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Advanced Broadcast Solutions Welcomes Andrew Cox as Senior Engineer

SEATAC, WA — Professional video and audio systems integration firm Advanced Broadcast Solutions (ABS) today announced Andrew Cox has joined the company as senior engineer, effective Jan. 5.

A broadcast engineer for more than 20 years, Cox has held senior Andrew Coxengineering positions with a number of U.S. firms, including Digitiz, AZCAR USA, and Megahertz Broadcast Systems. He was also chief engineer of European Business News/CNBC Europe andAndrew Cox senior broadcast engineer for MAR-COM Systems, both in London. Most recently, he served as senior project engineer for New Jersey-based Diversified Systems.

“Andrew is a proven engineer with experience in traditional broadcast and IP-based projects,” said Mark Siegel, president of ABS. “He makes sure our customers have powerful, customized and affordable solutions.”

Cox is based out of the company’s SeaTac office. Contact him at (206) 870-0244 or via e-mail at andrew@advancedbroadcastsolutions.com.

About ABS:
Based in SeaTac, WA, ABS (Advanced Broadcast Solutions) delivers customized, technologically superior solutions for broadcast, corporate, house of worship, entertainment, government, and educational facilities – from design and integration to installation and support services. Since 1982, its experienced technical staff has installed more than 700 systems for clients including GOCOM Media, Cowles California Media, Cisco Systems, Meredith, and Time Warner Communications. For more information, call 206-870-0244 or visit www.advancedbroadcastsolutions.com.

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Matthew Dear Chooses PMC

Electronic Artist Buys twotwo.8s for Studio Facility

DETROIT, JANUARY 22, 2015 – Michigan-based electronic artist, producer, DJ and remixer Matthew Dear, Ghostly Records’ first signing, has bought a pair of PMC twotwo.8 reference monitors for his personal recording studio, an impressive facility based around a Mac Pro running Logic and a 1979 vintage Spectra Sonics mixing console.

Matthew DearDear felt a need to change his studio monitors after becoming dissatisfied with the transferability of mixes he was creating in his studio. “My old monitors weren’t cutting it for me anymore. I’d take a mix to a label or to a collaborator’s place; sometimes it would be spot on and other times it would be off. When you mix your own stuff, you need that ability to translate. I know of guys that have million-dollar rooms, but their tracks only sound good in that room. And if it sounds great there, but not on an iPod or on the radio, you have a problem!”

Dear likes to remain aware of current audio equipment trends and researches everything he buys himself. He heard about PMC’s twotwos online and was keen to audition them, having heard of the company and its Grammy®-winning roster of users. He also contacted Techno pioneer Carl Craig for advice after reading that he owned PMC BB5s. Craig advised him to speak to Maurice Patist at PMC USA directly.

“I contacted Maurice and he couldn’t have been more helpful,” explains Dear from his studio. “He sent me some twotwo.6s to demo and I really thought they were going to be too small for me. I was really surprised and impressed; they sounded amazing for their size.” Eventually, Dear chose to buy the twotwo.8s, the largest in the twotwo range, feeling they were more closely-suited to his roomy studio.

“I was working on an electronic album with another artist and my old monitors were making everything sound very nice and smooth,” he continues. “When I got the PMCs, it was almost like taking a rag with Windex on it and cleaning a dirty window. Everything was much more present and the areas I really needed to work on started jumping out at me. There was more accuracy in the high frequencies and especially in the low mid. That’s where I was really missing out with my last speakers; I needed something more controlled.”

Now setting up a new studio in the Detroit area, Dear feels the twotwo.8s have brought him the transferability for which he was looking. “Since getting the twotwos, when I’ve worked on something here and then taken the mix elsewhere, it’s exactly as I heard it here. I don’t get any hidden surprises anymore.”

Matthew Dear is DJing around the U.S. in February 2015 and will go on tour later in the year under his Audion alias. For more information, see http://ghostly.com/artists/matthew-dear.

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About PMC
PMC is a UK-based, world-leading manufacturer of loudspeaker systems, the tools of choice in all ultra-critical professional monitoring applications, and also for the discerning audiophile at home, where they provide a transparent window into the recording artist’s original intentions. PMC products use the best available materials and design principles, including the company’s proprietary Advanced Transmission Line (ATL™) bass-loading technology, cutting-edge amplification and advanced DSP techniques to create loudspeakers that present sound and music exactly as it was when first created, with the highest possible resolution, and without coloration or distortion. For more information on our clients and products, see www.pmc-speakers.com.

