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Archive of the Product Applications Category

Biamp Systems’ Tesira(R) and Audia(R) Provide Superior Audio Distribution to New Long Beach Courthouse

DSP audio solutions deliver crystal-clear sound across more than 30 courtroom spaces

BEAVERTON, Oregon — Nov. 3, 2014 — Biamp Systems, a leading provider of innovative, networked media systems, has announced that its Tesira(R) digital signal processor (DSP)-based media system and Audia(R) digital audio platform are driving a distributed audio solution for the Governor George Deukmejian Courthouse in Long Beach, California. The recently completed 531,000-square-foot structure replaces the previous outdated courthouse. Among the features in the $347 million state-of-the-art facility is a flawless AV delivery system. more

Margarita Mix of Santa Monica Adds Fourth Fairlight EVO System

Sound Mixer Paul Hurtubise at the Fairlight EVO Audio Production System, Margarita Mix, Santa Monica, CA.

Sound Mixer Paul Hurtubise at the Fairlight EVO Audio Production System, Margarita Mix, Santa Monica, CA.

SANTA MONICA, CA (Nov 3, 2014) — Margarita Mix of Santa Monica, a FotoKem company specializing in audio post services for commercials and advertising media, has installed a fourth Fairlight EVO integrated audio production system for their award-winning team of sound designers, mixers and composers. With the upgrade, the facility’s accomplished sound mixers Paul Hurtubise, Jimmy Hite, Nathan Dubin and Jeff Levy are now working on identical audio post platforms in their HD mixing suites.

“The facility was already working extensively on Fairlight, and after careful evaluation and testing, I made the transition,” says Hurtubise, who joined Margarita Mix in late 2012 with over 20 years of experience in commercial audio post.

Having used a number of platforms over the course of his career, Hurtubise notes, “I simply think Fairlight sounds better. It’s less fatiguing on the ears, and I seem to hear things more clearly and definitively.

“The EVO workstation is also very ergonomic and easy to operate,” he adds. “I feel like I’m on a system that’s been developed for humans to work on. EVO’s jogger fits my hand, and its keyboard fits my fingers. I’m running sessions more efficiently because I’m not as focused on all the clicking.”

Hurtubise also points out that the graphic displays are less fatiguing. “It’s much easier for me to be on the Fairlight all day. I noticed immediately that I wasn’t as physically tired at the end of the day. The displays are comfortable to work on, too.”

According to the talented mixing team at Margarita Mix, there are plenty of features to like about the system. They like that the picture has a home in the system, versus floating around the screen. “The picture’s right there when I want it—I love the Pyxis,” Hurtubise says of the dual-channel HD video recorder that is integrated into EVO as standard. “I also like the streaming Pyxis video frames along the bottom of the timeline display, and being able to see the picture frames before and after the playhead. This way, I can see how many frames I have until my next edit.”

When the mixers need to face the voiceover booth with a script in front of them rather than face the EVO surface, they’ve created a macro that puts “Record” on different sides of the controller so that it’s ergonomically easier for them. Fairlight’s one-button record function also helps in VO sessions when the talent starts to speak. “We don’t want to interrupt them; if we press our ‘Record’ macro button, the disk recorder immediately stops one take and goes right into another one in the span of a 1/10th of a second,” Hurtubise explains.

Custom fader sets are another admired attribute of the system. “I’ve never been on a system where I can so easily lay out faders to my liking,” says Hurtubise. “Sometimes I’m knee deep into a session and I really wish I had my beeps next to my mic, right next to my music stem, right next to my sound effects stem, next to the dialog stem next to my headphone send—then I can mute and level them very easily. I can create that quickly with Fairlight.”

There are several features on the Fairlight that the Margarita Mix team hasn’t had available on previous DAWs. “For example, I like the way Fairlight solos tracks: I can solo a set of tracks, un-solo them by holding control and pressing one button, and then re-solo that same set by pressing one button,” Hurtubise reports. “I like being able to memorize zooms. Say I have 128 tracks with 70 music stems and 40 sound effects stems. I can zoom to the music tracks and store it in U1; I can go to the sound effects tracks and store that in U2. If I hear something in the music I just press U1, and instantly I’m looking at the music stems. It is super easy.”

