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Electrosonic Helps English Heritage Unfold the Legend of Stonehenge

Since its opening on the 18th December 2013, the new Stonehenge exhibition and visitor centre has welcomed over 50,000 visitors. The centre makes dramatic use of high resolution projection technology to help visitors learn about one of the world’s most important prehistoric monuments. Electrosonic was responsible for the audio-visual systems design and integration.

The centre, located 1.5 miles from Stonehenge itself, is the first phase of English Heritage’s £27-million project to transform the visitor experience of this iconic site. To date, it is their largest ever capital investment project.

The visitor centre uses audio-visual technology extensively to give visitors an enthralling introduction to the legend of the stones, exploring the history and debate surrounding this ancient monument. One of the main highlights is the ‘Standing in the Stones’ exhibit, a 360-degree virtual experience. Installed by Electrosonic, the exhibit lets visitors stand in a virtual Stonehenge as it is today and in the past. The three-minute film, based on state-of-the-art laser scan images of the stone circle, transports viewers back in time through the millennia, enabling them to experience the summer and winter solstices.

Robert Campbell, Head of Interpretation at Stonehenge, says, “Electrosonic brought a can-do attitude to this complex and high profile project. This was essential in getting the exhibition open on time and working well.”

An exhibit like ‘Standing in the Stones’ requires great care in execution. An important part of its development was the ability to preview it in a full scale mock-up at Electrosonic’s workshop at its head office in Kent. This procedure helped the producers, Centre Screen Productions, assisted by Studio Liddell, check the content at full size, whilst ensuring English Heritage could be confident in the outcome and be aware of audience circulation issues.

“Standing in the Stones” uses six Panasonic PT-DZ770 single chip DLP(tm) projectors with 1920?1200 resolution and nominal 7000 lumen light output. These are sourced from a 7th Sense Delta server via Atlona extenders. The audio chain includes a BSS BLU 100 DSP, four Crown CTs600 amplifiers and seven Tannoy Di5 loudspeakers augmented by a ceiling mounted sub bass loudspeaker.

Visitors move from ‘Standing in the Stones’ into the next exhibition area housing more audio-visual elements. The ‘Meaning’ section includes four portrait format 32-inch LCDs showing a linear programme on the debate around the ‘Meaning of Stonehenge’. ‘Landscape’ the largest audio-visual element, is a giant image of the Stonehenge World Heritage Site projected onto a wall screen which shows how people changed the over the pre-historic period by building different monuments. The exhibit uses three Panasonic PT-DX610ELKsingle chip DLP(tm) projectors with XGA resolution and nominal 6500 lumen output sourced from a 7the Sense Delta server via Atlona extenders.

The visitor centre also contains an education space which is equipped with appropriate room control and audio-visual facilities. The space can be divided into two, one half has a ceiling mounted Panasonic VW435NEA LCD projector with WXGA resolution, and the other half has an 87-inch Smartboard touch screen. Room control is by a Crestron MC2E controller and wall panels allow the connection of “Bring Your Own” sources.

Haley Sharpe Design managed the production of the exhibition, with The Hub as exhibition fit-out contractor and Goppion as the supplier of the display cases. ‘Standing in the Stones’ was produced by Centre Screen productions, assisted by Studio Liddell and with a sound track by Peter Key. The content for the “Meaning” displays, the LCDs within the display cases and for the ticket office audio guide was produced by ISO Design, and the “Landscape” content was produced by Squint Opera.

Electrosonic engineered the AV system under a direct contract with English Heritage.

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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OneRepublic Wraps Its “Native” World Tour with Clay Paky B-EYEs, Sharpys and grandMA2 Control

OneRepublic’s headlining “Native Tour” wraps in the UK March 24 after spending last year circling the globe and breaking new ground as the first tour to utilize Clay Paky’s A.leda B-EYE K20 innovative, LED-based moving lights. A complement of Clay Paky Sharpys was also on hand, and the tour was programmed and operated from a grandMA2 light platform. A.C.T Lighting is the exclusive distributor of Clay Paky fixtures and MA Lighting in North America.

The American pop rock band toured Europe, North America, Asia, Australia and New Zealand last year in support of its third studio album, “Native.” OneRepublic’s tour has continued in 2014 with more dates in Europe and the UK.

