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Deutsche Welle Calls on RTW TouchMonitor Range

Broadcaster Selects RTW TM3, TM7 and TM9 Units to Ensure EBU-R128-Compliant Program Levels at Berlin and Bonn Production Sites

COLOGNE, GERMANY, OCTOBER 27, 2014 – When Deutsche Welle, Germany’s premier international broadcaster and a member of the ARD network of German public broadcasters, sought to make its programming compliant with the EBU-R128 loudness mandate, it turned to RTW, the market leader in visual audio meters and monitoring devices, and the company’s TouchMonitor line of audio meters, to make the transition. With their ability to offer intuitive, precise monitoring, along with their ease of installation, RTW’s TM3, TM7 and TM9 TouchMonitor meters were the perfect fit for the job.RTW_TM3_DE_IB_134_Stereo_Num_ATSC

Deutsche Welle first took delivery of the RTW TouchMonitor units last September, employing a combination of 65 TM3, TM7 and TM9 meters with various configurations and feature sets in several recording studios, editing suites and workplaces in its Bonn and Berlin facilities. AVS Medientechnik GmbH, based in Berlin, oversaw the procurement and implementation of the units.

According to Hannes Brandt, technical assistant at Deutsche Welle’s Berlin site, the broadcaster chose RTW on the recommendation of an ARD working group that had tested loudness meters from several manufacturers. He also noted his company had previous experience with the RTW metering systems. “Our production workplaces were already using digital and/or analog peak meters by RTW, as well as metering instruments from their PortaMonitor series, and the positive experience we had with those products, along with RTW customer support, also contributed to the decision to go with RTW.”

Engineers working on various broadcast shows Deutsche Welle’s Berlin and Bonn sites currently employ the RTW TM3 units in a combined setup with the existing RTW PortaMonitor, which is used for monitoring level, loudness, frequency response and phase of analog and digital signals systems, as well as the RTW TM7 units at the company’s dubbing suites (mainly the TM7-VID version, which is installed in the company’s Tektronix mainframes). The TM9 units are being used with an installed radar option, for a more detailed look into the composition of the metering data.

The RTW TM3, TM7 and TM9 units are highly modular, which has made installation into the Deutsche Welle workflow straightforward. The majority of the meters there comprise typical desktop units well-equipped, along with TM7-VID modules supplied with 19-inch rack-mount adapters for waveform monitors as well as TM9 OEM units for installation into mixing consoles. As with all members of RTW’s TouchMonitor family, the TM3, TM7 and TM9 TouchMonitor units can be enhanced with software licenses as future needs arise.
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“We currently use a reference setting of either –17 LUFS or the traditional 0 dB QPPM,” Brandt says. “This allows our users to familiarize themselves with level adjustment based on loudness. However, we currently still support QPPM-based level adjustment. For that purpose, we configured two different layouts on the installed units. As soon as all workplaces are equipped with TM units and all users have undergone appropriate training, we will switch our in-house reference to –23 LUFS by changing the layout presets.

According to Brandt, another major benefit is the unlimited configurability of instrument layouts on the user interface. “This way, we can adjust our meter scales to the requirements at hand,” he notes. “In addition, the constant software refinement and the additional software options ensure maximum protection of our investments.”

The TM7 and TM9 versions offer a 16:9 touch-enabled TFT screen with a display size of 7 or 9 inches, respectively. The operator can quickly scale and place the instruments on the screen for maximum ease of use. With the SW20002 software license installed, the TM7 and TM9 include basic stereo-PPM instruments with analog scales (DIN +5, Nordic, British IIa, British IIb) and digital ones (0 to –60 dB, +3 to –60 dB TruePeak, Quasi-DIN, Quasi-Nordic, Quasi-British IIa, and Quasi-British IIb) as well as peak-hold and correlation meters. Additional features include loudness meters complying with current standards (EBU-R128, ITU-R BS.1770-3/1771-1, ATSC-A/85, ARIB, OP-59) and the MagicLRA instrument used for visualizing loudness range and the integrated loudness. This allows for a unique combined view of all relevant information.

In user mode, the operator can change the parameter settings. Moreover, the units include an SPL view that provides various weighting filters and integration times as well as reference-level parameters for calculating the SPL of an electric input signal. Other loudness-metering specific software modules, such as, for example, the logging-data server (software license SW20014), are unlocked as necessary. This feature adds a logging instrument to the software that allows for transferring metering data from several TouchMonitor units over Ethernet (TCP/IP) to a Windows-based computer running the Loudness Quality Logger (LQL) analysis software. Each TM7 or TM9 unit includes a 16-channel audio interface. Users can choose from a variety of I/O configurations in analog and/or digital formats. Alternatively, a 3G-SDI interface for up to 32 input channels can be implemented. With the SW20001 software expansion for multichannel support installed, the meters on the user interface show each stereo or surround input while the user can monitor and control them.

