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The Wave Builds With Martin Audio Subs

The Wave WS218Xs

Las Vegas, NV––Specializing in audio production, rentals and sales, The Wave recently added a dozen of Martin Audio’s popular WS218X subwoofers to its growing inventory.

Asked about the purchase, owner Scott Fisher responds, “We wanted additional low end reinforcement for live shows and DJ events and chose the Martin Audio WS218X because it’s a good sounding, high output subwoofer from a brand known and respected by engineers and audio people around the world. Getting these was a win-win all the way around.”

Scott also has a full Martin Audio monitor rig consisting of 14 x LE1200s, which he likes because “they’re rider friendly, work well and are very reliable.”

The first outing for the new subwoofers was a country concert at Drai’s Nightclub at the Cromwell Las Vegas and Casino featuring Texas artist Pat Green as headliner and opening act The Dirty River Boys.

As Scott explains, “the concert took place during National Finals Rodeo, a 10-day event when Las Vegas gets very country because the event sells out the Thomas and Mack Center which seats over 18,000 people.

“In terms of the show, everything went really well with the subs even though it was the first time out. The FOH engineers for both bands, Luke Wilbanks for the Dirty River Boys and Braxton Henry for Pat Green, were super happy. They thought everything sounded great.

“The guy in charge of sound at Drai’s, who usually prefers another brand of speakers, thought the WS218X’s sounded really good and tight. He we was so impressed that we already have other shows booked in the room.”

“After the show,” Scott concludes, “my systems tech, who was also very impressed, told me that we’d made a really good purchase. I knew the WS218X’s were going to perform well, but the overall reaction has been way more positive than I expected.”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

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SSL Matrix Used For Recording Much Anticipated New Faith No More Album

“The Matrix has been a great box for tracking.”

OAKLAND, CA – After a 17-year hiatus, seminal American band, Faith No More, are nearing completion of a new album. Bassist and songwriter Billy Gould is also producing the album and has used his SSL Matrix to streamline the recording process. Faith No More are cited by many artists as ground breakers and a key influence thanks to their distinctive sound, explosive energy and fusion of metal with a wide range of other stylistic influences. They have enjoyed huge commercial success, scooped numerous awards and are known for approaching recording and production as a part of their creative process. For this new album, the band members wanted the creative freedom of working in their own private rehearsal space ‘Estudios Koolarrow.’

Billy Gould with SSL Matrix“Matrix was a great way to get a lot of recording done within the small footprint needed to fit this space,” says Billy. The Matrix is Billy’s personal console which he has been using for other production projects, some of which can be found at the excellent Koolarrow Records web site. “Previously, I had been working in the box and having a real master control section and analogue channels have been a major step forward. The last album we (FNM) recorded, in 1997 (“Album of the Year”), was done in a full-service studio, on two-inch analogue tape, although we did utilize an early Pro Tools system at the time, which was a first for us. Back then the state of the business was totally different; as a musician, recording was a process that was usually overseen by producers and engineers in commercial facilities. Something like the Matrix allows us to be creative in our choice of recording environment. It sounds good and is manageable enough for an easy install and to get up and running.”

“The Matrix has been a great box for tracking,” continues Gould. “Simply doing things like setting up monitor levels happens very quickly. It’s great having real input channels, being able to use our own selection of outboard mic pre’s, blending mic channels using real faders and setting record channels with the touch of a button. Everything is done within the same console. I like this thing!”

The new Faith No More album is slated for a 2015 release. Koolarrow Records releases a steady stream of material from an eclectic mix of artists from around the world.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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Biamp Systems Appoints Alex Kalejs to Growing Global Sales Team

Kalejs to serve as regional manager for Northwestern North America

BEAVERTON, Oregon — Dec. 17, 2014 — Biamp Systems, a leading provider of innovative, networked media systems, today announced the appointment of Alex Kalejs as regional manager, Northwest region of North America. Kalejs will be responsible for strategic sales and support encompassing the entire Biamp(R) product line, as well as nurturing partnerships as part of the company’s commitment to superior customer service. more

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Highlands Church Breaks Audio Barriers With HARMAN Soundcraft Vi3000 Digital Console

Scraft_HighlandsChurch copySCOTTSDALE, Arizona – To streamline its Sunday services, rehearsals and weekly events, Highlands Church in Scottsdale recently acquired a HARMAN’s Soundcraft Vi3000 digital console as part of a long-overdue audio equipment upgrade. As the previous system was constrained by its limited capacity, the Church now enjoys a massive amount of channels with the addition of a Soundcraft 64×32 Stagebox, enabling a more refined experience in the 1,500-seat sanctuary.