All four Fairlight operators at Margarita Mix use similar console control templates for uniformity. Nathan Dubin has been at Margarita Mix for over a decade recording VO, mixing for television, ADR recording for film and commercial mixing for TV and radio that has earned several industry accolades. Working with clients such as Nissan, Activision, Disney, AT&T, Kaiser Permanente, and UPS, Jimmy Hite has over 30 years of experience in sound mixing for the commercial and advertising industries, and has won numerous awards throughout his career. Paul Hurtubise focuses on commercial mixing as well as ADR and commentary recording. His recent credits include spots for Google, eHarmony, Old Navy, Hyundai, and Toyota, among others. Jeff Levy has been part of the team for 20-plus years, also earning multiple awards for mixing and sound design.

About Fairlight:
Fairlight has been designing, engineering and manufacturing cutting edge, professional digital audio technology for more than 30 years. Its dedication to innovation, quality and customer service has made Fairlight one of the most respected companies in professional audio. With their integrated control surfaces and intuitive user interfaces, Fairlight’s award-winning media creation tools are renowned for their speed, flexibility and exceptional sonic quality. The company’s products offer full compatibility with virtually all open audio, video and sync standards, making them ideally suited to a wide range of audio post and live broadcast applications. To learn more about Fairlight please visit www.fairlight.com.au

FairlightUS Inc. is the exclusive North American distributor for Fairlight products. For more information visit: www.fairlightus.com

Napa’s Palmaz Vineyards Uses Vista Systems’ Spyder in Unique Projection System Designed to Aid Winemakers in their Work

01_DomeShot_entryLevels_00001No doubt about it, winemaking is an art and a science. Perhaps nowhere is this more evident that at Palmaz Vineyards in Napa, California where winemaking and aging takes place within the living rock of Mount George, in a maze of tunnels and lofty domes. Vista Systems’ Spyder plays a key role in the advanced technology Palmaz uses to aid winemakers in creating complex, elegant, super premium wine.

Palmaz Vineyards has reinvented winemaking on the site of the Cedar Knoll Vineyard and Winery, founded in 1881 by Henry Hagen, one of the Napa Valley’s pioneer winemakers. The Palmaz family bought the forgotten stone winery and introduced true gravity-flow winemaking in a wine cave equivalent to an 18-story building. Gravity-flow winemaking eliminates the violent agitation of pumping, which can change the wine’s intra-molecular structure. Instead, the gentle treatment allows the finest nuances of flavor to develop naturally.

The cave’s fermentation dome is the world’s largest reinforced underground structure with dimensions spanning 72 feet in diameter and 54 feet high. Twenty-four fermentation tanks rotate on a massive custom-designed carousel. Temperature stays constant at 60 degrees and humidity at 75 percent, the perfect atmosphere for aging wine.

“What makes a winemaker great has little to do with the ability to ferment wine and everything to do with the seemingly inhuman ability to sense the subtleties in wine,” says Christian Gastón Palmaz, president of Palmaz Vineyards. “The only instrument we want them to have in hand is a glass. Up to 50 percent of their time is spent determining how far along they are in fermentation. The more tanks you have the less often you check and make critical adjustments and decisions.”

Palmaz partnered with Acrolon Technologies and aerospace metal fabricator Rodney Smith to create the first fully algorithm-based fermentation control system featuring proprietary intelligent instrumentation in each tank which image more than 10 million points of temperature inside the tank space, providing the winemaker a live visual thermal representation of the tank. “With this powerful information they can better steer the artistic ship – and make great things happen to the color, texture, flavor and aroma of the wine,” says Palmaz.

To gain a full understanding of the state of each tank, however, the winemakers need to constantly review the tank data. “How could we put the data in front of them?” asks Palmaz. “An iPad accompanies the process but referencing 30 days worth of data across 36 fermenters on a 9.7″ screen can be cumbersome. Positioning the data so that critical information could be observed without having to search for it became the goal.”

Palmaz envisioned a projection system. After all, he had the huge curved surface of the dome available. “But we had been told for years that edge blending wouldn’t work in that space,” he says. “Even the best planetarium consultants in the world discouraged us from projection.”