The compact TM3 features a 4.3-inch touch-enabled screen and a separate interface box. It handles analog and digital stereo signals (TM3) or 6-channel digital audio (TM3-6CH). In its standard configuration, the TM3 offers extensive loudness-metering functions compliant with all globally relevant standards (EBU R128, ITU-R BS.1770-3/1771-1, ATSC A/85, ARIB, OP-59) including single-channel and summing bargraphs, LRA, and numerical displays.

The TM3 offers the same functionality and user-friendly tools as the more advanced TM7 and TM9 at a minimum footprint and lower price. This makes it particularly suitable for journalist cubicles, editing suites, and small control rooms. The TM3 also includes the MagicLRA instruments, used in cooperation with the loudness metering. This instrument provides a quickly and clearly readable view of critical loudness parameters in context supported by its color, shape, and position on the metering scale and thus makes meeting all requirements a breeze.

For more information, please visit www.rtw.com.

About Deutsche Welle (DW)
Deutsche Welle (DW) is Germany’s international broadcaster, providing content in 30 languages on TV, radio, and the Internet. They represent Germany in the international media landscape and offer people on all continents independent information. In addition, they ensure uncensored reporting in restricted media markets and conflict zones. While the Bonn headquarters produce mainly radio features and multimedia contents for the website, their Berlin site is mostly in charge of productions for Deutsche Welle’s six TV channels. In total, Deutsche Welle employs more than 1500 permanent staff plus the same number of freelancers.

About RTW
RTW, based in Cologne (Germany), has nearly 50 years of experience in designing, producing, and marketing advanced recording-studio equipment, leading and innovating the market for high quality audio metering and monitoring tools. RTW operates a worldwide distribution and service network. For more information on RTW, visit www.rtw.com or call +49 221 709130.

Dallas Audio Post Chooses Genelec 1237A Three-Way Smart Active Monitors™

DallasAudioPost

— Longtime Genelec users Dallas Audio Post see very first installation of a 1237A system in the U.S. —

NATICK, MA, October 22, 2014 — Genelec, the leader in active monitoring technology for over 35 years, is proud to be the monitor of choice for post-production facility Dallas Audio Post for the entire course of its 20-year history. Since its founding, Dallas Audio Post has proven itself to be a versatile and highly adept post-production firm, delivering on projects ranging from TV and film clients to corporate, live event, political, video game, sports clients and much more, with specific jobs including voiceover, sound design, mixing, custom music scoring, ADR and Foley work. Recently, the facility became the very first U.S. installation of Genelec’s new 1237A Tri-Amplified Smart Active Monitor™ (SAM™) system, featuring proprietary AutoCal™ and GLM™ technologies and powerful Class D amplification.

The current 10,500-square-foot facility was built from the ground up about two-and-a-half years ago, and it is actually the fourth facility that the firm has had since their founding. “It has five audio studios,” notes Roy Machado, Dallas Audio Post President and Creative Director. “Four are traditional TV mixing stages with adjoining recording areas, and the fifth is a theatrical film mixing stage – the only one of its kind in Texas and probably the only one of its kind between New York and L.A. – and all five rooms have their own Pro Tools HD rigs. And if you go back through our history, Dallas Audio Post has been a Genelec user since its inception 20 years ago. We started out using 1030As in our first incarnation, and as time moved along we started using 1032s for one of our rooms in an LCR format with an array of 1031As for surround. We also had another room that was using 8050s. So we’ve always had a lot of trust in Genelec monitoring, and the quality of our mixes was very solid and would transport well to broadcast or live environments. Moving forward to this facility we still have one room that is outfitted with 1032s in LCR and a 1031 array for surround mixing.”

Machado continues, “In our current facility, we have a medium- to large-sized room, and we had been using the 8050s but wanted something a big larger. So when we heard that Genelec was coming out with a 1237A, we were very interested in those because we knew not only that the speaker would sound great, but that the integration of onboard DSP and GLM software would deliver something great for us. As soon as we could, we called our dealer and started the ball rolling to be one of the first, if not the first, 1237A facility. We sourced them through Sweetwater Sound and Senior Sales Engineer Robert Williams. I think we ended up getting serial number 2 and serial number 4!”

Machado and his team have been very happy with the performance so far. He goes on: “Once we put the 1237A’s in the room and then shot the room with the GLM software, we were absolutely in love. I mean the definition that they had! The familiarity of the sound was still there, but we had a much wider sweet spot. The room tuning software is spot-on; we double-checked it against other room tuning tools that we look at and use, and we confirmed that the GLM software is exactly on-point, both in the frequency domain and the time domain. The quality of the sound is outstanding. This is the first time that we have had a three-way speaker at Dallas Audio Post. Typically all the other Genelecs that we have had been two-way speakers. The extra definition that you get from having a three-way speaker is fantastic, and we are just absolutely loving those speakers. As a matter of fact, we already are making plans to upgrade our A room, which has the 1032s and 1031 arrays, to use the 1237As as well, because they are that good.”