In addition to the standard house of worship environment, the sanctuary also serves as a rental venue for some local nonprofit groups. To allow better access for volunteers and guest engineers from the local community, Technical Director Luke Taylor chose the Vi3000 console for not only its high channel count, but also its low total cost of ownership and ease of use.

“After the capabilities of the Vi3000 were announced, I became very interested in the console for its value and accessibility of controls,” said Taylor. “We were able to cut out a lot of analog equipment and cables from our inventory, streamlining the whole operation. I especially like hooking up via Dante for multi-tracking, so that we can stream live events on our websites.”

For Taylor, the Vi3000 console stood out from other brands thanks to its straightforward, analog-like design, allowing instant responses for operators. The Vi3000 is loaded with such features as separate output buses on every channel and Soundcraft FaderGlowTM illumination on each fader.

“Since we have a lot of volunteer operators that rotate on a schedule, I really appreciate the fact that I don’t have to tweak settings that are five layers deep anymore like with some of the other boards that I’ve worked with,” said Taylor. “Features like FaderGlow are great shortcuts for newer users and definitely help me train them to become comfortable quickly while using the board. We wanted to see as many channels at one single time in a clear layout, and the Vistonics II™ touchscreen also delivered.”

Besides convenient features, the Vi3000 is renowned for superior sound due to its SpiderCore DSP engine with onboard Lexicon FX processing. “It sounds great,” confirmed Taylor. “I like the preamps and the EQ’s a lot more than some of the competitors. It takes a very short period of time to get everything dialed in and sounding the way I want it during rehearsals.”

For more information on Highlands Church, please visit http://highlandschurch.org

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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Symetrix Announces 2014 US Rep of the Year and International Distributor of the Year Award Recipients

Outstanding sales growth and support for the leading DSP brand underpin the awards given to Production Audio Video Technology (PAVT) Pty and Bormann Marketing (pictured).BormannGroup wTrophy2
 

SEATTLE, WA — 17 DECEMBER 2014: In the continuation of a long-term tradition to acknowledge excellence among its business partners and associates, digital signal processing specialist Symetrix has announced that Bormann Marketing has won Symetrix 2014 US Rep of the Year, while Production Audio Video Technology (PAVT) of Melbourne, Australia, has been named International Distributor of the Year.

Based in the City of Hopkins, Minnesota, Bormann Marketing is responsible for Symetrix sales and promotional efforts throughout the Mid-West. A previous recipient of the Rep of the Year award in 2012, Bormann Marketing has fully surpassed all of its sales objectives in the last 12 months and registered the greatest year-on-year growth by US territory.

Principal Jon Bormann comments: “I am delighted to accept this honor on behalf of our entire crew, who are completely dedicated to helping Symetrix grow. We believe wholeheartedly in the company, and feel that the recent product developments and introduction of Dante support for the SymNet range have really helped to broaden the brand’s appeal in recent years. Moving forward we will continue to support Symetrix with our present extensive training programs.”

Tim Murray, who heads western US regional sales for Symetrix, adds: “The fact Jon and his team have won Rep of the Year in two of the last three years speaks volumes. As we continue to sustain our overall corporate growth through evolving technology and product offerings, Bormann Marketing has been at the forefront of our independent rep force’s efforts with partner trainings, showcase events and, of course, exceeding sales goals to name just a few.”

Consistently strong brand representation and the successful provision of substantial Symetrix systems to high-profile customers, including the University of Sydney, are among the factors that informed the selection of Australia’s PAVT as International Distributor of the Year.