Then he heard about two products that looked likely to make his dream a reality. “Christie’s HD14K-M projectors have geometric correction at an unbelievable level and focal depth lengths never seen before. And Vista Systems’ Spyder X20 1608 could create a pixel cloud of unparalleled size. With those products we’d be headed down the right path.”

But Palmaz notes that he’s “a vintner, not an AV specialist.” So he hired commercial integration firm CCS Presentation Systems, Inc., whose San Jose office undertook months of “rigorous testing and custom work” with Christie and Vista to devise a very unique system for the Palmaz Vineyards’ dome. “And the end result is unbelievable,” Palmaz declares. “They took a space inhospitable to projection and delivered projection with extreme high definition, clarity and brightness.”

“The space itself has a big ‘wow’ factor,” says Adam Bahri, senior account executive at CCS. “The AV system now enhances that. You turn it on and the projections deliver an extra ‘wow.’ Changing winemaking through technology – it’s a unique approach.”

The projections give winemakers a graphical representation of control screens showing the thermal state of the tank. That enables them to “focus on fermentation in exquisite detail,” says Palmaz. “During harvest it’s like watching a live movie – the fermentation is active.”

But the system is also designed to take winemakers back through a previous vintage. “You can play back an entire harvest with the tap of a button,” he explains. “There’s an animation of the property then day-by-day sequences showing which vineyards were picked and their fermentation. You can see 240 hours of fermentation in seconds — for all 24 tanks. It’s so visually stimulating. And it helps make an important point of how complex fermentation is.”

Edy Salomon Technical Operations Manager for CCS,says the first challenge faced by CCS was “edge blending six projectors, which is difficult to do. Then edge blending them on a domed ceiling was pretty much unheard of.” Christie did a site survey to determine the number of projectors required, their angles and distances ultimately opting for six projectors custom-mounted on the second floor with the rotating carousel below.

Spyder was selected for its ability to “stretch a single image over multiple projectors,” Bahri explains. “Vista manufactures the best equipment and offers the best customer service. In my 15 years experience with Vista you’re guaranteed a satisfactory result.”

Palmaz wrote a simple custom app for Apple iPhone or iPad that allows the winemaker to trigger projections sourced by a Mac Pro tower running ~sedna Presenter and fed to the six Christie projectors, which perform the warping for the dome, and the Spyder, which handles the edge blending.

The unique visual experience in the dome is not only designed for winemakers, however. Palmaz Vineyards conducts private tours by appointment during which visitors can also view the projections.

“Our ambassador taps a button on the iPhone interface to blank out the system so visitors don’t see it at first,” says Palmaz. “They snake their way onto the balcony reaching into the dome structure. They don’t see the projection system although they are inches from it. Then the ambassador taps the button again and the room explodes with light. It’s an overwhelming experience. It’s like being surrounded by magic.”

In addition, the projection system can turn the dome into an art installation. Famous fashion photographer Nicola Majocchi has been commissioned to create a two-volume coffee table book for Palmaz Vineyards, and he’s also been asked “to take the dome’s pixel space and create an artistic exhibition of motion photography,” Palmaz explains. “He calls it ‘a surreal dreamscape as a grape’ – an artistic perspective from the point of view of a grape. It should be ready this fall when we’ll default to this living art canvas, which will be exhibited continuously on the dome.”

Palmaz gives kudos to CCS and the customer service provided by Vista. “I expected this would be an unbelievably expensive project, but we were able to accomplish everything for a very reasonable price,” he reports. “This was so very different from anything I’m used to doing, but CCS, and Vista were on time and on budget and I really appreciated it. It was a great pleasure to work with them.”

About Vista Systems
Vista Systems’ switchers have become the industry standard for live multiple-destination video and data mixed signal switching with real-time windowing and composition. For more information on Vista Systems, visit their website at www.vistasystems.net.

Worcester Polytechnic Institute Gets Double Coverage With ICONYX

 Worcester, Mass  - October 2014…Founded in 1865, Worcester Polytechnic Institute was one of the first engineering and technology universities in the United States. Today, the private research university ranks with schools like Princeton, Stanford and MIT as one of the nation’s most prestigious schools.