About the 1237A:
The 1237A features a 12” (300mm) bass driver, 5” (130mm) Genelec midrange driver and a 1” (25mm) metal dome tweeter, where the mid- and the high-frequency drivers are mounted in Genelec’s proprietary Directivity Control Waveguide™ (DCW), which allows the system to reproduce flat frequency response both on and off its acoustical axis, thereby allowing for a wider sweet spot. Each one of the system’s drive units has its own power amplifier with a total rating of 500W, 250W for the bass driver and 200W respectively for the mid and high frequencies. Frequency response runs from 37Hz up to 20kHz +/- 2.5dB. In real life studio conditions a pair of 1237As can produce peak levels of 126dB SPL at 1.7 m distance.

For more information, please visit www.genelecusa.com/.

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The Recording Academy® Producers & Engineers Wing® Hosts Annual Manufacturer’s Council Breakfast

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SANTA MONICA, CA (October 21, 2014) — The Recording Academy® Producers & Engineers Wing® Manufacturer Council Breakfast was held on Saturday, Oct. 11, 2014, during the 137th AES Convention. At their biannual meeting, this group of industry leaders — who are dedicated to the advancement of sound quality and to the overall growth of the professional audio industry — shared ideas and discussed issues of interest to all parties in attendance, with the goal of raising awareness about the importance of high-quality audio, legislative wireless white space and broadband issues, music streaming bit rates and other related topics.

The following manufacturers, organizations and publications were invited to participate: AKG®, API, Apple, Audio Engineering Society (AES), Audio-Technica, Avid, Electronic Musician, Euphonix, Fraunhofer, Focusrite Novation, Genelec, GC Pro, iZotope, JBL®, Lexicon®, Manley, M-Audio, Melodyne, Mix Magazine/New Bay Media, Music Producers Guild (MPG), PMC, Prism Audio, Pro Sound News, Radial Engineering, Royer, SADiE, Shure, Sonnox Ltd. and Waves Audio.

P&E Wing Managing Director Maureen Droney stated, “We always welcome and appreciate the time our manufacturers carve out from their busy AES schedules to meet with us and discuss the state of the industry. Working together, we can address issues that affect all of those in attendance as well as the industry as a whole, raising awareness and providing a voice and a call to action.”

Photo Caption: Representatives from leading manufacturers, organizations and publications, along with members of the P&E Wing Advisory Council, at the P&E Wing Manufacturer Council Breakfast during the 137th AES Convention in Los Angeles. Photo Courtesy of The Recording Academy®/Clyne Media Inc. © 2014 Photographed by: Corey Walthall, Clyne Media, Inc.

About The Recording Academy: Established in 1957, The Recording Academy is an organization of musicians, songwriters, producers, engineers and recording professionals that is dedicated to improving the cultural condition and quality of life for music and its makers. Internationally known for the GRAMMY Awards — the preeminent peer-recognized award for musical excellence and the most credible brand in music — The Recording Academy is responsible for groundbreaking professional development, cultural enrichment, advocacy, education and human services programs. The Academy continues to focus on its mission of recognizing musical excellence, advocating for the well-being of music makers and ensuring music remains an indelible part of our culture. For more information about The Academy, please visit www.grammy.com. For breaking news and exclusive content, follow @TheGRAMMYs on Twitter, like “The GRAMMYs” on Facebook, and join The GRAMMYs’ social communities on Foursquare, GetGlue, Google +, Instagram, Pinterest, Tumblr, and YouTube.

About The Producers & Engineers Wing: Currently more than 6,500 professionals comprise The Recording Academy Producers & Engineers Wing, which was established for producers, engineers, remixers, manufacturers, technologists, and other related creative and technical professionals in the recording field. This organized voice for the recording community addresses issues that affect the craft of recorded music, including the development and implementation of new technologies, technical guidelines and recommendations, and archiving and preservation initiatives. For more information, please visit www.producersandengineers.com.

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Bose® RoomMatch® Loudspeakers Chosen for Austin Live Music Venue The Roost

www.austinpixels.com www.austinpixels.com

The RoomMatch® system’s incredible wide range of precise coverage patterns allows Austin’s newest music venue to fulfill its unique vision for what a sound system should be

Framingham, Massachusetts, September 20, 2014 – Since its opening, The Roost has been carving out a new space for live music in north Austin, TX. Owned by local music mavens the Cotton Brothers — Jimbo, John, Bobby and David — the 3,400-square-foot music venue opened with a New Year’s Eve run by Joe Ely. Since then, it’s been drawing rave reviews for everything from its bookings (e.g. Kelly Willis, Bruce Robison, Carolyn Wonderland and Reckless Kelly) to its sound, which local entertainment blog AustinPixels.com called “perfect.” And while The Roost has Texas’ amazing musical heritage to draw on for its music, the sound succeeds thanks to a RoomMatch® system from Bose® Professional Systems.