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BenQ Ships RP840G Interactive 4K Ultra-High-Definition Flat-Panel Display

New 84-Inch Panel Brings 4K Resolution, 10-Point Multitouch Navigation, and QCast Device Sharing Software for Interactive and Digital Signage Applications

COSTA MESA, Calif. — Jan. 22, 2015 — BenQ America Corp., an internationally renowned provider of visual display solutions, today announced that it is now shipping its 4K ultra-high-definition (UHD) RP840G flat-panel display. Ideal for connected classrooms and collaborative boardroom settings, as well as digital signage applications, the 84-inch multitouch panel provides an exceptional 10 interactive touch points, multi-PC touch control via USB, and QCast software to share content easily from any PC or WiFi(R)-enabled smart device. The newest addition to the 4K-display family significantly enhances the way students, teachers, or meeting participants collaborate and share dynamic content. more

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Martin Audio MLA’s Excellent First Night Out With The Tenors

Tenors_1 web

Raleigh, NC––Kevin Sucher, FOH engineer for the popular Canadian operatic pop foursome The Tenors, recently had a very successful first experience mixing with Martin Audio’s MLA Compact loudspeaker system.

For two concerts at Raleigh’s Memorial Auditorium, Sucher was able to use a loudspeaker system provided by RMB Audio that consisted of 12 Martin Audio MLA Compact enclosures and 6 DSX subwoofers per side with 4 MLA Mini cabinets for lip fill, all networked via U-NET. Avid Profile consoles were provided for FOH and Monitor.

Asked about mixing with an MLA Compact system, Kevin responds, “It was my first time and it turned out to be a very pleasurable experience. For this tour, we didn’t carry any production with us, including backline, which presents its own challenges when you’re using different equipment from city to city.

“There can be a lot iffy pairings, but when you have the correct rig paired with the right desk some magical things can happen and this was one of those very pleasantly surprising situations. Bottom line, the MLA system blew me away. It was really exceptional. We do many of these shows all around the world and I’ve mixed on a lot of different systems, but this was one of those rare occasions when the responsiveness and the ability to make a small change in the dynamics was amazing. 3dB really felt like 3dB!

“And the frequency response was fantastic, like 800Hz was truly 800Hz. There weren’t any of these situations where you’re trying to borrow or cut frequencies from areas you don’t want to cut, but you have to because your ears are telling you what you’re hearing isn’t correct. Every frequency was exactly where it was supposed to be.”

Kevin feels that mixing The Tenors is particularly challenging because of the complex dynamics presented by having 20 to 30 string players on stage along with a large 30-member choir and a five-piece band. Their music is highly detailed which demands the kind of precise dynamic control provided by MLA Compact.

“I started out as a recording engineer and then became a FOH engineer many years ago so I approach live mixing in a very ‘studio’ kind of way,” Kevin explains. “Staying true to their music and recordings as closely as possible is very important, and when you have a lot of live microphones onstage it’s difficult to keep the dynamics contained.

“Adding to the challenge is the fact that The Tenors’ repertoire ranges from classical crossover all the way through different types of pop music that changes from night to night. As such, the speaker system needs to be very responsive and my approach to mixing them is as if they are a large pop act so I need adequate bottom end, much more than some venues they’re booked into. That wasn’t a problem with the MLA system.”

RMB Audio’s Cooper Cannady guided Kevin through the MLA Compact system’s capabilities, including its ability to avoid directing the energy to certain areas in the venue: “Cooper is very knowledgeable about MLA and he quickly educated me how to use ‘hard avoid’ to duck the ceiling response around the 7dB to 8dB range so we could eliminate unwanted reflections we didn’t want in the performance, which made a noticeable difference. The flexibility to change the direction of the energy is like having extra amenities in a very sexy car. These are really well thought out additions.

“That kind of flexibility also allowed us to control feedback in situations where The Tenors performed in the audience 30 to 40 feet in front of the main hangs, which can be tricky depending on the microphones you’re using.”

Because the Memorial Auditorium is almost as wide as it is long without a true balcony and a second level of seats that begins high up far behind FOH position, the MLA system had to be rigged much closer to the ceiling to provide proper coverage. That said, MLA’s control proved to be “a big help in terms of what was a challenging space in terms of getting real boxy-sounding.