On this final leg of the tour lighting designer Chris Lisle has carried over a diamond-shaped theme from last year, which features trusses, video screens and even some of the same fixtures. “The show has some big visual moments, so I had to come up with a design to meet that need,” he says. “The band likes cutting edge, so using the latest technology is important to us.”

Programmer Scott Chmielewski notes that, “Chris always designs his projects with the artist in mind and tries to keep the focus on the music. It’s important for him to make sure that the technology doesn’t overshadow the talent but still has the capabilities he needs. This has been a very technology-heavy show, but it was used tastefully and was well in control.”

Lisle was introduced to the B-EYEs at LDI and “knowing the feel that the band wants in their show, it was a no-brainer to use them,” he reports. “We used all 12 upstage on the diamond pods, both floor and flown, and facing directly out toward the audience. They have so many tricks up their sleeves that I think we used them at just 50 percent of their capacity.”

He notes that the band was “amazed” to see the new B-EYE fixtures during rehearsals and immediately asked what they were. Chmielewski says, “these guys have been around the world over and over again on countless shows and stages so you’d expect them to look past new toys like this. But not this time!”

Lisle explains that he let “the fixture show itself off gradually throughout the show. First it was just a wash light, then we added a couple of ‘inner/outer’ ring tricks, then a couple of ring chases, and ultimately the lens spin tricks toward the end of the show.”

Chmielewski likens the B-EYEs to a “firecracker – knowing that the fuse is always lit and about to go off. For a portion of the show they were used as typical wash lights, but we were able to mimic the effect of every kind of traditional fixture from big to small and use the entire bag of tricks a programmer has with color, dimming and pan/tilt effects. Plus, they added an entirely new set of looks that were quite literally the first of their kind. As a programmer, I spent hours just exploring these new abilities and looks, and when we finally used them in the show they became the centerpiece of the design.”

Lisle says that two weeks into the final dates for the tour the B-EYEs were working “amazingly well” and proving to be “a very solid fixture.”

“Through marathon programming sessions they didn’t have a single issue, and we were really putting them through their paces,” Chmielewski adds. “I was surprised to see just how few moving parts were involved in creating whirlwinds of amazing effects.”

In addition to the B-EYES 30 Sharpys were an integral part of the lighting design since Day One, Lisle says. “I love the fact that they can punch through video intensity when needed. They also gave us some great beam/aerial effects. You can’t beat them for speed: They were super-fast for the ‘techno’ moments of the show.”

“The Sharpys were a perfect complement to the B-EYEs in the rig,” agrees Chmielewski. “It takes a lot of power to compete with the look and brightness of a Sharpy, but the B-EYEs held their own.”

Chmielewski programmed the tour on a grandMA2 light with three active NPUs. A back up grandMA2 light was also available on the road.

He calls the platform his “weapon of choice” for the past few years. “Its ability to continue to build and refine a very powerful and custom toolset for programming is unrivaled,” he says. “All of the integration of MA 3D, grandMA2, onPC and VPU makes everything seamless as the ability to previs everything, including Art-Net merging, media and every fixture type, is an enormous asset. Add to that the fact that once the show was programmed, it was one show file on one USB stick.”

He notes that the show featured LED nodes embedded into the LED wall. “We had almost 5000 very bright, forward-facing LED fixtures, each DMX-controlled from the console,” Chmielewski explains. “Using grandMA2′s Art-Net merge capabilities, we were able to merge data from the media servers and have both media control and typical DMX control of all the nodes as well as the 5000 fixtures on the Matrix 5×5 blinders.”

Lisle calls the grandMA2 “an amazing console – even more so when you have a programmer like Scott who can unlock all of the tricks within it. The desk is just so powerful. I never heard, ‘it can’t be done’ from Scott during the programming process.”

Chmielewski gives kudos to “the team at A.C.T, which is always on for us as we continue to push new technologies from consoles and previs to the newest lighting fixtures. There is no way we would be able to create and achieve what we do without the help of their east and west coast teams.”

The equipment was supplied by Neg Earth, UK.

