops this summer are on K1 mains with K2 outfills, which is just perfect.”

Thunder Audio Vice President Paul Owen sums up his investments by adding, “This was a huge undertaking by Tony [Villarreal, President] and I, and we had to take a lot into consideration before moving forward with K1 and K2: popularity, demand and, of course, availability. K1 is the first choice on the majority of riders that we handle and the predominant system when it comes to festivals. There’s no denying its sheer power and quality. We feel that K1 and K2 are our best venture to date for attracting new customers and facilitating old ones, and we’re very excited for what these systems can do for our clients and company’s future.”

For more info on Thunder Audio, visit www.thunderaudioinc.com.

L-ACOUSTICS is a leading innovator and manufacturer of high-performance loudspeakers, amplifiers and signal processing devices for touring and installed sound markets. Known around the globe for pioneering and championing the modern line array loudspeaker concept with V-DOSC, the company has received numerous accolades for its K1, K2, KUDO, KARA, KIVA, ARCS, XT coaxial loudspeaker systems and SB line of subwoofer enclosures, all powered and processed with the LA4 and LA8 amplified controllers in fulfillment of a “total system approach.” Product distribution and customer service for North America is handled by L-ACOUSTICS’ subsidiary in Oxnard, California.

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Contact:
L-ACOUSTICS US
2201 Celsius Avenue, Unit E, Oxnard, CA 93030
Tel: 805.604.0577 / Fax: 805.604.0858
Email: info@l-acoustics-us.com / Web: www.l-acoustics.com

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