The university’s Alden Hall regularly hosts a wide range of performances and programs, from lectures to concerts and theatrical productions. As Richard O’Connell of Boston-based AV Design Build explains, the 10,000 square foot multi-purpose venue employs different seating arrangements, depending on the event. “It’s a rectangular room with a stage in front and balcony in the rear. For concerts and theatrical events, seats are set up facing the stage. For lectures and smaller presentations, seats are set up facing the long wall stage right, and they set up a podium.”

The hall’s growing popularity and increasingly busy schedule had made the limitations of its aging sound system abundantly clear. To cope with intelligibility and coverage issues, university officials frequently brought in portable systems to supplement or replace the main system. Even with the portable systems in place, coverage was still poor, particularly in the balcony.

 With this in mind, AV Design Build recommended an innovative solution based on dual independent Renkus-Heinz ICONYX systems to provide optimal coverage and intelligibility, regardless of the scheduled event. A pair of ICONYX IC32 digitally steerable line arrays is installed left and right of the stage for larger events, seamlessly covering the floor and balcony areas. “With the IC32s, we were able to create a beam and point it right at the balcony, without hitting the back wall,” O’Connell observes. “We used seven beams on the IC32s, and that was all that was needed to address the room’s intelligibility and coverage issues.”

For the hall’s lecture and spoken word programs, a pair of ICONYX IC8-R-II columns are mounted on the wall stage right, to each side of the podium. “The IC8s are perfect for lectures and presentations,” says O’Connell. “They provided the intelligibility and coverage we needed for a smaller, more intimate setting.”

University officials are pleased with the versatility of the dual systems. “The ICONYX systems allowed us to address the university’s multiple uses for the hall,” O’Connell concludes. “The music faculty is particularly happy because they often present concerts with stringed instruments, from small large ensembles. Now you can hear the instruments clearly, from every seat in the house.”

 

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About Renkus-Heinz - 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.

 

 

Groove3 Unveils $99 All Access Annual Web Pass

Become a better producer with unlimited access to online audio tutorials for about the cost of 2 cups of coffee a month!

Austin, TX – October 30, 2014 – Beyond one-day events like Black Friday or Cyber Monday, Groove3 has launched the Black November Sale and is offering new customers an All Access Annual Web Pass for just $99 during entire month of November. Normally $150, customers gain instant online access to every video tutorial currently available on Groove3.com as well as new videos that are added during their 1-year membership.

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Groove3.com hosts nearly 900 hours of innovative, inventive and progressive online video training for music producers of all levels, covering all of the top digital audio workstations, plug-ins, and virtual instruments on the market as well as essential audio topics like recording, mixing, and mastering. Groove3’s expert trainers are working musicians and audio professionals that know how to get the most from their gear and apply that knowledge to real-world workflow. New content is added weekly and is accessible with the All Access Annual Web Pass.

While there is plenty of video instruction on YouTube, Groove3 takes the guess work out of finding consistently high-quality instruction backed by more than 10 years of experience in working closely with audio experts and directly with manufacturers. This saves the end-user countless hours of searching the web for relevant, high quality video instruction.

“My schedule is so hectic that I don’t have the time it takes to fully learn the latest and greatest software,” said Trace Foster, engineer and guitar tech for Joe Perry of Aerosmith. “Now I just put on a Groove3 video while we’re flying or on the bus and before long, I’m so far ahead of the learning curve! It really makes my life easy.”

There has never been a better time to become a Groove3 member. In addition to the Black November Sale price of $99, members will have access to new content from a recent development partnership with publishing giant Hal Leonard, which will include titles on drums, guitars, bass and keyboard playing and more. Several new titles are due out in November and December as well as many more in 2015.

For more information and to purchase an All Access Annual Web Pass for just $99 during the Black November Sale, visit http://www.groove3.com/str/access-it-all.html.

About Groove3:
For over 10 years, Groove3 has been on providing informative and effective training and content that is in-depth yet easy to follow. Their products are currently in use by thousands of musicians, engineers, producers, project studio owners, colleges, universities, trade schools, and working professionals. They were the first to offer training videos specifically targeted to the pro audio community via online access and the first to offer regular video content updates for their members. Groove3 offers the most flexible options for purchasing their training and viewing the content with DRM free downloads, iOS and Android apps, as well as an intuitive streaming player.