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

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Shotoku Broadcast System To Unveil Revolutionary New Camera Tracking System at 2014 NAB Show

NAB Booth C 8731

Click to visit Shotoku at NAB

Company Set to Showcase Complete Range of Superior Pan & Tilt, Control and VR Tracking Solutions

Staines, UK – Shotoku Broadcast Systems, the well-established leader in manual and robotic camera support, and virtual reality tracking, is introducing in joint cooperation with ncam, a leading manufacturer that enables virtual production through real-time camera tracking, the revolutionary new ncam Camera Tracking System at this year’s 2014 NAB Show, Booth C8731. In addition, Shotoku will be exhibiting its complete range of advanced robotic camera systems, including its line of pan & tilt heads, control systems and VR camera tracking solutions aimed at all News, Sports and TV Shopping applications as well as systems designed specifically for Government, Legislatures and Houses of Worship. Several significant new product developments will be on show further expanding system capabilities and bringing even more flexibility and cost-efficiency to TV studio operations requiring fully robotic cameras.

The ncam Camera Tracking System features a multi-sensing bar that is unobtrusively mounted on the studio camera and provides real-time data to its associated tracking server. ncam provides complete 8-axis 3D position information via industry standard protocols compatible with any VR/AR graphics system. It is suitable for a wide range of applications both indoor and outdoor, with mounted or even hand-held as well as Steadicam cameras. The system joins Shotoku’s well-established series of advanced encoder-tracking systems.

As part of its range of leading VR camera tracking solutions, the company is also showcasing its advanced TK-53VR crane, which is unmatched in terms of mechanical stability, control precision and tracking sensitivity offering a truly exceptional level of all-round performance for any VR or AR production. In addition, the company’s highly successful TP-90VR full X-Y tracking pedestal will be shown in live demonstrations in the Vizrt booth (Number SL2419).

Easily customizable for government, legislature and houses of worship environments, Shotoku’s robotic solutions, such as the TG-18 and TG-27 pan & tilt heads, height drive and fully robotic pedestal systems feature precise remote control capabilities. The company’s entire range of control systems will be available for demonstration including the TR-HP Hot panel, TR-S legislative panel and the TR-8T touch-screen based robotics control system.

“Shotoku will have an array of products and solutions on display at this year’s NAB show, ranging from the brand new ncam camera tracking system to our technologically superior and robust pan & tilt heads, control systems and VR camera tracking solutions,” says James Eddershaw, sales director, Shotoku. “For years, Shotoku has been leading the way in providing advanced manual and robotic camera support, as well as virtual reality tracking solutions to the broadcast market, and we are looking towards this year’s NAB to reach industry professionals with updates and demonstrations of our various product lines.”

About Shotoku Broadcast Systems
Shotoku Broadcast Systems is an international leader in the manufacture and marketing of a full range of camera support products with emphasis on manual and robotic pedestals and pan/tilt heads for the television broadcast industry. The Company also provides robotic camera systems capable of interfacing with third-party equipment. Established as an engineering design firm specializing in advanced mechanics and electronic control systems, Shotoku maintains headquarters in Japan with offices in Staines, UK and Torrance, CA. The Company’s robotic camera systems are designed, developed and manufactured in Staines, UK. For further information: www.Shotoku.co.uk

Shotoku contact: James Eddershaw
+44 (0) 1784 224650 / mailto:info@shotoku.co.uk

Press contact: Desert Moon Communications / Harriet Diener
+1-845-512-8283 / mailto:Harriet@DesertMoon.tv

Cobalt Digital Listens to Customers, Presents Solutions and Upgrades at NAB 2014

Company Continues to Expand Range of Broadcast Solutions with New Quad Split Card, Blue Box Group Converter and Framesync, Quad-Channel Multi-Rate DA And Significantly Upgraded Loudness Measurement System

Urbana, IL – With an ear tuned to professionals in the ever-changing global broadcast industry, Cobalt Digital (www.CobaltDigital.com), manufacturer of award-winning 3G/HD/SD-SDI conversion gear for broadcast environments, will be rolling out several important solutions at this year’s NAB Show in Booth N4624. The Company, that prides itself in listening to its customers, will answer the need for a quad split card for openGear®, expand its Blue Box Group™ with another converter and framesync, and present a card-based multi-rate distribution amplifier. In addition, Cobalt will be announcing key upgrades to its popular SPOTCHECK® loudness measurement/compliance monitoring system.

“We are always excited to have the chance to attend important industry shows such as NAB where we have the chance to show our commitment to our customers by demonstrating new and enhanced products to meet their varied needs,” says Chris Shaw, EVP sales and marketing, Cobalt Digital. “There are several new and exciting products and upgrades that we will be introducing to the broadcast industry this year that will help keep our customers on the cutting edge of technology.”