“At this point, I could not at this point think of a better rig than the MLA system for that situation,” Kevin concludes. “I would be eager to hear it again in a more typical space.

“In terms of the sound for all of our shows, it was probably the highlight of the tour. A lot of people walked by after the concert and gave us thumbs up. I’d be very eager to use it again.”

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.

RHC Holdings Highlights Limited-Edition Silk Screen Fat Rat Guitar Pedal at the 2015 Namm Show

ANAHEIM― RAT, an RHC Holdings Brand, highlights its limited edition FAT RAT guitar pedal at the 2015 NAMM Show (Booth 4556). Paying homage to the original FAT RAT, the company has produced 1,000 limited-edition silk-screen versions of the pedal. All subsequent iterations of the product will feature an overlay.

“This limited-edition run is a unique offering for our customers, and we are excited to bring this product to NAMM,” says Darius Seabaugh, Vice President of Marketing for RHC Holdings. “We encourage all of those in attendance at the show to come see and listen to this commemorative FAT RAT guitar pedal for themselves.”RHC Holdings_RAT_FAT RAT

Drawing on the popularity and foundation of the original RAT Pedals, the U.S.-built FAT RAT features complete tonal flexibility through a choice of original or MOSFET clipping circuits. The MOSFET clipping section in the pedal provides a subtle smoothing in the upper mids and a more amp-like tone throughout the range of the RAT, without sacrificing the basic feel of the classic pedal. The FAT RAT guitar pedal also features a bass enhancement, increasing the bass response—perfect for bassists and guitar players who tune down their instruments. The FAT RAT runs on 9 to 18 volts of DC power, offering users excellent headroom and audio fidelity. It includes a socketed op-amp, which allows users to easily change between the stock OP07DP and other popular chips.

For more information on the RAT Pedal, please visit: www.ratdistortion.com.

RHC Holdings, located in Jackson, Missouri, is one of the world’s largest manufacturers and suppliers of audio, video, home theater, data and telecommunications interfacing products. Comprising RapcoHorizon, Pro Co, RAT, RoadHog and StageMASTER, each RHC Holdings brand has developed a reputation in many industries for reliability, and superior sound performance. Used worldwide by concert touring sound companies, video and sound contractors, recording studios, system integrators, audiophiles and musicians, the company’s products provide optimal flexibility and premium performance. RHC Holdings also has a state-of-the-art Custom Shop to modify existing products or build new devices to meet any need.

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Basque Broadcaster ETB Installs Riedel Communications Infrastructure at Main Production Center in Donosti-San Sebastián

WUPPERTAL, Germany — Jan. 21, 2015 — Riedel Communications, provider of pioneering real-time video, audio, data, and communications networks, today announced that Basque broadcaster Euskal Irrati Telebista (ETB) has deployed a Riedel Artist digital matrix intercom system within its primary production center in Miramón (Donosti-San Sebastián). Supplied and integrated by Madrid-based Riedel reseller Crosspoint, the Artist solution supports flexible intercom communications throughout the Miramón facility according to the different requirements of various productions, as well as VoIP communications with ETB headquarters in Bilbao.

“We evaluated a variety of solutions and integrators, and we found that with Riedel’s Artist system, Crosspoint was positioned to offer us the greatest benefit and highest quality,” said Juan Carlos Loroño, head of ETB’s production centers. “Since we put the Artist system into operation, we’ve been very pleased with its capabilities and its impact on our day-to-day work in Miramón.”

The Artist solution at ETB’s Miramón production center provides a distributed, decentralized, scalable architecture for communications. The 160 x 160-port Riedel intercom system is composed of Artist 128 and Artist 32 mainframes with 56 ports configured for control panels, 80 ports for analog four-wire, eight ports for VoIP usage, and eight ports for a party line system. The entire system ensures AES3/EBU audio quality, with level controls at each individual crosspoint, nonblocking connections, and redundant power supplies and controllers.

The Artist units are complemented by 46 of Riedel’s 2000 LCD Series control panels, one CCP-1116 commentary control panel, 10 wired belt packs, and various VoIP multiplexers. For sporting events that originate in Miramón, the commentator panel supports two commentators working in the same language, or multiple scenarios in which two languages must be accommodated.

Riedel’s Director software facilitates system configuration, monitoring, and control, and its intuitive interface simplifies complex configurations and settings. While remote configuration functions enable control from Bilbao on weekends when no technical personnel are working at Miramón, options such as partial configuration of the system add further value by allowing users to call and save configuration files on just one part of the system without affecting the communications being made in other areas of the production center.