Locally based AV systems integrator Big House Sound installed a RoomMatch system composed of two RM9040 modules, two RM9060 modules, two RM12060 modules and a pair of RMS218 dual-18-inch subwoofers, powered by four PowerMatch® PM8500N 8-channel networked amplifiers.

The Roost can hold up to 700 people, and the system components needed to be flexible enough to handle the space’s unorthodox layout, leading to a creative design centered around the RoomMatch components. “Our associate Chet Himes really had the vision for what the club’s sound system would become,” recalls Zach Richards, Director of Installations for Big House Sound, referring to the Austin pro audio legend who has mixed GRAMMY® Award-winner Christopher Cross’ sound for years. “He and his colleague Bill Johnson were the masterminds behind the ideas. They brought us in to translate their ideas into a workable design and installation.”

Himes says he’s worked with Bose® speakers in the past and always had good experiences. “I’ve used an L1® system in the lobby of the Four Seasons Hotel during SXSW, and they could fill up the room with a ton of sound but never overpower it,” he recalls. “So I knew that for The Roost, with its football-shaped room that was wider and deeper, the RoomMatch speakers were a great choice.”

The concept was to put the audience “in the music,” rather than looking at it, by creating a modified surround sound system – one that would evenly and consistently cover the entire music room, which is considerably wider than it is long. This scenario played into the RoomMatch system’s strength: two main hangs, on either side of the stage, are made up of an RM9040 module on top of an RM12060 module, giving most of the room even coverage. The two RM9060 modules are flown about 20 feet further out on either side of the stage and about 15 feet into the room, angled slightly inwards. These semi-encircle the room, providing delay coverage to the edges of the venue and creating seamless coverage with the rest of the system, including the two RMS218 subs installed on either side of the stage.

“The RM9040 is a tight horizontal pattern module and is very good at keeping the energy off the walls and on the audience,” says Richards, who used the Bose Modeler® software to predict how the room would react to sound and use those findings to choose the RoomMatch components with exactly the right dispersion patterns. “The RM12040 covers the downstage area very well, so between the two modules we have great coverage front to back. The RM9060’s tie it all together for a room of that shape and those dimensions. We were working with people who wanted a really high-fidelity sound system for music, and with the Bose RoomMatch system, we were able to get that.”

Himes says the RoomMatch speakers were able to achieve his original vision for The Roost’s sound: “It’s stunning,” he says. “The first night we had a packed house and we were hitting between 98 and 100 dB, but people were still carrying on conversations. The RoomMatch [system] is just that smooth.”

Venue co-owner David Cotton added simply, “I like to think of The Roost as our project to assemble the best of the best – music acts, technical personnel and management. But at The Roost, thanks to our Bose system, the sound is the star of the show.”

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Now Streaming: Watch Audio-Technica’s Second Annual “Ask Me Anything” Sessions at AES Convention

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— Featuring industry insiders and friends of A-T, these informative and revelatory AMA sessions thrilled an audience of in-person AES convention attendees as well as a worldwide online audience —

STOW, OH, October 20, 2014 — For the second year in a row, Audio-Technica, a leading innovator in transducer technology for over 50 years, held a popular series of “Ask Me Anything” (AMA) question-and-answer sessions at its exhibition booth at the 137th AES Convention in Los Angeles, CA. Sessions took place two days of the convention: Friday, October 10, and Saturday, October 11.

The archived sessions, available at www.audio-technica.com/AES2014, include discussions with guests Dave Pensado and Herb Trawick, co-hosts of hit web series Pensado’s Place; Joe Chiccarelli, GRAMMY® Award-winning producer/engineer; Michael Beinhorn, producer/engineer (Hole, Soundgarden, Marilyn Manson); Ryan Hewitt, GRAMMY Award-winning engineer/mixer/producer (Red Hot Chili Peppers, Sheryl Crow, Avett Brothers); Curt Bisquera, drummer (Bonnie Raitt, Sarah McLachlan); Joe Barresi, producer/mixer/engineer (Monster Magnet, Slipknot, Nine Inch Nails); Matt McArthur, Executive Director of The Record Company; and Frank Klepacki, video game audio director, engineer, composer, producer and performer (game scoring credits include Command and Conquer: Red Alert and Star Wars: Empire at War).

Jeff Simcox, A-T Executive Director of Marketing Communications and the moderator for the sessions, stated, “Back by popular demand, our AMA sessions are quickly becoming a yearly tradition at the AES Convention, and our guests represented a varied pool of talent and experience from different sectors of the audio industry. These were informative and entertaining sessions, and we are very pleased that they were so popular with convention attendees.”