New:
9970-QS Quad Split
The 9970-QS Quad Split card answers the need for a fully functional quad split for openGear® frames in sports trucks and control rooms. The card provides 4 SDI inputs (3G/HD/SD), all with frame sync and independent ARC capability. Multiple UMD per pip, user, router source (Utah Scientific integration), and time code are standard. Other capabilities include highlighted borders, Ethernet, GPI, and serial input for tally, full screen mode, audio bar overlay, HDMI/SDI output and more.

Blue Box Group™ BBG-1002-UDX Modular Up/Down/Cross Converter
The new Blue Box Group™ BBG-1002-UDX Modular Up/Down/Cross Converter is available in two different formats. The BBG-1002-UDX-AAV-AES with universal I/O and character burn provides a high-density standalone modular unit that offers multi-input support, flexibility, and ease of use, with full support of 3G/HD/SD-SDI, CVBS, AES and analog audio inputs and outputs. The BBG-1002-UDX model features auto-changeover input, character burn and a web-based user interface. The unit is also available in card format (9902-UDX) for openGear®.

Blue Box Group™ BBG-1040-ACO Multi-Input Modular Framesync
The user-friendly Blue Box Group™ BBG-1040-ACO Multi-Input Modular Framesync with auto-changeover and character burn provides a high-density standalone modular unit offering multi-input support. Multiple SDI input ports allow manual or automatic failover to alternative inputs on loss of input conditions as well as user-configurable criteria such as black/frozen frame or audio silence. Standard features include a web-based user interface and front-panel control. Three BBG-1040-ACO fit in a single rack shelf. The unit is also available in card format (9940-ACO) for openGear®.

9910-DAX16 3G/SD/HD-SDI Multi-Rate Distribution Amplifiers
The all-new quad-channel 9910-DAX16 3G/SD/HD-SDI Multi-Rate Distribution Amplifier features 4x output crosspoint to support four input channels which can be cross-point routed to any of 16 DA outputs. The flexible crosspoint (configurable via DashBoard™ GUI) allows quad 1 x 4, dual 2 x 8, single 1 x 16 and other possibilities (such as dual 1 x 4 plus single 1 x 8). Available in reclocking/non-reclocking versions. openGear® frame compatible.

Upgrade:
SPOTCHECK®
Cobalt Digital’s SPOTCHECK®, initially developed to provide loudness measurement and records for broadcasters, returns to NAB as a significantly upgraded and comprehensive compliance system. Enhancements include: proxy record (Down-res transcode) variable resolution, Video H264, Audio AAC Stereo, EBUR128 compliance, graphing enhancements to include cursors, TS playback and vertical scrolling. Dependent on settings, up to one year of proxy can be stored. In addition, operators can now receive alerts by email.

Journalists: Click to RSVP to Cobalt Press Conference: Tuesday, April 8 at 9AM in LVCC Booth N4624

ABOUT COBALT DIGITAL INC.
Cobalt Digital Inc. designs and manufactures award-winning 3G/HD/SD conversion gear for the broadcast television environment. Distributed through a worldwide network of dealers, system integrators, and other partnerships, Cobalt products are backed with a 5-year warranty. For more information, visit http://www.cobaltdigital.com.

Company Contact: Chris Shaw, EVP of Sales and Marketing
+1-217-344-1243 / chris.shaw@cobaltdigital.com

Press Contact: Desert Moon Communications / Harriet Diener
+1-845-512-8283 / harriet@desertmoon.tv

Avolites Hosts Free Weekly Training Webinars

Manufacturer offers interactive sessions covering Titan Version 7 and Ai Media Server

LONDON — In an effort to provide the very best product support to its current clients and potential customers, Avolites announces its continuing series of free weekly online training sessions. Hosted from the manufacturer’s worldwide headquarters in London, several one-hour GoToMeeting webinars each Thursday cover various topics related to Avolites and Avolites Media products.

Sessions held at 9:00 a.m. EST every Thursday guide users through the GUI of Avolites’ groundbreaking Ai Media Server. Attendees learn how to navigate the built-in 3D visualizer, import video files and play them back, and adjust these videos by changing color and adding effects, introducing keystone and warps. The informal sessions will also cover video mapping to non-uniform projection surfaces and output to LED screens.