Graeme Stevenson, PAVT managing director, comments: “It’s great to be acknowledged for the hard work put in by our team to help build the Symetrix brand from a high quality product with a niche user base to something with greater traction in the Australian/NZ AV industry. We’ve made a big push to ramp up our Symetrix training offering, and have been actively involved in supporting a number of customers who have made the move to use Symetrix for the first time. Essentially, we’ve rolled up our sleeves and ‘mucked in’ to make sure our end-user clients and integration partners are all comfortable using Symetrix products, and are happy with the results.”

Mark Ullrich, international sales manager for Symetrix, adds: “PAVT provides exceptional attention to all aspects of distribution, from sales and marketing, to technical support and training. They create immense value for the customer and the result has been impressive growth in a competitive marketplace. I applaud and thank the entire PAVT team for their outstanding efforts, and look forward to continued collaboration and success in the coming year.”
//
www.symetrix.co
www.bormann.com
www.pavt.com.au

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ABOUT SYMETRIX: Dedicated to making life sound better for almost 40 years.

With a current and broadly-based product portfolio that encompasses both open architecture (Edge, Radius 12×8, Radius AEC) and fixed architecture (Jupiter, Zone Mix 761) solutions, Seattle, USA-based Symetrix is the global leader in digital audio signal processing. From a founding base in the studio and MI communities, Symetrix has emerged to take a defining role in commercial audio, its products now a default choice for large-scale installations in performance venues, sports arenas, educational establishments and many more. Benefiting from a worldwide distribution network that has seen its products specified in over 100 countries, Symetrix nonetheless continues to spearhead the entire design and build process from its Seattle HQ. The manufacturer is now enhancing its readiness for a new era of AV networking through its licensing partnership with Audinate, whose world-leading Dante media networking solution is fully integrated into the SymNet DSP platform.

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Clay Paky Fixtures Hit the Road with Fleetwood Mac

SF8A5170The iconic rock band Fleetwood Mac never stops thinking about tomorrow – and planning their next tour to delight fans. For their current “On With the Show” tour a complement of Clay Paky A.leda B-EYE K20 LED-based moving lights and Sharpy Wash lights have been specified by lighting designer/production designer Paul “Arlo” Guthrie.

The band launched the 40-city North American tour September 30 and, after playing to packed houses, added at least 28 more dates in a second leg, which will begin in January 2015. “On With the Show” marks the first full-member tour for Fleetwood Mac since 1997.

“Designing for Fleetwood Mac is always a challenge since you’re dealing with five different personalities,” says Guthrie. He began by giving them “the biggest, cleanest, most open stage set up I could, so every single seat in the house gets a clear view of the stage. I made sure to remove clutter so everyone can see the band members.”

Guthrie added a big upstage videowall, three above-the-head ribbon videowalls and 12 lighting pods.

A dozen B-EYE K20s are on the audience side of the pods to light the fans. “They do pixel effects and perform very quick, easy and huge washes from 12 watts – they can light the entire audience,” Guthrie says. “We don’t use smoke or haze so we don’t really use beam effects. But we do use a lot of pixel animation. For some songs the fixtures replicate what’s happening on the videowall.”

Guthrie was introduced to B-EYE K20s at LDI last year. “This is the first time I’m using them. The colors, dimming and patterns are great. The idea that we have 12 lights we can switch on and then light up the entire arena is great!”

Lighting Director Chris Lose adds, “The things that impressed me the most about the B-EYEs was their ability to act like an LED fixture and then with a simple flip of a channel behave just like an incandescent fixture. Most LED fixtures on the market are missing that warmth and glow.

Three Sharpy Washes are mounted on each pod for a total of 36 fixtures. “They serve as the workhorse overhead wash light,” Guthrie explains. “Because of their brightness we get a little bit of a beam effect even with no smoke. That’s a real bonus.”