Full details are available at www.audio-technica.com/aes2014.

Photo caption: Shown L-R: Jeff Simcox, Audio-Technica Executive Director of Marketing Communications and AMA moderator, interviewing Herb Trawick and Dave Pensado of Pensado’s Place in front of a packed crowd at Audio-Technica’s AMA Sessions at AES137 in Los Angeles. Photo by Corey Walthall, Clyne Media, Inc.

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Dolynchuk Named Senior Product Manager, Infrastructure

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Fairfield, NJ––Middle Atlantic Products has appointed Paul Dolynchuk as Senior Product Manager, Infrastructure. In this new position, Dolynchuk will be responsible for the category’s long-term sales strategy and optimization of profitability and growth.

Prior to joining Middle Atlantic, Dolynchuk served as a Marketing Director at Pitney Bowes and has held marketing, sales and finance positions at OfficeMax and Boise Cascade. He has a BBA in Management/Pre-Law from Ohio University and an MBA in Marketing/Finance from the Kelley School of Business at Indiana University.

Commenting on Dolynchuk’s appointment, Tim Troast, Middle Atlantic Director of Product Management said, “Paul is an innovative business leader who has demonstrated his ability to deliver multimillion dollar growth strategies for respected brands through the introduction of innovative products and strategic marketing campaigns. His leadership, business analysis and passion for the customer make him a natural fit for the Middle Atlantic team.”

For technical specifications and in-depth information about Middle Atlantic Products, please click to www.middleatlantic.com or call 1.800.266.7225.

Middle Atlantic Products has been part of the Legrand group since its acquisition in 2011.

Legrand is the global specialist in electrical and digital building infrastructures. Its comprehensive offering of solutions for use in commercial, industrial and residential markets makes it a benchmark for customers worldwide. Innovation for a steady flow of new products with high added value and acquisitions are prime vectors for growth. Legrand reported sales of close to $5.8 billion in 2012. Legrand has a strong presence in the North American market, with a portfolio of well-known product lines that include Cablofil, Electrorack, Middle Atlantic, NuVo, On-Q, Ortronics, Pass & Seymour, Vantage, Watt Stopper and Wiremold. The company is listed on NYSE Euronext and is a component stock of indexes including the CAC40, FTSE4Good, MSCI World, ASPI and DJSI (ISIN code FR0010307819). www.legrand.us

For High-Profile Events Where Huge Screens, Image Quality, and Precision Are Top Priorities, WorldStage Relies on Stewart Filmscreen

WorldStage, the well-known rental and staging company, purchases two gigantic projection screens, adding to an ever-growing Stewart Filmscreen inventory and recommitting to Stewart as its projection screen supplier of choice

TORRANCE, CA, USA – October 27, 2014 – Stewart Filmscreen, world leader in built-to-order, high-performance, extra-large, projection screens for the commercial, rental, and residential markets, and WorldStage, a premiere technical rental and staging company in event and entertainment technology, stewart_logo_sfc08_webannounced today their ongoing mutual support, with WorldStage buying two gigantic new ‘Stewart Large’ category screens,adding to its extensive and ever-growing Stewart Filmscreen inventory.

“While Stewart screens can sometimes cost more than the alternatives and require special care when being used, they are unparalleled in terms of image quality,” says Richard Bevan, VP and General Manager at WorldStage-LA. “No matter where the viewer is seated, they will see the same image quality as those seated front-row center, no matter the projector configuration. With the very large shows we cater to, that is critical.” 

For more than thirty years, display technology engineers at WorldStage have relied on Stewart Filmscreen, going back to WorldStage CEO Gary Standard’s early days in the industry in the mid-1980s. As WorldStage evolved in to an AV staging company in the early 1990s, the company began to purchase Stewart screens for rental inventory. Now, the company uses large high-performance Stewart screens ranging in size anywhere from 10-feet x 17-feet to 24-feet x 91.5-feet, with a large number of Stewart AeroView 100 rear-projection surfaces, specialty screens including GrayHawk front-projection surfaces, UltraMatte 150 front-projection curved surfaces, and a variety of other screen surfaces in inventory.

WorldStage chooses Stewart Filmscreen projection screens for their unmatched color-accuracy and brightness uniformity, attributes that allow the screens to be used very successfully in applications where other screens would exhibit hot spots and color-shift. With the added advantage of being the only screen company that can create seamless projection screens up to 40-feet by 90-feet wide, Stewart Filmscreen offers the uninterrupted, larger-than-life images that live events in large venues require. The Stewart ‘Difference’ means WorldStage can offer the biggest and best seamless image, while providing the durability that the rental market requires. Stewart’s unrivaled build-to-order custom manufacturing capabilities also means WorldStage has the versatility necessary to service any live event, no matter how big, unique, or demanding.