Webinars held one hour later at 10:00 a.m. EST focus on Titan Version 7 and feature the Avolites Titan Simulator, which allows attendees to view every button press made by the trainer, see features and ask questions. The schedule for the remainder of March and April is as follows:

- March 20 – Chases: recording and unfolding chases; using speed masters and tap tempo

- March 27 – Customizing your console: making, editing and deleting workspaces; assigning and recording macros; changing default values, including fixture locate, highlight values and key profiles

- April 3 – Titan overview: console layout, basic programming and operation

- April 10 – Time in programmer, time palettes, using the encoder wheel to set times and the edit times menu

- April 17 – Version 7: set list, show import, reports and the @ key functions

- April 24 – Artnet: using an Artnet to DMX box to expand your universes; using a Titan Net Processor; connecting and assigning lines

“Education is the key to unlocking the creative possibilities of the desk,” says Group One’s Brad White, national sales manager for the Avolites brand. “These free webinars are a great place not only for tapping into expert advice but also for collaborating with other LDs and programmers from all over the world. So sign up to experience Avolites’ world-class training in the comfort of your own home or office, learn new tips and tricks on the Titan software, and maybe even contribute a few yourself.”

White further points out that additional webinar sessions may be added to better accommodate other time zones, such as PST, as demand increases.

Attendance for each webinar is currently limited to 25 people per session and space will be allotted on a first-come, first-serve basis. To register for one or more of the sessions, please visit the “Webinars & UK Masterclasses” link at www.avolites.com.

HARMAN’s BSS Audio, Crown and JBL Professional Provide Acoustic Atmospherics at The Island In Pigeon Forge Entertainment and Retail Center

PIGEON FORGE, Tennessee – The Island at Pigeon Forge is a brand-new entertainment and retail center located in Tennessee’s Smoky Mountains. It’s on an actual island in the Little Pigeon River and offers a wide variety of rides, shopping, restaurants and attractions, with a 132-room hotel to be completed in spring 2014. Providing the audio solution was sound contractor Clair Brothers Audio who installed a system featuring HARMAN’s JBL Professional loudspeakers and Crown amplifiers, all tied together via BSS Audio signal processing components.

Clair Brothers installed the distributed audio system at The Island at Pigeon Forge, which encompasses more than 22 acres. Dustin Goen, Clair Brothers system designer and project manager specified 128 JBL Control 28T-60 loudspeakers for use throughout the facility, indoors and outdoors in the buildings and mounted on light poles. The loudspeakers are powered by a total of 12 Crown CTs Series CTs 2000-LITE, CTs 1000-LITE and CTS 600-LITE amplifiers. Signal processing and distribution is provided by three BSS Audio BLU-800 processors, a BLU-320 I/O expander, a BLU-100 12 x 8 signal processor and three BLU-8v2 wall controllers. The amplifiers are connected to the BSS Audio components via CobraNet, using PIP Programmable Input Processor modules that are installed in the amps.

The Crown amplifiers and BSS Audio components are housed in four distributed audio equipment rooms, all tied together with fiber cable. The tech staff can monitor and control all the amplifiers using a customized page in the HARMAN HiQnet London Architect™ system control and configuration software. Each of the equipment rooms has remote inputs and paging, enabling staffers to distribute inputs across the park or page specific areas.

“Although it covers a large area, we were able to test the entire system in the shop before we brought it to the site and configure and tune everything onsite in two days,” said Goen. “We chose the JBL Control 28T-60 loudspeakers with WeatherMax grilles because of their combination of sound quality, power handling and durability, which is obviously of prime importance in an outdoor installation where they’re also going to be used day in and day out.”

Goen continued, “The BSS Audio BLU devices are my go-to digital signal and networking processors because they offer tremendous flexibility and total reliability. These qualities, along with their ability to connect all the amplifiers on the same network using a single software package made them the obvious choice.”

“We have been pleased with the results from Dustin and his team’s hard work on this project. Everything has been working well thus far, and sound quality we now have throughout the property is excellent,” added Beau Berni, Director of Operations, Pigeon Forge Entertainment and Retail Center.