Guthrie first used Sharpy Washes for Fleetwood Mac last year then subsequently deployed them for Nine Inch Nails. “I like the fact that they don’t dim like an LED: Their mechanical dimmer is fantastic. I like the size, speed and colors – it’s a great little workhorse light. There’s still room in my shows for lights that actually light stuff, and with Fleetwood Mac, we have to see the band and the stage, not just millions of pixels in your eyes.”

George Masek, A.C.T Lighting Vice President – Automated Lighting, commented “We really enjoy working with Arlo on his projects, and I’m very proud that he has chosen Clay Paky products to support his visions.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, added, “It’s great to see our newer lights employed for such an iconic band. Arlo and Chris are great talents and have truly put the fixtures to great use.”

A.C.T Lighting is the exclusive North American distributor for Clay Paky.

About Clay Paky
Headquartered in Seriate (Bergamo), Italy, Clay Paky SPA has a history of designing and manufacturing innovative professional show lighting. The company was founded in 1976 by entrepreneur Pasquale Quadri who anticipated the enormous impact the evolution of technology would have on the show and entertainment worlds.

For more information on Clay Paky products, please contact:
Francesco Romagnoli francesco@claypaky.it
Davide Barbetta webmaster@claypaky.it

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DPA Microphones Help Cats On Trees Deliver A Great Live Sound

Cats On Trees 2

Live sound engineer Verlaine Levis used to think that DPA microphones were only suited to classical music and never imagined that they were also great for pop rock tours. But since using a selection of DPA mics on the current Cats On Trees tour, Levis is the first to admit that his initial perception was entirely wrong.

“When DPA’s French distributor Audio² gave me the opportunity to try the company’s microphones with Cats On Trees, I was happy to accept the challenge,” Levis says. “It didn’t take long to dicover that these great microphones have beefy pickups and are perfectly suited to rock and pop acts. We’re now using three d:facto™ Vocal Microphones, as well as a d:dicate™ ST2011C Stereo Pair with 2011C Compact Cardioids and a number of d:vote™ 4099 Instrument Microphones for drums and violins.”

Levis, who began his career with French sound company Audio-Lum, started working as a live sound engineer in 2001 and has toured with the likes of Sidilarsen, Claude Sicre, Bombs 2 Bal, Zebda, Magyd Cherfi and Mouss and Hakim. He is also building a strong reputation as a recording engineer, having been asked by a number of artists to assist with studio sessions.

Cats On Trees, a French musical duo consisting of Nina Goern and Yohan Hennequin, specialise in ambient indie pop and have released one self-titled album and a number of singles including Sirens Call, which reached No. 3 in the French charts in 2013. The band is now half way through a European tour that will see them play nearly 200 dates in various countries including France, Germany, England and Spain.
“The tour is awesome and they are playing to virtually full houses every time,” Levis says. “Since September they have been performing with a string quartet, but because we have such a busy touring schedule there hasn’t been much time for residency work or to prepare the mix. Therefore the show is being built as we go along.”

Levis runs the Front of House sound, the mix for the In Ear Monitors and the shipment of sequences since he mixes upstream.

“With the help of our lighting person, we have set up a network between sound, light and stage,” he explains. “Yohan controls the lights and video via a MIDI controller, but I am the master of the Mac, which manages the sequences and the network. Feeling comfortable is of ultimate importance to the artist so I try hard to achieve that, but with this duo it is very difficult to create a show that is the same every time because they are constantly changing things.”

The progressive evolution of the show was a key reason why Levis decided to switch to DPA microphones. He had previously used DPA omnidirectional microphones to record voice ensembles and orchestras in churches, therefore he knew of their ability to faithfully recreate the acoustics of a venue. After speaking to Audio², he was able to try out various combinations until he found the microphones that worked for him.

“I had a very clear idea of how each instrument should sound,” he explains. “I wanted to bring a lot of omnidirectional microphones on tour so that I could capture the natural colour of the instruments, but given the on-stage proximity of the drums and piano, this was not possible. As it stands, only the ambient microphones are omnidirectional.”