Italian Superstar Pino Daniele Chooses DPA Microphones

Pino Daniele with DPA 1

Pino Daniele, one of Italy’s best known singer/songwriters and a man whose career spans both genres and decades, has recently started using a range of DPA microphones, including the company’s ground-breaking d:facto™ Vocal Microphone.

Fabrizio Facioni, Daniele’s sound engineer, jumped at the chance of using d:facto when the opportunity presented itself.

“I like its sound. It’s so ‘present’ and natural,” he says. “This microphone reproduces exactly what it is given in terms of the vocal, and that greatly simplifies my job.”

The d:facto Vocal Microphone joined a range of DPA mics that were used over the summer for the NERO A META’ tour, which reunited Daniele with band members from the 1980s alongside special guests. For his forthcoming theatre tour, the line-up is more intimate and includes Pino Daniele on vocals and acoustic guitar, a second acoustic guitar, an upright bass, piano and drums played by internationally acclaimed producer and arranger Alfredo Golino, who regularly works with artists such as Laura Pausini.

Facioni says: “The decision to use DPA microphones initially came about when I needed a microphone for Pino’s acoustic guitar. I spoke to Agora, our PA rental company, and they recommended DPA’s d:vote™ 4099 Instrument Microphones. After trying one, I knew it was perfect for the task. Both Pino and I were so impressed that we decided to use d:vote 4099s on his guitar and on the second acoustic guitar.”

Facioni adds that the improvement in sound made him question the microphones he was using on the other instruments in Daniele’s intimate line-up. It was at this point that Alfredo Golino suggested he got in touch with Salvatore Zocco from DPA’s Italian distributor M. Casale Bauer for more advice on the DPA range.

Salvatore Zocco says: “Alfredo is a great ambassador for DPA and has used the company’s microphones for a long time, so it was perfectly natural for him to put Fabrizio in touch with me. I was able to recommend the most appropriate microphones for Fabrizio’s requirements.”

The final choice came down to d:vote 4099 Instrument Microphones for the high hat, snare (top and bottom) and toms. DPA d:dicate™ ST4011C and ST4015C Recording Microphones were respectively chosen to handle overheads and percussion. The acoustic guitars and upright bass are also miked with d:vote 4099s, while Pino Daniele has two d:facto Vocal Microphones – one for when he’s standing and the other for when he performs with his acoustic guitar.

“I have been very satisfied with the results these microphones have delivered,” Facioni adds. These were exactly the mics I needed to give me a natural sound. I am a studio engineer as well, so I already knew DPA mics for piano and orchestra and I like them a lot. But this is the first time I have tried them for percussion and bass and I am definitely impressed.”

And perhaps more importantly, Pino Daniele himself has also been impressed with the performance of the d:facto Vocal Microphone which he used consistently during his summer tour of Italy’s sports arenas.

“We are now planning more dates in smaller theatre venues during November and December and the d:facto will once again be part of our microphone set up,” adds. “It has worked for Pino and he really like it. He says he now recognises his own voice!”

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

Visual Unity Shows vuMedia™ at NAT Expo 2014 and Inter BEE 2014

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Leading OTT solutions provider Visual Unity is showing the latest version of its Award-winning vuMedia™ multiscreen platform at NAT Expo in Moscow (November 19-21, 2014) and Inter BEE in Tokyo (November 19-21, 2014). The software will include a new, white label version that gives partners the opportunity to sell the product under their own brand by changing the colours and logos on the user interface.

“Having secured an investment of 7.2 million US$ (5.2 million Euros) from 3TS Capital Partners, we are now able to support the growth of an international customer base for vuMedia™,” says Visual Unity’s CEO Tomas Petru. “We are positioning Visual Unity as the leading provider of OTT and multiscreen solutions and to this end we are very focused on both product development and expanding into previously untapped markets.”

The company, which will be exhibiting on booth B23 at NAT Expo in Moscow, while at InterBEE it will be exhibiting in conjunction with its Japanese distributor DSP-Japan (Booth 5380).