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the 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 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

VARIA Fills Calvary Chapel with Exquisite Sound

Chattanooga, TN – March 2014…Leaving a rental space for a place of their own was a big step for  Calvary Chapel. Their new campus sits amongst the hustle and bustle of downtown Chattanooga, close to restaurants, hotels, shops and grocery stores, making Calvary Chapel now a visible and accessible part of the community.

In fact, Calvary Chapel’s new home is a converted Bi-Lo grocery store, reminiscent of its former self through the concrete floor and open corrugated metal ceiling. Folding this industrial edge into their contemporary approach, Calvary Chapel cleared the columns and raised the roof, opening up the 100 by 100 square foot space and adding a bit of acoustical treatment to the side walls.

The space seats 750-800 people, in typical fan shaped sanctuary seating, with one center aisle and two on either side. The services are always packed, from Saturday night praise band to late Sunday morning service, where they have an extra 150-200 people in overflow areas, connected via fiber.

Their contemporary services, complete with amplified instruments, fit well into this unique, industrious and sleek aesthetic. Making it sound as good as it looks, with hard surfaced, square dimensions, was a whole other issue; one that couldn’t be solved with a one-size-fits-all solution.

“It was pretty rough when they moved in there three or four years ago,” says Tracy Miller of Chattanooga-based DB Technologies. Calvary Chapel called Miller in for a consultation about a year ago, needing his help in taming and utilizing this new space. Miller had previously demoed the Renkus-Heinz PN102 line arrays in the space, but quickly realized he needed a different approach. “With the liveliness of this particular room, a traditional line array wasn’t the right thing. There was just too much sound bouncing around that place.”

What Miller and Calvary Chapel needed was a line array that could be tailored to fit their needs precisely; from rock bands to sermons, without allowing the square, hard barriers of the Chapel to shape the sound. “I had been wanting to try out the VARIA and this seemed like a good opportunity,” Miller says. “We set up a demo, and it was just night and day. With the VARIA array, we were able to taper the coverage and focus the sound on the seating area, without hitting all those walls and reflective surfaces.”

With left and right three-cabinet arrays of narrow, transitional and wide dispersion boxes, VARIA also fits in well with the pre-existing design of the space, complementing both the industrial and the sleek aesthetics. And, says Miller, the dramatic shift in sound quality made the job easier, even for the Chapel’s new sound guy. “He’s been just getting up to speed on the Roland M400 console, and he usually asks a lot of questions. But we went from nobody in the room to a packed house and it was so smooth, I did not have to go to the console even once.”

Miller recalls, “after the first service, I got a text: ‘we want to keep these.’ And I had the feeling that would be the case.”

 

 

 

 

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Headquartered in Foothill Ranch, California, Renkus-Heinz, Inc. is the worldwide leader in the design and manufacture of audio operations networks, digitally steerable arrays, powered and non-powered loudspeakers, system specific electronics and fully integrated Reference Point Array systems.

WICHITA STATE UNIVERSITY’S KOCH ARENA UPS GAME DAY WITH DANLEY HORNS AND SUBS

WICHITA, KANSAS – MARCH 2014: Originally constructed in 1953 and renovated in 2003, the 10,500-seat Charles Koch Arena is home to the Wichita State University Shockers’ basketball and volleyball teams. The men’s basketball team is a ten-time contender in the NCAA finals, and its home games usually sell out the arena. Recently, Daktronics (Brookings, South Dakota) designed and installed a new center-hung video board in Koch Arena, which prompted a simultaneous renovation of its previously disappointing sound reinforcement system. Now, twenty-four Danley Sound Labs Synergy Horn loudspeakers join four Tapped Horn subwoofers to deliver high-volume, high-fidelity audio to Shockers fans.

“Men’s basketball at Wichita State University attracts large, mostly sold-out, crowds,” said John Olsen, a Daktronics regional sales representative for large sport venue audio. “Because the shape of the building is circular and because the roof is curved, the sound level in Koch Arena can be challenging to overcome when the action on the court heats up. The old system lacked the proper design and performance to cover the entire arena with intelligible speech and impactful music, and there was a definite lack of low-end performance. The school had invested a lot of money in past improvements, but they were ineffective for the whole facility. The new system had to be more inclusive of their immediate in-game needs for all the fans.”