“The ability to change the configuration of one studio production while not affecting the configuration of another studio production is very important,” said Juan Olalde, technical coordinator of the ETB production center in Miramón. “This flexibility lets us perform the multiple simultaneous changes needed in the daily preparation of a program and save them in partial files that are organized by the type of production, personnel available, or operating model.”

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

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About Riedel Communications
Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro audio, event, sports, theater, and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fiber backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Founded in 1987, the company now employs more than 350 people at 12 locations in Europe, Asia, Australia, and the Americas.

All trademarks appearing herein are the property of their respective owners.

Photo Link: www.wallstcom.com/Riedel/Riedel-ETBMiramon.zip

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SMPTE Announces 2015 Directors and New Appointments to the Board of Governors

With Industry Expertise and Previous Experience in SMPTE Leadership Roles, Appointees Are Positioned to Make Immediate Impact in New Positions

WHITE PLAINS, N.Y. — Jan. 20, 2015 — The Society of Motion Picture and Television Engineers(R) (SMPTE(R)), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today announced that the SMPTE Board of Governors has named the Society’s 2015 directors and has appointed new officers and governors to fill vacant positions.

Paul Stechly has been appointed SMPTE finance vice president to complete the term of Matthew Goldman, who was elected in October to serve as the Society’s executive vice president. William C. Miller will take on the role of SMPTE membership vice president, and Douglas Sheer will serve as New York Region governor. Andrew Setos will serve as Hollywood Region governor, replacing Clyde Smith, who is stepping down in conjunction with his retirement.

Alan Lambshead, SMPTE standards vice president, has reappointed Bob Edge and Howard Lukk to serve as standards directors along with the newly appointed Paul Treleaven. Patrick Griffis, SMPTE education vice president, has reappointed Michael DeValue, V. Michael Bove, Peter Putman, and Al Kovalick as education directors. Karl Kuhn was reappointed to serve as the North American membership director, with additional appointments to follow.

“The 2015 directors and newly appointed officers and governors announced today represent the remarkable expertise and industry leadership that make the Society’s membership so noteworthy,” said Robert Seidel, SMPTE president and vice president of engineering and advanced technology at CBS. “Their ongoing contributions to the Society will enable SMPTE to continue its pioneering standards work, as well as its unique educational offerings for those within the motion-imaging field.”

SMPTE 2015 Newly Appointed Officers and Directors: Profiles

Paul Stechly, SMPTE Finance Vice President
Stechly is president of Applied Electronics Limited. He joined Applied Electronics in 1983 when he founded and operated the Audio Visual Division, and he assumed the role of president in 1998. Stechly holds seven patents in multimedia technology. He has been heavily involved with the SMPTE Toronto Section, including serving as Section Chair. He is a graduate of the University of Waterloo in economics and completed postgraduate work at the University of Western Ontario.

William C. Miller, SMPTE Membership Vice President
Miller is president of Miltag Media Technology LLC, a consultancy specializing in technical standards for television and related industries. He has been a broadcaster for 40 years, earning an Emmy(R) Award for his contributions to ABC’s coverage of the XV Olympic Winter Games, and has been actively involved in the development of television standards for more than 25 years. Miller is a SMPTE Fellow, and he was awarded the Society’s Progress Medal in 2002 and its Presidential Proclamation in 2013. He has held numerous leadership roles not only within SMPTE, but also within the IEEE (Institute of Electrical and Electronics Engineers) Broadcast Technology Society (BTS) and the Advanced Television Systems Committee (ATSC).

Andrew G. Setos, Hollywood Region Governor
Setos is CEO of BLACKSTAR Engineering Inc. and the founder and chairman of SellThruCo Inc. During a 24-year stint at the Fox Group, he rose to president of engineering and was involved in almost every aspect of content creation and distribution. Setos was the lead engineering and operations executive for the launch of MTV and earlier served as chief engineer at WNET, where he was involved in innovative, award-winning productions including “Live from Lincoln Center,” “Dance in America,” “Bill Moyers Journal,” and the “MacNeil/Lehrer NewsHour.” In addition to holding a variety of patents, Setos is a SMPTE Fellow and has been awarded three Emmy(R) Awards for Engineering from the Academy of Television Arts & Sciences (ATAS), the most recent being the Charles F. Jenkins Lifetime Achievement Award.