Levis eventually opted for DPA d:vote 4099 Instrument Microphones for the drum kit and was immediately impressed by the sound, which he describes as ‘very powerful and very natural’.
“These microphones really pick up extreme levels – they are great,” he says. “We now have DPA d:vote 4099s on the bass drum, snare, toms and violin. I even had them as under-cymbals this summer. I am most impressed with the way they capture the sound of the bass drum. I position the mic at the entrance of the drum and slightly inside it. Although the capsule is very small, it still delivers the most amazingly deep, accurate bass.”

Levis is also using DPA d:facto Vocal Microphones, which have solved the feedback issues he was having with other mics. The band has three on stage – one for Yohan on drums and two for Nina as she sings in two different locations.

“For Yohan, the issue was his drum kit,” Levis says. “I was afraid his vocal mic would pick up a lot of extraneous sounds but in fact what I achieved with d:facto was a clarity to his voice that no other mic would have given me. I just had to think carefully about the positioning of his microphone to avoid rear rejection. Furthermore, the d:faco has a very high gain and its gain before feedback is incomparable.”

“As for Nina, well to be honest it was Nina who chose d:facto – not me. We’d tried a number of different mics but it was d:facto that she really liked. I never impose a microphone on a singer and I even made her do a blind test because I wanted to be sure she was 100% comfortable with the way her voice sounded. She immediately noticed the difference and now doesn’t want to sing with any other microphone.”

The fact that DPA microphones deliver a very precise sound has given Levis’ mixes more accuracy and finesse. They have also made everyone more demanding when it comes to sound quality, especially when it comes to tuning drum kits.

“For me, the DPA microphones can be summarized in two words: natural and punchy,” Levis says. “What’s more they are very rugged. I’ve broken three microphones so far on this tour, but not a single one of them has been a DPA.”

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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 provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all 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, please visit www.dpamicrophones.com

DPA Microphones Go On The Road With Bombay Bicycle Club

bombay-bicycle-jack-steadman-dfacto-2_w

Earlier this month indie rock luminaries Bombay Bicycle Club became the very last band to play London’s legendary Earl’s Court venue, which is soon to be demolished. The band took to the stage as part of an epic world tour, which not only highlighted the success of their So Long, See You Tomorrow album but also allowed them to use DPA microphones extensively on the road for the first time.

And if delivering the last ever gig at Earl’s Court wasn’t enough, Bombay Bicycle Club also happily accepted a special guest when Pink Floyd’s Dave Gilmour joined them on stage. Gilmour first played steel lap guitar on the band’s song Rinse Me Down, before giving an emotional rendition of Wish You Were Here, backed by Bombay Bicycle Club. As with all of the performances that night – and during the entire tour – DPA microphones were on hand to ensure exception audio quality.
Dave Gilmour

Tour Manager Steven Down has been working with the band for five years. He says: “Jon Burton, the previous FoH engineer, brought the DPA d:facto™ Vocal Microphone to our attention while he was reviewing equipment for one of the pro audio magazines. Jack Steadman (lead vocals) gave it a go during the warm up tour we did at the start of this campaign and he was very impressed with the clarity compared to the dynamic mics we had been using previously. Shortly afterwards we obtained a capsule to use on our Sennhesier wireless system for Liz Lawrence who does a lot of backing vocals in the show. More recently we have started using d:dicate™ 2011C Twin Diaphragm Cardioid units on the kick and snare and some d:vote™ 4099 Instrument Microphones on the toms with great results.”

Downs adds that the Bombay Bicycle Club show moves from songs with loud distorted guitars and heavy drums to quiet and intimate piano and vocal solos. “I think the dynamic range and the frequency response of the d:facto really allows Jack to perform with confidence in all situations,” he says.

Steadman himself is certainly a fan of the d:facto Vocal Microphone.

“The wonderfully clear, bright sound of the mic means I don’t have to mess around endlessly with EQ to get the results I want,” he says.

Also happily not messing around with EQ too much is Simon Lutkin, freelance sound engineer and production manager who first took over monitors for the band during their Different Kind Of Fix tour in 2012.