In addition to Olsen, who provided the client contact and communication necessary to understand and meet the university’s expectations, the Daktronics team consisted of Aaron Louwagie, project manager, Dan Eckert, system design engineer, and Doug Dodge, field installation engineer. Decker Electric of Wichita, Kansas provided the high- and low-voltage installation and rigging of the clusters, which required extensive welding to existing roof structures. Larry Lucas of Anthony James Partners (Richmond, Virginia) assisted with system design and commissioning.

Owing to its circular architecture (designed to give everyone a better seat), Koch Arena is known locally as “The Roundhouse.” “It’s a symmetrical room with a highly reflective dome,” said Lucas. “The acoustical challenges that come with that are extreme. The new system would have to have exceptional pattern control so that energy would hit the fans and not the ceiling. Danley Sound Labs’ unique horn-loaded designs offer that kind of precise pattern control. Moreover, they’re very cost-effective, especially when you factor in that each Synergy Horn loudspeaker or Tapped Horn subwoofer requires only one processing and amplifier channel.”

The system is comprised of eight clusters that circle the top ring of the new center-hung video board. Each cluster contains a Danley SH-96, a Danley SH-64, and a Danley SM-80. In addition, four Danley TH-118 subwoofers round out the bottom end. “The tight pattern control of those Synergy Horn boxes worked well within each cluster and between each cluster,” continued Lucas. “When we commissioned the system, one box was inadvertently set 6dB hotter than the rest, and it upset the acoustical balancing act that we had designed for the symmetry of the room. Once we brought it back down, the whole system tightened up nicely.”

A Yamaha LS9-16 manages all of the inputs to the system and in turn feeds a QSC Q-Sys processing system. Twenty QSC PL240 and four QSC CX1102 amplifiers power the Danley boxes, whereas two QSC CX302V and two QSC CX108V 70-volt amplifiers power thirty-six JBL Control 25T wall-mounted speakers that cover seats below a balcony lip that is shaded from the video board.

“On the surface, projects like Koch Arena can sometimes seem straightforward, but in reality they are very complex,” explained Olsen. “The SPL and intelligibility required in a facility like this can be very tricky to obtain. The complexity of equipment and the engineering know-how that is needed to properly design, install, test, tune, and fully commission this kind of system takes experience. At Daktronics, we are fortunate to have a team that includes experienced people who can make a project like this look easy. We are pleased with how the Danley speakers perform. They fit well at Koch Arena and the Wichita State University Athletics Department is pleased with the clarity of music and speech that we have achieved. Their fans immediately noticed the upgrades. With a high-performance audio and video system in place, the production team at Wichita now has a broad palette with which to work. Just like viewing a standard-definition video signal on an HD screen reveals hidden flaws, so too, a modern high-definition sound system reveals details in audio content that could not be heard before!”

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.

www.danleysoundlabs.com

Visual Unity Renews Contract with TV Nova

Leading OTT platform and multiscreen solution provider, Visual Unity Global is announcing today the contract renewal of streaming services for TV Nova. TV Nova is the biggest commercial television broadcaster in the Czech Republic, and will continue to use delivery solutions from the leading multiscreen solutions provider Visual Unity, to power VOYO, its live online streaming and Video on Demand service.

Two years ago TV Nova chose Visual Unity to launch their subscription-only service called VOYO. After a comprehensive and lengthy technical evaluation, TV Nova decided to extend their contract for OTT and CDN services until 2016.

Tomas Petru Visual Unity Global’s CEO, says: “We are delighted to continue delivering our award-winning OTT platform for TV Nova, as it further demonstrates our ability to maintain long-term relationships with our clients. Maintaining happy clients and high customer satisfaction is core to our business values.“

“The VOYO video portal offers its subscribers more than 2,000 titles ranging from the latest blockbusters to the Czech classics, including TV Nova’s own productions and series before they are premiered on TV. I am happy about the continued co-operation with Visual Unity, which as a respected expert in its field will continue providing the streaming services to more than 30,000 VOYO users,” says Petr Horák, Head of Diversification.

Gabriel Dusil, Chief Marketing and Corporate Strategy Officer, adds, “We are proud that our OTT platform, vuMedia™ sits at the heart of TV Nova’s VOYO, a leading provider of video on demand in the Czech Republic. By extending the VOYO contract we continue to demonstrate our service excellence in delivering large OTT installations, such as VOYO which includes over 10,000 premium content assets.”