Visual Unity’s updated vuMedia™ platform now includes a raft of new languages that have been incorporated into the software’s administrator user interface. This significant addition broadens its international appeal and reinforces Visual Unity’s plans to expand sales into new geographic territories. Also new is Multi-level account administration, which allows Visual Unity customers to collaborate on OTT projects, share resources or limit access to specific parts of vuMedia™ to dedicated groups. It also allows vuMedia™ to support different re-seller and seller models and relationships.

Introduced in 2011 and the winner of the 2012 ConnectedWorld.TV Award, Visual Unity’s flagship vuMedia™ is an end-to-end OTT platform that allows broadcasters and content owners to control how their brand and assets are managed, delivered and monetized in the multiscreen environment. Highly scalable and flexible, vuMedia™ delivers a cutting-edge live viewing experience on the web or any mobile or connected device. vuMedia™ also enables comprehensive Video on Demand services, social network integration and secures the distribution of content – all of which can be deployed into existing workflows and business processes.

vuMedia™ can be bought in two formats – Platform as a Service (PaaS) or Software as a Service (SaaS) for customers who don’t want to invest in new hardware.

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About Visual Unity

Visual Unity is a global provider of video and digital media solutions, enabling our clients to deliver premium quality video content. 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 vuMediaTM platform helps broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment. vuMediaTM 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, Moscow, Nairobi, Dubai, Istanbul, Ottawa, Los Angeles and Hong Kong. For further information, please visit www.visualunity.com

Masque Sound Custom Audio Equipment Package Helps Audiences Discover Charming New Musical, FOUND

NEW YORK, NY, OCTOBER 30, 2014 – When the ambitious and original new musical FOUND opened at the Atlantic Theater Company’s Linda Gross Theater on October 14, Sound Designer Ken Travis enlisted the services of Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a custom audio equipment package to help audiences discover this Off-Broadway gem. FOUND at Atlantic Theater Company. Photos by Kevin Thomas Garcia. Photo 1

FOUND isn’t just based on a true story; it’s based on hundreds of them. FOUND is an original musical featuring scores of surprising and eccentric discarded notes and letters that have been “found” in the real world by every-day people. Inspired by actual events, the show follows Davy who, along with his two best friends, is lost and broke. When he finds a strangely revealing note on his windshield meant for someone else, it sparks an outlandish idea that finds him and his companions on a wild, comedic journey. By bringing a host of real notes and letters from Davy Rothbart’s popular FOUND Magazine to irreverent theatrical life, this insightful new musical tells a story of ambition, betrayal and loyalty while celebrating the weirdness in us all.

Travis’ biggest challenge in designing the sound was adhering to the very quick amplification changes in the theater, which was previously an old church. “Because of its architectural design, you can’t really hit the walls and you can’t activate the room,” says Travis. “We needed to be able to go from really loud to super intimate within a second and allow the audience’s ears to settle into that adjustment. It took a little while to figure out how we would accomplish that without losing any energy and without having the audience members miss a single word.”
FOUND at Atlantic Theater Company. Photos by Kevin Thomas Garcia. Photo 2
For Travis, equipment selection proved essential to the show’s success. He found what he was looking for with a speaker system featuring d&b audiotechnik products. The sound system features a Q-Series rig, along with E3 loudspeakers for delays and B2 subwoofers. “In a matter of one minute, the actors can go through 10 songs, and, stylistically, each song is 100 percent different,” adds Travis. “It can range from something that pays homage to Queen and Bruce Springsteen, to 80s metal bands and country music. Dynamically, the shifts are huge, and the d&b system allowed us to really bring out the style of the various music genres in a rapid succession.”

Additionally, Travis wanted to ensure that no microphones were visible on the cast during the production, so he relied on Sennheiser MKE1 Professional Lavalier Microphones, along with one of Masque Sound’s pre-built Sennheiser 2000 Series wireless transmitter kits. Designed for quick and easy dispatch, Masque Sound’s pre-built kits provide 24 wireless channels and are targeted for the Off Broadway and regional markets. The orchestra was mic’ed with DPA 4011 Cardioid Microphones, DPA 4099 Instrument Microphones, Schoeps MK4 Cardioid Capsules and Beyerdynamic M 160 Hypercardioid Ribbon Microphones. Masque Sound also provided an Avid VENUE SC48 digital console.