Douglas I. Sheer, New York Region Governor
Sheer is CEO and chief analyst of D.I.S. Consulting Corporation, a research partner of the NAB Show. Formerly a hands-on producer/editor/colorist, he was advertising manager of JVC USA at the launch of VHS technology, and at advertising agency Ted Bates was account supervisor of Panasonic, Matsushita, and Technics accounts. Sheer was associate publisher of BM/E and World Broadcast News and group publisher at K.I.P.I., as well as editor and publisher of numerous books and directories. He edited and published the first NAB Daily in 1984, as well as the Broadcast Asia Daily in the 1990s. Sheer has been a contributor and columnist at a dozen magazines globally, including the IBC Daily News for 32 years. A member of SMPTE since 1972, he has previously served as the New York Section chair. In 1974, Sheer founded Artists Talk on Art, the art world’s longest-running aesthetic panel series, which he now chairs.

Bob Edge, SMPTE Standards Director
Edge, who is president of Bob Edge TV Consulting, has been active in television standards work for more than 20 years, participating in projects with SMPTE, IEEE, the Internet Engineering Task Force (IETF), the European Broadcast Union (EBU), Video Services Forum (VSF), and the Advanced Media Workflow Association (AMWA), among other organizations. He has served as a technology committee chair, is a Life Fellow of the Society, and has contributed to the development of 19 SMPTE standards and registered disclosure documents (RDD). Edge also is the author of numerous technical papers describing the application of information technology and data networking for television production. In 2012, he received the SMPTE Excellence in Standards Award.

Paul Treleaven, SMPTE Standards Director
Treleaven is Secretary of the SMPTE 30MR TC, having chaired this and other SMPTE standards groups. He is a member of the International Association of Broadcasting Manufacturers (IABM) Technical Task Group, representing the IABM at SMPTE and the Audio Engineering Society (AES) standards meetings and EBU technology committee meetings. Treleaven is also a member of the U.K.’s National Standards Body for International Electrotechnical Commission (IEC) Technical Committee 100. He has served as SMPTE International Region governor and is a SMPTE Fellow. He was a cofounder of Avitel, a company dedicated to designing and manufacturing video, audio, and timecode distribution and processing equipment, and served as the company’s technical director until 2001.

Howard Lukk, SMPTE Standards Director
Lukk is the former vice president of production technology at The Walt Disney Studios, where he was responsible for helping to incorporate new technologies into the studio workflow. He earlier served as director of technology for Digital Cinema Initiatives (DCI), where he researched and documented digital cinema system specifications. Lukk recently finished directing his second short film, titled “Emma” (2014). This project followed his directorial debut, “Make Believe” (2013), which was shot in 3D with the prototype hybrid 3D camera rig in Berlin. He has been named the director for the production of the SMPTE documentary, “Moving Images.” Lukk is a SMPTE Fellow and an associate member of the American Society of Cinematographers (ASC).

Karl Kuhn, North American Membership Director
Kuhn is the senior video systems applications engineer at Tektronix, where he supports digital audio and video, compression, Internet protocol, file-based, and radio frequency test and measurement. He holds three U.S. patents and one Japanese patent that cover in-service testing of digital broadcast video. Kuhn served on the National Academy of Television Arts & Sciences (NATAS) Technical and Engineering Emmy(R) Committee from 2007 to 2010; he is the past chair of the Washington, D.C., SMPTE section; and he currently serves as the SMPTE Eastern Region governor.

Michael DeValue, SMPTE Education Director
DeValue is the director of advanced technology at The Walt Disney Studios, where he is responsible for standards, as well as for researching new technologies — such as 3D, 4K, and high dynamic range — related to content distribution. He has co-chaired several groups related to 3D in the home for SMPTE and presented a session on captions in stereoscopic 3D at the SMPTE 2010 Annual Technical Conference & Exhibition. DeValue is an active participant in the Blu-ray Disc Association and DCI, and he is also the current chairman of the International 3D & Advanced Imaging Society.

V. Michael Bove, SMPTE Education Director
Bove holds an S.B.E.E., an S.M. in visual studies, and a doctorate in media technology, all from the Massachusetts Institute of Technology (MIT), where he is the head of the Object-Based Media Group at the Media Laboratory. He is the author or co-author of more than 90 journal and conference papers; holds patents on inventions relating to video recording, hard copy, interactive television, and medical imaging; and is co-author of the book “Holographic Imaging.” He is on the Board of Editors of the SMPTE Motion Imaging Journal; has served as associate editor of the journal Optical Engineering (OE); and is a fellow of the SPIE and the Institute for Innovation, Creativity, and Capital.