We are honored to be the projection screen supplier of choice for WorldStage, one of the country’s most prestigious rental and staging companies,” says Stewart Filmscreen president and CEO, Grant Stewart. “WorldStage continually amazes us with its innovative and impressive use of Stewart Filmscreen products in some of the most creative events and venues we’ve witnessed.”

WorldStage uses Stewart screens in many different configurations on the majority of its projection shows. For instance, a 24-feet x 91.5-feet Stewart screen was used for the Cisco Partner Summit 2013 in Boston, while two 20-feet x 66-feet GrayHawk front-projection screens and one 20-feet x 35.5-feet rear-projection surface were showcased in the SALT Conference 2014 in Las Vegas.

Whether it’s a Fortune 500 product launch, a wildly inventive media art exhibit, or an extravagant benefit gala, WorldStage and Stewart Filmscreen are both dedicated to customer service, diverse and custom solutions, and impeccable image quality regardless of environment. To see Stewart screens in action at WorldStage events, go to www.worldstage.com/portfolio.

All trademarks and registered trademarks mentioned herein are the property of their respective owners. 

About Stewart Filmscreen
Headquartered in Torrance, Calif., with additional manufacturing and satellite sales facilities in Ohio, Singapore, and Denmark, Stewart Filmscreen has been the consistent choice of discerning clientele around the world for more than 65 years. An Academy Award-winning manufacturer of projection screens and specialty optical coatings, aesthetic-conscious architects, consultants, systems designers, and property owners rely on Stewart Filmscreen for the perfect combination of superior quality, flexible design, and dedicated support, and we consistently deliver. Providing the most immersive experience in the industry, Stewart can custom engineer a projection screen solution to meet nearly every need. Proprietary material science and innovative manufacturing methods allow Stewart to produce some of the most optically immaculate screens in the world, ultimately delivering an immersive experience that’s unrivaled in the marketplace. Simply put, if a screen can be imagined, Stewart Filmscreen can deliver it. www.stewartfilmscreen.com | @StewartFilm

About WorldStage
In 2007, Scharff Weisberg merged with Video Applications to form WorldStage, a diverse technical staging company in the live event and entertainment technology field. WorldStage provides Audio-Visual Design, Engineering and Implementation Services to the corporate, artistic, and theatrical communities, and has one of the most experienced and conscientious staffs in the business. The company also has a full-service lighting division that is a market leader in quality of service. And, finally, WorldStage’s design and research division specializes in designing the systems and configurations that are the most cost-effective and innovative around. For more information, visit www.worldstage.com.

Stewart Filmscreen Media Contact
Katye (McGregor) Bennett | KMB Communications | (406) 446-1283 | Katye@KMBComm.com | @katyemcgregor

WorldStage Contacts
Josh Weisberg | President, WorldStage | (212) 582-2345

David Steinberg | Goliath Marketing | (646) 319-8255 | golmar@mac.com

Images for use in publication can be downloaded from the following links:

Cisco Event
Caption: “A 24-foot high by 92-foot wide rear projection screen using Stewart AeroView 100 material is flanked by two 18-foot wide by 24-foot high screens using Stewart AeroView 150 material.”

Dreamforce Event
Caption: “Multiple 92-foot, 60-foot & 24-foot wide Stewart front and rear projection screens support a Metallica appearance at Dreamforce 2011”

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SSL Duality Brings La Mansión Recording Studios to Next Commercial Level

“SSL was always the number one option because of the incredible sound and powerful workflow options”

MONTERREY, MEXICO – Originally built 15 year ago as a world-class private recording studio, La Mansión Recording Studios has become one of Mexico’s premiere commercial recording facilities with a Solid State Logic Duality console leading the way forward. Built from the ground up by the Malvicino Design Group, La Mansión is a destination multi-room facility serving the likes of Gordon Raphael, producer for The Strokes and Regina Spektor, 15-time Grammy winning sound engineer Benny Faccone and a long list of top music groups and artists including Intocable, Pablo Montero, Zurdok, PXNDX and Jumbo.

SSL Duality at La MansionSituated on a hilltop overlooking the city, with breathtaking views of the mountains, La Mansión offers four different recording/creative environments, with Duality in Studio A, the largest studio, deluxe hotel-level bedrooms, a kitchen and dining room, with private offices, rehearsal rooms and a home theater entertainment area. The facility is fancied with hand-laid marble, salam wood floors and mahogany-lined walls to provide an elegant creative and living space. Studio owner, Victoria Morales-Kühne, took charge of the facility and opened to the public two years ago.

“The studio was first built by my family and we used it as a private studio for 13 years,” explains Morales-Kühne. “This studio was world-class in every respect, with very pricey, but not very commercial, digital consoles in each room, and, while a creative haven for us and our musician friends, we didn´t really have to consider a client’s needs. After asking for ways to improve our offerings as a commercial studio, SSL was always the number one option because of the incredible sound and powerful workflow options. That is what led us to Duality being installed in our largest room.”