Since the orchestra is present on stage, with musicians spread between a few small pods, Travis wanted the sound design to creatively capture and evoke a natural and intimate sound. To accomplish this, he utilized a Meyer Sound LCS LX-300 delay matrix. “We wanted the orchestra to be able to go from a chamber sounding musical, involving violin, cello, guitar, bass, drums and piano, to a heavy rock sound,” he says. “We used the delay matrix to time every single instrument on stage so that when we were amplifying it, it really sounded like it was coming from the specific instrument. We also divided the stage into zones, which ensures that the engineer has a lot of cues for the actors.”
FOUND at Atlantic Theater Company. Photos by Kevin Thomas Garcia. Photo 3
Furthermore, with regards to timing, this production requires that the audio is perfectly synched up to the show’s video images. Travis relied on MIDI to achieve this, using one big MIDI loop to ensure that the design teams could send information back and forth. This was an easy way to simplify a very technically challenging show on an Off-Broadway budget.

“This was a great team effort,” concludes Travis. “My associate, Justin Stasiw, A1 Jillian Walker and A2 Laura Brauner all did a wonderful job, and it was terrific that the whole design team was able to come together for this fun and original production. Masque Sound was once again great to work with and very accommodating in providing me with the equipment I wanted to use.”

FOUND began previews on September 18 and is slated to run through November 9 at The Atlantic Theater Company’s Linda Gross Theater, located at 336 West 20th Street in Manhattan. To learn more about FOUND, visit atlantictheater.org.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

Michael Feinstein and the Pasadena POPS Take to the Stage with DPA Microphones for Summer Concert Series

Company’s d:facto™ Vocal and d:vote™ 4099 Instrument Mics are mainstays for all recent performances

LOS ANGELES, CA, OCTOBER 30, 2014 – Michael Feinstein and the Pasadena POPS recently concluded their 2014 Sierra Acura Summer Concert Series at the LA County Arboretum to an audience of nearly 5,000 people. DPA microphones was among the star-studded lineup, not only for this concert series but for Feinstein’s additional performances, with its d:facto™ Vocal Microphone and d:vote™ 4099 Instrument Microphones for Piano.Michael Feinstein Pasadena dfacto 1

Michael Feinstein’s long-time Production Manager and FOH Engineer Andy Brattain was introduced to DPA Microphones a few years ago at a show at the Palladium in London. Brattain secured the mics for Feinstein’s Jazz at Lincoln Center Series and has been using the microphones ever since.

“We were heading out on the road and had a lot of different types of shows scheduled throughout this past summer, which included everything from the outdoor symphony shows to a small trio show in a club setting,” says Brattain. “I made sure that I had a couple of DPA mics with me and this is when we really started liking them, as they worked perfectly in so many different applications with all different types of sound systems.”
Michael Feinstein Pasadena dfacto 2
As a baritone, DPA’s d:facto Vocal Microphone matches well with Feinstein’s voice. “He can get a little hot on the low end, but the d:facto is able to smooth some of that out without any coloration,” adds Brattain. “Also, the proximity of where Michael holds the mic in relation to his mouth, whether really close or really far away, works nicely with the d:facto. He has the freedom to move around and the d:facto evens out the sound, leaving me with minimal EQing.”

In addition to the d:facto, Brattain relies on DPA’s d:vote 4099 Instrument Microphones for Piano. “We play with the piano lid closed for 99 percent of our performances and with most microphones you are fighting the low end that produces a harsh sound. With the d:votes you can position the mics exactly how you want and when you close the lid you have this great open and natural sound,” continues Brattain. “I’ve had an engineer tell me it’s the best sounding close-lid piano they’ve heard. It’s such an easy installation too, some pianists don’t want me to tape mics to their piano, but with the d:vote magnet mounts I don’t have to worry about scratches or a gluey mess, it leaves everyone happy.”Michael Feinstein Pasadena dfacto 3

Not only is Brattain happy with the quality of DPA’s microphones but the system tech and other FOH engineers that were at the Pasadena POP performances commented on how well they sounded. “Everyone was pretty blown away about not having to do a lot of EQing, just take the high pass up a little bit and call it a day, it was great,” concludes Brattain.