Peter Putman, SMPTE Education Director
Putman is the president of ROAM Consulting L.L.C. and consults on technology and economic trends in display devices, wireless connectivity, display interfacing, video compression, and mobile electronics. He is an InfoComm Senior Academy Instructor for the International Communications Industries Association (ICIA) and was named its Educator of the Year for 2008. Putman is on the Board of Editors of the SMPTE Motion Imaging Journal, is a contributing editor for Sound & Communications magazine, and publishes the website HDTVexpert.com.

Al Kovalick, SMPTE Education Director
Kovalick, founder of Media Systems Consulting, has worked in the field of hybrid audiovisual and IT systems for the past 20 years, and he currently focuses on media systems, file-based workflows, and cloud migration for media facilities. His book, “Video Systems in an IT Environment,” was the first to cover the salient aspects of the convergence of audiovisual and IT systems. Kovalick has presented more than 50 papers at industry conferences worldwide, and he holds 18 U.S. and foreign patents. In 2009 he was awarded SMPTE’s David Sarnoff Medal for engineering achievement. Kovalick is a life member of Tau Beta Pi, an IEEE member, and a SMPTE Life Fellow. He is the “Cloudspotter’s Journal” columnist for TV Technology magazine.

Further information about SMPTE is available online at www.smpte.org. Additional information about the SMPTE Board of Governors is available at www.smpte.org/about/board.

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About the Society of Motion Picture and Television Engineers(R) (SMPTE(R))
The Oscar(R) and Emmy(R) Award-winning Society of Motion Picture and Television Engineers(R) (SMPTE(R)), a professional membership association, is the preeminent leader in the advancement of the art, science, and craft of the image, sound, and metadata ecosystem, worldwide. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the communications, technology, media, and entertainment industries. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 800 standards, recommended practices, and engineering guidelines.

More than 6,000 members — motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students — who meet in Sections throughout the world sustain the Society. Through the Society’s partnership with the Hollywood Post Alliance(R) (HPA(R)), this membership is complemented by the professional community of businesses and individuals who provide the expertise, support, tools, and infrastructure for the creation and finishing of motion pictures, television programs, commercials, digital media, and other dynamic media content. Information on joining SMPTE is available at www.smpte.org/join.

All trademarks appearing herein are the property of their respective owners.

Photo Link: www.wallstcom.com/SMPTE/SMPTE-2015Appointments.zip
Photo Caption: Paul Stechly, SMPTE Finance Vice President; Matthew Goldman, SMPTE Executive Vice President; William C. Miller, SMPTE Membership Vice President; Douglas Sheer, SMPTE New York Region Governor; and Andrew Setos, Hollywood Region Governor

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Matthew Dear Chooses PMC Monitors for His Studio

Matthew Dear

Michigan-based electronic artist, producer, DJ and remixer Matthew Dear, Ghostly Records’ first signing, has bought a pair of PMC twotwo.8 reference monitors for his personal recording studio, an impressive facility based around a Mac Pro running Logic and a 1979 vintage Spectra Sonics mixing console.
Dear felt a need to change his studio monitors after becoming dissatisfied with the transferability of mixes he was creating in his studio. “My old monitors weren’t cutting it for me anymore. I’d take a mix to a label or to a collaborator’s place, and sometimes it would be spot on, and sometimes it would be off. When you mix your own stuff, you need that ability to translate. I know of guys that have million-dollar rooms, but their tracks only sound good in that room. And if it sounds great there, but not on an iPod or on the radio, you have a problem!”

Dear likes to remain aware of current audio equipment trends and researches everything he buys himself. He heard about PMC’s twotwos on-line and was keen to audition them, having heard of the company and its Grammy-winning roster of users. He also contacted Techno pioneer Carl Craig for advice after reading that he owned PMC BB5s. Craig advised him to speak to Maurice Patist at PMC USA directly.

“I contacted Maurice, and he couldn’t have been more helpful,” explains Dear from his studio. “He sent me some twotwo.6s to demo, and I really thought they were going to be too small for me. But I was really surprised and impressed. They sounded amazing for their size.” Eventually, Dear chose to buy the twotwo.8s, the largest in the twotwo range, feeling they were more closely suited to his roomy studio.