“We have drums, bass, guitars, keys, percussion, backing vocals and a brass section onstage during the show — it can get pretty busy!” he says of the current set-up. “Currently the show is around 40 channels but both Tom Wiggans (FoH) and myself try to keep the channel count down as much as we can. A lot of the shows we do are festivals and rolling in with too much can be a problem for broadcast and patch.”

Everyone has in-ear mics, but Lutkin also uses wedges on the downstage edge and side-fills to add feeling. Add to that up to nine people at any one time and the stage can get pretty full.

“With that many on stage, any help I can get through technology is great,” Lutkin says. “I use scenes for each song to make small changes automatically through the show so I can keep my eye on the band. The d:facto Vocal Microphone really helps control the ambience for the main singers. Compared to other mics, as well as having a pretty tight pickup pattern, the overall tone of the spill is much nicer to listen to. In a live scenario you are always up against bleed from other sources, but with this set of mics the spill is much more pleasant sounding and therefore can be a help rather than a hindrance.”

All of the band’s DPA mics were supplied by the company’s UK distributor Sound Network. Alongside the d:facto, the tour configuration sees Lutkin use d:dicate 2011C mics on both kick and snare because they are small enough to be deployed exactly where he wants them and light enough to stay in place without putting any pressure on the stand or clamp. d:vote 4099 Instrument Microphones are also in use for rack, floor, crash, ride and the brass section.

To maintain consistency the group carries all the mics and IEMs with them internationally, simply hiring in consoles locally (a DiGico SD7 for FoH and Midas Pro2c for monitors), thus ensuring that the signal path from source to output is the same each day.
bombay-bicycle-saxophone-VO4099S_w
“In a live scenario you can’t always place mics exactly where you want for a variety of reasons, so having a set of mics that work well wherever you put them is a real positive,” concludes Lutkin. “All the DPA mics we use on Bombay, like all the ones I have used in the past, never fail to impress day after day. Since populating the stage with DPA microphones it has really made a difference to the quality of the overall sound of the show.”
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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 provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all 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, please visit www.dpamicrophones.com

Electrosonic Provides AV Support for the “Beyond Rubik’s Cube” Traveling Exhibition Celebrating the 40th Anniversary of the Colorful Puzzle

BRC_MechanicalCube_1_adjustThe colorful Rubik’s Cube made its debut 40 years ago and continues to delight and intrigue puzzlers today. A new twist on the puzzle, “Beyond Rubik’s Cube,” opened at Liberty Science Center in Jersey City, New Jersey, with audio-visual design, integration and installation by Electrosonic.

Electrosonic was hired by exhibit fabricator Maltbie, a kubik Company, to take on the project designed by the Science Center’s Experience Services. The 7,000 square-foot exhibit, with 24 areas featuring AV support by Electrosonic, is intended to travel; after 11 months at Liberty Science Center, it will start a seven-year international road trip.

The exhibit features three exploration zones with the themes of Invent, Play and Inspire. They offer tantalizing puzzles, robotic manipulations, music, art and original artifacts, which become creative platforms for the exploration of Professor Ern? Rubik’s cube and the culture it has inspired.

Electrosonic account executive Bryan Abelowitz, who partnered with project manager Thursby Pierce on the job, says “Beyond Rubik’s Cube” posed a number of challenges. “There was a short turnaround time of five months from concept to completion,” he notes. “We coordinated with a number of media producers to create an exhibition that entertains Science Center visitors and can easily travel to new venues worldwide.

“Everything is dual voltage and interconnected via wireless and wired networks. We worked closely with the Science Center on a pretty unique system that enables them to act as host, remotely monitoring the exhibit and updating content when it travels. Twenty Samsung tablets run interactive apps as exhibits, and can be remotely configured for different languages.”

The exhibit is very robust in its construction, too, Abelowitz says, “so it can hold up to wear and tear.” Components will be packed in custom cases for travel.

“Beyond Rubik’s Cube” is dominated by bright colors and strong geometric shapes. “It’s a very vibrant space,” Abelowitz says.