Feinstein is a multi-platinum-selling, two-time Emmy and five-time Grammy® Award-nominated entertainer dubbed “The Ambassador of the Great American Songbook.”

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

Clay Paky Sharpys and B-EYEs and grandMA2 Consoles Amp Up the Energy at “Nights by Absolut” on Brooklyn’s Pier 9

IMG_7890Clay Paky Sharpy and B-EYE K20 fixtures and grandMA2 consoles helped light up the New York City sky when “Nights by Absolut” launched on September 12 with a high-volume, high-energy twist on the club scene. Clay Paky and MA are both exclusively distributed in North America by A.C.T Lighting, Inc.

Vita Motus, the design studio of Heather Shaw, transformed the Pier 9 Container Terminal in Red Hook, Brooklyn into one of the most exciting clubs in the world for just one night. The iconic silhouette of the Absolut vodka bottle took center stage with the New York City skyline illuminated behind it. DJs Alvin Risk and Araabmuzik took command of the music on the stage below and built suspense for a surprise appearance by guest DJ Zedd.

The event, produced by VICE, was part of the innovative Absolut brand campaign, “Transform Today,” which launched last year. “Nights by Absolut” staged in Johannesburg, Berlin and Sao Paulo followed.

DMDS7tudios of North Miami Beach worked with Vita Motus and VT Pro Design to bring the custom-rigged, 85-foot tall Absolut silhouette to life with 84 Clay Paky B-EYE K20s and 72 Clay Paky Sharpys.

“The goal for the design team was to bring a very progressive brand like Absolut to the forefront of the technology movement, and there is no other effect or lighting fixture on the market currently that has so many options and so much power as the B-EYE,” says Scott Chmielewski, principal of DMDS7tudios, which was brought onto the project as programmers and technology consultants and integrators. The company was charged with programming and implementing the B-EYE lighting effects and pixel mapping the individual LED cells within the fixtures.

“There is literally nothing like the look of the B-EYE out there and, with the fixture’s latest software, options have expanded dramatically,” notes Chmielewski. “The ability of the B-EYE to change from a very powerful and bright wash light to an effects-filled fixture made it an obvious choice for this project.”

He calls the design of “Nights by Absolut” “nothing short of immersive in both its scale and use of technology. Using a well-scripted and choreographed escalation of the event, each element of the project came to life in dramatic steps showcasing a different use of technology and integrated design.”

To control the B-EYEs and the Avolites Media Ai media servers dedicated to mapping the LED pixels, DMDS7tudios employed the latest grandMA2 v. 3.0.0.5 with four active NPUs and a back up console.

“We controlled the Ai media servers, which handled all the media and pixel mapping, and the B-EYE cells, which were all seamlessly Art-Net merged directly into the grandMA2 allowing use of both DMX video as well as the built-in effects of the B-EYE,” says Chmielewski.

For DMDS7tudios, “the DMX mapping and merging were the most challenging elements,” he reports. “Having 12,000 channels of LED sent from both the console and media server over Art-Net sounds like a daunting task, but the capabilities of the grandMA2 platform made it a clear and intuitive process. Being able to create content, albeit in a very unique and low-res format, really helped bring the show’s concept to life. Having that much unique and detailed control over so many elements in such a demanding creative environment was only made possible by the console’s software development, which included the ability of grandMA 3D to previsualize all the elements of the project.”

Chmielewski says there were “no issues with any of the gear” during the pop-up club’s unforgettable one-night only event on Pier 9. “Every element of this show performed flawlessly.” For the grandMA2 that meant “the ability to preprogram in our studios, work with real-world and accurate models of both the fixtures and the environment, and [use] seamless methods for implementing creative nd technical changes that happen on every show.”

The lights were equally problem-free. “We were in an exposed outdoor environment with limited access to the fixtures once they were hung, so that’s one of the reasons the B-EYEs were chosen,” Chmielewski says. “So many options, so few moving parts.”

“Scott is such an innovative designer and this project was really impressive,” says A.C.T Lighting Vice President of Sales, Brian Dowd. “DMDS7tudios has been a great partner of ours and we look forward to many more projects of this caliber from them.”

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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