“I was working on an electronic album with another artist, and my old monitors were making everything sound very nice and smooth. When I got the PMCs, it was almost like taking a rag with Windex on it and cleaning a dirty window. Everything was much more present, and the areas I really needed to work on started jumping out at me. There was more accuracy in the high frequencies, and especially in the low mid. That’s where I was really missing out with my last speakers; I needed something more controlled.”

Now setting up a new studio in the Detroit area, Dear feels the twotwo.8s have brought him the transferability he was looking for. “Since getting the twotwos, when I’ve worked on something here and then taken the mix elsewhere, it’s exactly as I heard it here. I don’t get any hidden surprises any more.”

Matthew Dear is DJing around the USA in February 2015, and on tour later in the year under his Audion alias. For more information, see http://ghostly.com/artists/matthew-dear.

-ends-

About PMC
PMC is a UK-based, world-leading manufacturer of loudspeaker systems, the tools of choice in all ultra-critical professional monitoring applications, and also for the discerning audiophile at home, where they provide a transparent window into the recording artist’s original intentions. PMC products use the best available materials and design principles, including the company’s proprietary Advanced Transmission Line (ATL™) bass-loading technology, cutting-edge amplification and advanced DSP techniques to create loudspeakers that present sound and music exactly as it was when first created, with the highest possible resolution, and without coloration or distortion. For more information on our clients and products, see www.pmc-speakers.com.

Solid State Logic Launches New ‘VHD Pre’ Module for 500 Format Racks

LOS ANGELES – 2015 NAMM Show (Booth #6900) – Solid State Logic, the world’s leading manufacturer of tools for creative audio professionals is proud to announce the release of the VHD Pre Module for the popular 500 format modular rack platform. The release makes the uniquely versatile VHD based preamp technology from Duality, SSL’s industry leading large format studio console, available for studios of all sizes.

The VHD Pre is an immensely versatile recording and processing device. It can deliver ultra clean SSL SuperAnalogue™ grade recordings but also features a switchable VHD mode. SSL’s patented Variable Harmonic Drive (VHD) system uses a 100% analogue signal path to generate rich harmonic distortion. As you increase VHD input gain, the Variable Harmonic Drive process introduces either 2nd or 3rd harmonic distortion or a blend of the two to your source material. At lower gain settings it adds gentle valve-style warmth or a touch of transistor edge. As the gain is increased the more extreme the distortion becomes until at high gain settings it delivers fierce trashy transistor-esque grunge. The VHD Pre gives the user ultimate versatility from a studio grade preamp. Whether it’s ultra-clean traditional SSL, subtle warming or totally trashy transistor distortion, VHD will change your expectations of what a preamplifier should deliver.SSL VHD Pre Module for 500 format racks_white

The VHD section of the VHD Pre Module has three rotary controls: a Drive control selects 2nd harmonic or 3rd harmonic distortion or a continuously variable blend of the two. A +20/+75dB gain control sets input level. A -20/+20dB trim control adjusts the output level from the circuit to enable level matching with other devices, because by its nature the VHD circuit can significantly increase signal levels. The VHD Pre Module has a selection of other essential professional preamp features: a signal present LED, a switchable 15Hz to 500Hz LF Filter section, Hi-Z impedance switch for mic impedance matching, +48V phantom power, PAD to enable the VHD system to be used as a line level processing device and a Phase Invert Switch.

Key Features:
• Uniquely versatile recording and processing
• Ultra clean SSL SuperAnalogue grade preamp
• Switchable VHD system adds controllable 2nd or 3rd harmonic distortion
• Switchable LF Filter (15Hz to 500Hz)
• Hi-Z switch for high impedance microphone use
• +48V Phantom Power with status LED
• PAD for use with line level source material
• Phase invert switch

SSL VHD technology is available in the following products: Duality, XL-Desk, X-Rack VHD Input Module and the (1U rack) VHD Pre.