The industry-leading sound of Duality was apparent on the initial recordings of Morales-Kühne’s new project. “In the first week with Duality, I recorded the vocals for my upcoming single with Alejandro Rosso from Plastilina Mosh producing and we were both very excited about the workflow of the console. The second week saw Latin Grammy nominees A Band of Bitches recording and mixing their new single and they were extremely happy with the sound. We also had the opportunity to playback previously recorded material from our high grade digital console, and the quality difference was immediately obvious. The sound through Duality was noticeably tighter, wider and it really packed a punch.”

While having a great console is a necessity, equally important is having the manufacturer at the ready to back up the purchase. This is a hallmark service of SSL. “We were keenly aware of buying a product that not only moved us forward on the sonic front, but that was hands down backed by the manufacturer. SSL came highly recommended by everyone we spoke to and working with them has been a complete pleasure. All our clients are very anxious to use our Duality room.”

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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CARGO Nightclub Brings Unmatched Sound Quality to Reno with Powersoft

‘Power is Everything’ for Newly Redesigned Venue, Which Counts Itself Among the Finest Sounding Small-Scale Venues in Western United States

Reno, NV, October 27, 2014: The newly completed CARGO Nightclub, which opened last June, is an exquisite 1,000 person capacity venue located in the Whitney Peak Hotel in the heart of downtown Reno. The new club, which is powered by several Powersoft M and K series amplifiers, is something of a sonic gem with its best in class audio system and lighting design, created to meet and exceed the discriminating standards of A-level touring artists and engineers.

cargo1The hotel, which is located where the Fitzgerald’s Casino & Hotel once stood, underwent a multi-million dollar renovation before opening to the public as Whitney Peak Hotel on Memorial Day of this year. Now, as Northern Nevada prepares for an impending technology boon with the planned construction of Tesla’s soon to be constructed Gigafactory, CARGO finds itself at the ‘spearhead’ of a ‘rebranding’ that is already underway in greater Reno.

Prior to the reconstruction and rebranding of the hotel, CARGO was located on the third floor, situated as a 700 person capacity venue with a mediocre sound system. With the property under new ownership following the renovation, a new directive was put in place from management that would ultimately raise the audio production and lighting design standards of the venue to an entirely new level. At the core of the audio system is an EAW KF740 3-way array system, powered by Powersoft K10s, K6s and K2 (2) channel high-performance power amplifiers.

powersoftrack“The whole idea of the club was to go high-end on the production side so we could be attractive to larger, nationally touring artists,” comments Dan Bishop, Production Manager at Whitney Park Hotel. “Now, CARGO is able to produce the same or better production quality that artists are used to experiencing in much larger venues. Our choice of Powersoft amplification played a key role in helping us attain both the quality of audio we required, while reducing overall power consumption. Since reopening the club in June, we are getting amazing feedback from both fans and artists alike — everyone is insanely impressed with the quality of production.”

A ‘Big-Sounding Venue’ in ‘The Biggest Little City in the World’:

According to Bishop, there were two fundamental challenges the venue faced during the renovation and rebranding phase. First, the first floor facility to be completely redesigned and rebuilt to accommodate a dedicated HVAC system and decoupled wall construction for the performance venue, which shared the first floor with other ‘quieter’ spaces including the restaurant and hotel lobby. Second, the selection and installation of sound and lighting components was of critical concern.

cargo2“My expectation of the audio system was that it had to be sonically accurate,” says Bishop. “Many times in other rooms, where there is an inferior PA, the sound is muddy coming into the room and this is often compensated for by increasing volume. I wanted to make sure all our program material was accurately represented without depending on ‘more volume’ so it would be heard with great clarity from anywhere in the room.”

To power the EAW KF740 system, which consists of two (6) box arrays suspended from the ceiling at either side of the stage and another (3) across the front of the stage, Bishop chose (8) Powersoft K10 for the subwoofers and low frequency drivers, (4) K6s for the mid-frequency drivers, (4) K2s for the high frequency drivers and Powersoft M50Q four channel amplifier to power the center fill speakers (for mid frequency).

On specifying equipment for the venue, Bishop was surprised to learn about the K-series amazing power efficiency rating. “The efficiency was so high and the power needed to run the Powersoft equipment was so minimal that I actually changed my design for electrical requirements because I knew the system wasn’t going to need as much,” he says. “That actually ended up saving us a significant amount of money in both construction and ongoing utility costs.”