-ends-

About Visual Unity Global
Visual Unity Global is a global provider of video and digital media solutions, enabling our clients to deliver premium quality video content over the internet. Our clients can measure, analyze and optimize their libraries over time and achieve optimal business success. Our platform capabilities inspire our clients to deploy their assets across multiple devices, screens, and media formats. Visual Unity helps clients manage, deliver and monetize their digital content.
Visual Unity is a Multiscreen Solution Provider, bridging the gap between linear broadcast, IT and IPTV to help clients reach and engage audiences on any screen. Since 1991, the team has been designing and delivering turnkey broadcast and complex multiscreen solutions worldwide – from HD outside Broadcast (OB) vehicles and major playout facilities to live internet streaming and Video on Demand services. Visual Unity’s award-winning vuMedia™ platform helps broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment. vuMedia™ is a highly scalable and a modular architecture, delivering a cutting-edge live viewing experience on the web or any mobile or connected device – all of which can be deployed into existing workflows and business processes.
Visual Unity is based in Prague, London, Munich, Nairobi and Los Angeles.
For further information, please visit www.visualunity.com, info@visualunity.com

Prolight + Sound 2014: HARMAN’s Martin Professional Introduces New Lighting Solutions and Offers Daily RUSH™ Giveaway

FRANKFURT, Germany — Underscoring its commitment to providing innovative solutions for lighting designers around the world, HARMAN’s Martin Professional introduced several new lighting solutions, both hardware and software, as well as a offered a daily giveaway of Martin’s popular RUSH™ line, at Prolight + Sound 2014.

Day 1 Highlights
Martin Professional revealed the MAC Quantum Profile™, the latest addition to its new MAC Quantum line. The profile features innovative LED technology and Martin’s proprietary optical designs to deliver super-bright light output. Martin also introduced an expanded family of its proprietary VC-Grids™ and VC-Strips™ family to include 15, 25, 30 and 60 mm pixel pitch fit for architectural installations, stage design, and TV set design.

Additionally, the show’s first day featured the introduction of two new RUSH by Martin LED fixtures—the RUSH MH 5 Profile™ and RUSH DC 1 Aqua™. The RUSH MH 5 features two color wheels, two gobo wheels, and a rotating 3-facet prism, in a compact yet super bright LED profile moving head. The RUSH DC 1 Aqua is a compact and bright LED fixture featuring full electronic dimming, variable manual focus, and five selectable colors to deliver aquatic decoration effects for shows, clubs, and other entertainment venues. Integrated into the Martin stand is an authentic club setting, complete with a DJ and house music, which features the RUSH by Martin line in time-coded shows.

Day 2 Highlights
Garou Blancan, was introduced as the winner of Martin’s annual worldwide Young Lighting Designer Contest at a press conference held by Martin’s Villads Thomsen, Vice President of Global Sales, and Theis Wermuth, Product Application Specialist. They also discussed the process of reviewing the top shows and presented a viewing of Blancan’s winning show design as he accepted the winning trophy.

The second drawing of Martin’s RUSH daily giveaway surprised winner Christoph Mainusch with a RUSH product of his choice. Mainusch works for Munich-based MC-Veranstaltungsdienste, where he provides lighting design services for popular band, Famous Naked Gypus Circus. Mainusch quickly chose the RUSH Multibeam 2™ as his prize.

Martin successfully hosted its annual RUSH event at the prestigous Gibson Club in Frankfurt. The event featured a unique lighting experience provided by Martin’s RUSH Multibeam 2™, RUSH MH 4 Beam™, RUSH PAR 2 RGBW Zoom™ and other members of the RUSH by Martin line.

Additionally, Martin’s state-of-the-art M6 lighting console was honored with the PIPA award for best lighting controller.

For live updates from Martin Professional at Prolight + Sound, please visit: www.facebook.com/MartinProfessional

As a world leader in the creation of dynamic lighting solutions for the entertainment, architectural, and commercial sectors, Martin lighting and video systems are renowned the world over. Martin also offers a range of advanced lighting controllers and media servers, as well as a complete line of smoke machines as a complement to intelligent lighting. Martin operates the industry’s most complete and capable distributor network with local partners in nearly 100 countries. Founded in 1987 and based in Aarhus, Denmark, Martin is the lighting division of global infotainment and audio company HARMAN International Industries. For more information please visit: http://www.martin.com.

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, HARMAN Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the 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 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

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