The VHD Pre Modules will be available from SSL Resellers worldwide from March 2015.
Module Prices: £399, $649, 503.37€ + VAT or Sales Tax

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QC Giant My Eye Media Implements Archimedia Atlas 4K/UHD Professional Media Player to View IMF 4K Packages

DELRAY BEACH, Fla. — Jan. 20, 2015 — Archimedia Technology, a company whose equipment and applications bring precise multiformat viewing to the professional’s desktop, TV, UHDTV, and infrastructure, announced that Hollywood quality control (QC) powerhouse My Eye Media has installed the Archimedia Atlas 4K/UHD professional media player for QC of theatrical releases and TV material created by the major studios. My Eye Media clients include Paramount Pictures, Netflix, 20th Century Fox, CBS, Disney, NBCUniversal, and Anchor Bay Entertainment.

“We have a well-earned reputation for catching issues that may exist in our clients’ material before those issues make it to the viewing public. It’s a job that requires an expert eye and the right tools — tools that are continually challenged by format proliferation,” said Steve Waugh, chief technology officer of My Eye Media. “Archimedia Atlas can play back an impressive number of file formats, and that versatility is critical because it means we don’t waste critical R&D time determining optimal playback devices for a particular format. It’s especially helpful on IMF 4K packages, which are becoming a common industry deliverable. The Archimedia Atlas ensures the quality of service our clients have come to expect from us.”

My Eye Media uses the Archimedia Atlas 4K/UHD media player to play back A/V files it receives from clients, watching for myriad technical artifacts and technical anomalies that might exist in the content, such as audio sync, digital blocks, and compression artifacts from the transcoding process, and visual effects errors. Archimedia Atlas supports every major codec and file type in use today, including IMF, DPX, ProRes, XDCAM, and any number of MXF-wrapped files that My Eye Media receives on a regular basis. Importantly, it allows My Eye Media to view 4K files, which are becoming more prevalent but still lack professional media players to support them. Archimedia Atlas also supports SDI, so My Eye Media can simultaneously feed UHD TVs and SDI to its own existing SDI tools, such as encoders, VTRs, scopes, and monitors, and can also view and export deep technical metadata about the video. Archimedia Atlas is compatible with My Eye Media’s existing machine controllers, which was one of My Eye Media’s criteria when searching for a solution. Because of that compatibility, QC operators can control the player remotely. Archimedia Atlas can decode and play 4K IMF packages, giving My Eye Media the added ability to verify interoperability on multiple devices while also checking for artifacts.

“In QC and mastering, you need consistency,” said My Eye Media Founder and CEO Michael Kadenacy. “Before we started using Archimedia Atlas, we certainly had the expertise and resources to use many tools in our work, but choosing different tools for different formats makes consistency very difficult and time-consuming to achieve. With Archimedia, we eliminated that problem.”

The Archimedia Atlas 4K/UHD media player is specially designed for use in all frame sizes including UHD TV environments preloaded with the Archimedia Atlas software. Besides being far more affordable than dedicated (and often proprietary) players, Archimedia Atlas saves companies like My Eye Media the time and expense of building their own systems.

“Archimedia’s tagline is ‘Know when it’s right,’ and My Eye Media absolutely personifies what we mean,” said Josef Marc, chief marketing officer of Archimedia. “In their trusted position in the industry, they achieve the highest standards, and their customers bring them the most important and most innovative formats. So to us, My Eye Media is the superuser we love to have in our corner as we develop our next products.”

More information about Archimedia Atlas and other Archimedia products can be found at www.archimediatech.com.

# # #

About My Eye Media
My Eye Media is the leader in quality assurance, quality control, and testing of all formats of digital motion picture content. The company’s deep understanding of the technical intricacies required for the digital landscape makes its work critical to major film studios, cable and satellite channels, streaming media providers, and content library owners. My Eye Media was founded in 2004 and is the most advanced and experienced digital-file testing company in the world. The company operates from its 20,000-square-foot, state-of-the-art facility, headquartered in the heart of the postproduction district in Burbank, California. My Eye Media also manages a vast, global distributed workforce of technicians.

About Archimedia
Archimedia Technology specializes in the processing, conversion, and playback of mastering formats, including JPEG 2000 and HEVC, for the professional broadcast, digital cinema, and video archival industries. Its technology and applications bring precise multiformat viewing to the professional’s desktop, TV, UHDTV, and infrastructure. Archimedia’s products fulfill a critical piece of the production and archival workflows, encapsulating complex file interchange and quality control processes for mastering and archive formats into practical solutions that give end users a new level of access to their assets. More information is available at www.archimediatech.com.

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

Photo Link: www.wallstcom.com/Archimedia/Archimedia-MyEyeMediaLogo.jpg

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