“Once we got the system up and running, everyone was just floored,” Bishop recalls. “The clarity of the audio was amazing. There was no hum, no buzzing, no nothing. It was dead silent until you put something through the system. And once we did put audio through the system, what came out of it was so accurately reproduced, it was just amazing.”

powersoftrack2Bishop says that he initially became interested in Powersoft on hearing an audio demonstration at nearby University of Nevada Reno, which runs its house PA system off of Powersoft amplifiers. “I saw that they were running all of their gear off of a tiny 3U rack system set up in a corner,” he says. “I was impressed with both the audio quality and the small footprint and efficiency of the gear.”

CARGO uses two Midas PRO9 consoles: one at front of house and the other at monitors. Having chosen Powersoft, he is assured that whatever audio is coming out of the audio processing will be completely neutral. “The Powersoft gear does not color the sound in any way, and the audio that gets reproduced in our room is stunning,” he says.

“Power is Everything”:

“From the very beginning of this project, we wanted to make sure that we were achieving the best possible audio for this room, and power is everything,” concludes Bishop. “Now, no matter where you are in the venue, you are going to get a great show. That means we did a good job on equipment selection and integration, and I am really proud of that.”

Since opening, Cargo has hosted nationally prominent acts like Shiny Toy Guns, Johnny Lang and renowned Ukelele player Jake Shimabukuru. The venue continues to rise in prominence in Reno and beyond, and the property itself is planning even more innovations: “We are working on a couple of new projects. And when we begin pricing installations for these, Powersoft is a name that will be at top of my list : I love the brand and the product.”

About Powersoft:

Powersoft is the world leader in lightweight, high power, single rack space, energy efficient amplifiers for the professional audio market. Founded in Italy in 1995, headquartered in Florence, Italy, with offices in Ventura, CA, Powersoft couples the experience and precision of its production department with exceptional components to deliver products with perfect audio response and high performance reliability. Its state-of-the-art amplifiers can be found in an array of markets, ranging from stadiums, sporting arenas, theme parks, performance venues and airports to convention centers, churches and clubs, and are used by the world’s leading tour sound companies. For more information, visit the Powersoft website @ www.powersoft-audio.com.

Captions:

1) Reno, Nevada’s Cargo is powered by several Powersoft M and K series amplifiers,
2) At the core of the audio system is an EAW KF740 3-way array system, powered by Powersoft K10s, K6s and K2 (2) channel high-performance power amplifiers.
3) A camera crew records the television program “Cargo”, live at the Whitney Peak Hotel.
4) Powersoft K2, K6 and K10s power the front of house system at Reno’s Cargo nightclub.

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Martin Audio Debuts PSX Powered Subwoofer

Martin Audio PSX web

Waterloo, ONT––The PSX is a companion self-powered subwoofer for the DD6, XD12 and XD15 full-range loudspeaker systems. Featuring a powerful 15”/4” voice coil, long-excursion driver in a very compact reflex-ported enclosure, it houses two channels of Class D amplification, one channel for itself and one channel to power an XD12, XD15, or up to three DD6’s.

The PSX’s Class D amplifier section produces a total peak output of 2400W, with 1400W allocated to the 15” subwoofer and 1000W to drive the associated full-range system. Its lightweight, switched-mode power supply auto-ranges to global mains voltages from 100 to 240V 50/60Hz, and Power Factor Correction smoothes out the mains current draw over the whole of the AC waveform. The operating range of the PSX is 48Hz to 150Hz, with a peak SPL capability of 136dB at one meter.

Onboard DSP performs delay, crossover and EQ functions, while the PSX plus full-range system can be controlled and monitored from a laptop or wireless tablet PC via intuitive VU-NET™ proprietary software. PC connection can be made directly via micro USB, or via Martin Audio’s proprietary U-NET™ network and Merlin loudspeaker and network management system.

An important feature of the PSX is its Internal memory, which allows factory ‘plug-and-play’ or user-generated DSP preset ‘snapshots’ of the PSX/full-range combination to be recalled by means of a preset selector button on the rear panel, instead of using computer control.

The PSX’s tour-grade plywood enclosure is coated in hard-wearing polyurethane and its Declon® backed steel grille is pre-curved to resist deformation in the field. Practical features include a pole-mount fitting in the top surface, bar handles and protective skids. When stacked, the skids on the base of the upper PSX enclosure align with recesses in the top of the enclosure below.

FEATURES AT A GLANCE
• Compact subwoofer power plant for XD12, XD15 and DD6
• Low distortion, high-excursion 15” (380mm)/4” (100mm) voice coil driver
• 136dB peak output capability
• Onboard DSP, networking and Class D amplification (1400W sub + 1000W full-range)
• Switched-mode power supply with Power Factor Correction and global mains operation
• Tour-grade plywood enclosure with integral pole mount fitting
• Wheelboard and rain cowl options

APPLICATIONS
• Portable live sound for 100-400 people
• Smaller-scale theatre productions
• Corporate AV events
• Meeting halls and HoW

For more about Martin Audio, please visit 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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