Visitors enter through a passageway where multiple cameras, Microsoft Kinect devices and Panasonic projectors with ultra short-throw lenses generate real time expanding geometric images in response to people walking into the exhibit area. Extron DVI extenders are also utilized in the entry tunnel.

Professor Rubik is quizzed about his famous puzzle in an interview seen on a 55-inch Samsung portrait monitor; a Solve Bar enables visitors to solve the riddle of the cube on ELO 55-inch LCD touchscreens.

A 55-inch Ideum Pro multitouch table offers visitors the chance to tackle designing their own twisty puzzle; a 100-inch Ideum Pano multitouch table is big enough for eight or ten players to collaborate on making tessellation patterns.

The Cube Culture exhibit is outfitted with Brightsign HD media players and multiple monitors located alongside display cases of vintage cube-related ephemera, displaying videos about the history of the Rubik’s Cube and commercials that helped make it a marketing phenomenon. Brightsign HD media players are used elsewhere in “Beyond Rubik’s Cube” as well.

Bright yellow guest stations in the Cube Symphony exhibit, designed by Unified Field, enable visitors to create their own symphonies as they rotate two cube controllers. JBL speakers are mounted in the structure above the guest stations.

Another area features a wall mosaic created from hundreds of Rubik’s Cubes. A large panel on the floor adjacent to the mosaic displays a video about the mosaic artist and his work projected by multiple Christie DHD675-E HD DLP projectors.

Electrosonic has created a mobile control room for “Beyond Rubik’s Cube.” The equipment rack on wheels is located in a corner of the exhibit space and can be moved anywhere. The exhibit uses an AMX system controller and tablet control app.

“Beyond Rubik’s Cube” was developed by Liberty Science Center. Richard Lewis Media group provided the linear media pieces, Blue Telescope and Unified Field provided the interactive elements, and Motion Picture Company provided the entry feature.

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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One Year Later, API 1608 is the Perfect Foundation for the Blackbird Academy

BlackbirdAcademy_1stAnnivNASHVILLE, TENNESSEE – DECEMBER 2014: The API 1608 analog console at the center of The Blackbird Academy’s thirty-seat classroom has scarcely been idle since the school opened its doors in 2013. The Blackbird Academy, an extension of the top-flight, multi-room Blackbird Studio in Nashville, is owned and operated by recording engineer John McBride and his wife, country music superstar, Martina McBride. Students in the program learn the basics of pro audio sound quality and signal flow using the classroom’s 1608, and then apply that knowledge in Blackbird Studio’s control rooms, which include a 32-channel API 1608 and two large-format API Legacy Plus consoles.

“The API 1608 sounds great, and serves as the perfect foundation for our students to build from,” said Kevin Becka, instructor and co-director of the academy. “Before arriving at Blackbird, most of our students got into audio using their own computers with inexpensive interfaces. They’re shocked at how the act of simply plugging in an instrument to the clean signal path and transformers of the 1608 can make it sound. We’ve come to call the effect, ‘API Love’. The construction of the 1608 is well thought-out and executed – everything about it is solid.”

The classroom is designed to give students a co-pilot’s view of everything the instructor is doing. Video cameras mounted above the 1608, and display the view on 65-inch screens. Each student uses an academy-issued iPad with custom-created apps, providing descriptions of every aspect of the studio, and how those aspects connect with gear in Blackbird’s dedicated control rooms.

Outside the classroom, students disperse into the control rooms of Blackbird Studio for smaller classes, and execute independent projects. “These are the very same control rooms that are regularly attended by some of the biggest names in the music industry,” said Becka. “It’s a unique experience for the students to go into those rooms and know that yesterday, Tim McGraw or Keith Urban were in the same room. Learning signal flow on the classroom’s API 1608 transfers directly to Blackbird’s two API Legacy Plus consoles.”

The staff at The Blackbird Academy is looking forward to a second year, and continued success, behind the API 1608.

ABOUT API (AUTOMATED PROCESSES, INC.) Established 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608, and the BOX recording consoles, as well as its classic line of modular signal processing equipment.
www.apiaudio.com

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