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DVEO Wins 2014 Worship Facilities Award for Best Podcasting, Webcasting or Streaming Product for Bidirectional SD HD Encoder/Decoder/Streamer

MultiStreamer BD HD-SDI/IP™ Enables Churches to Stream Live Video from Remote Sites to the Web and/or to iPads or iPhones

San Diego, California — October 6, 2014 — DVEO, the broadcast division of Computer Modules, Inc. (CMI), announced today that their live video streaming server/decoder has won the 2014 Worship Facilities New Products Award for Best Podcasting, Webcasting or Streaming Product. The MultiStreamer BD HD-SDI/IP™ was chosen by Worship Facilities and Church Production Magazine editors, distinguished members of the WFX Advisory Board, and WFX management to join an exclusive group of organizations deemed the most noteworthy.

The MultiStreamer BD HD-SDI/IP is a real time bidirectional SD HD encoder/decoder/streamer for 2 way communications, with a one second end to end delay. It enables churches to stream live video from remote sites to the web and/or to iPads or iPhones, and also to stream the video to HD-SDI editing workstations. The system is also available with optional HDMI input and output.

“We are proud and honored that Worship Facilities Magazine selected the MultiStreamer BD HD-SDI/IP for Best Podcasting, Webcasting or Streaming Product,” stated Laszlo Zoltan, Vice President of DVEO. “This encoder and decoder in one has quickly become a favorite with our customers.”

The MultiStreamer BD HD-SDI/IP can encode and decode HD streams at different resolutions. It can create multiple simultaneous high, medium, and low bitrate IP streams and send them to iPads, iPhones, content delivery networks (CDNs), and remote video capture devices. Each stream can have several proxies with different “Wrappers” such as HLS, RTMP, etc.

The highly affordable system is ideal for live streaming to or from church services, youth camps, festivals, weddings, funerals, etc. It eliminates the need for satellite uplinks and downlinks, saving congregations a considerable amount of money and time.

Trinity Fellowship of Amarillo, Texas, a large and vibrant church with eight campuses in Texas and Oklahoma, uses the system to improve the quality of their services. “Each campus sends a live video feed of their worship service,” says Michael Wells, Executive Director of Operations. “The video is stored on DVEO’s optional Stream Bucket™ archive system. Later we evaluate the worship experience, and each campus receives feedback.” (The MultiStreamer BD HD-SDI/IP ships with one terabyte of local storage. The optional Stream Bucket provides greater storage capacity and archiving features, including file organizing and time stamping.)

The system is able to upconvert incoming SD streams to HD. This is quite useful for receiving a live SD video feed and displaying it on an HD screen. The system also scales down HD streams to SD.

Supplemental Information for Press Release

Features:

  • Supports both HD and SD H.264/MPEG-4 AVC encoding and decoding with “virtual” stream replication
  • Inputs and Outputs: Either one SDI/HD-SDI input, one GigE IP input, HDMI input, or Analog Input (optional RF)
  • Outputs: Multiple simultaneous IP streams through GigE port (RJ45), SDI or HD-SDI video loop through
  • IP Output protocols: HTTP Live (HLS), HTTP, UDP, RTP, multicast and unicast with transport stream envelope, HTTP Smooth, or RTMP (Open Flash)
  • Support for segmented streaming: Apple® HTTP Live and Windows® HTTP Smooth. These streams can be played by Apple® and Android devices as well as Silverlight and Flash Clients.
  • Able to upconvert incoming SD streams to HD, and scale down
  • Supports many CDNs
  • Supports 608 and 708 Closed Captioning
  • Supports M3u8 playlist files (standalone and through HTTP Live)
  • Supports H.264 High Profile @ Level 4.0 (HP@L4)
  • Supports 1080i, 1080p, 720p, 576i, 480i, 480p, CIF, QCIF, qHD, H.264up and many others, and custom resolutions
  • Audio Input: SDI Embedded, AC3 Embedded, or AES/EBU
  • Audio Output: AAC, Ogg Vorbis, MPEG-1 Layer II, optional MP3, and/or optional “SurCode for Dolby Digital” AC-3
  • Now ships with one terabyte of local storage
  • Remote GUI includes on/off scheduling
  • SNMP or REST or SOAP remote management
  • Low power consumption due to Ivy Bridge Intel® CPU

    Suggested Retail Prices:
    MultiStreamer BD HD-SDI/IP: $6,995 U.S.
    MultiStreamer BD HDMI/IP: $6,495 U.S.

    DVEO, MultiStreamer DIG/IP, MultiStreamer HDMI/IP, and Stream Bucket are trademarks of Computer Modules, Inc.
    All other trademarks and registered trademarks are the properties of their respective owners.

    About Worship Facilities Magazine
    Worship Facilities Magazine and WorshipFacilities.com are published by WFX LLC, the producer of WFX, the Worship Facilities Conference and Expo.

    Worship Facilities Magazine and WorshipFacilities.com is the authoritative source for churches seeking to maximize the ministry impact of the resources, people and technology. Worship Facilities industry-leading content is designed to be read and shared as a resource for executive pastors, pastors, facilities managers, business administrators, operations managers, building committee members and other senior leadership.

    About CMI and DVEO
    CMI, founded in 1982, is a privately held company headquartered in San Diego, California. DVEO, the Broadcast Division of Computer Modules, Inc., sells digital video and high definition television (HDTV) products to the top television broadcast companies throughout the world.

    For more information on CMI and DVEO, please contact Rebecca Gray at +1 (858) 613-1818 or rebecca@dveo.com. To download DVEO’s press releases and product images, visit the news section at www.dveo.com.

    DVEO, 11409 West Bernardo Court, San Diego, California, 92127
    Web: www.dveo.com phone: +1 (858) 613-1818, fax: +1 (858) 613-1815

wysiwyg Lighting Design Video Challenge 2014

video-challenge2

Make sure you register your vote at the People’s Choice Awards

The Challenge is not yet over.

Entries judged by the panel now flow to the second part of the wysiwyg Lighting Design Video Challenge 2014. So to register your vote for BEST Lighting Design, go to CAST Software’s Blog — http://tinyurl.com/o7bn2nw — and vote by noon Wednesday, 8 October 2014 (EST – Toronto, Canada).

www.cast-soft.com

Masque Sound Goes on Wild Trip with the Star-Studded Broadway Comedy, It’s Only a Play

Custom Audio Equipment Package Ensures the Laughs Keep Coming in Season’s Most Highly Anticipated Show

NEW YORK, OCTOBER 6, 2014 – When four-time Tony® Award-winner Terrence McNally’s raucous, ridiculous and tender comedy, It’s Only A Play, arrived on Broadway at the Gerald Schoenfeld Theatre, Sound Designer Fitz Patton and Associate Sound Designer Justin Stasiw turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to provide a custom audio equipment package for the laugh-out-loud hit of the year.It’s Only a Play Gerald Schoenfeld Theatre

It’s Only A Play tells the story of opening night of Peter Austin’s new play as he anxiously waits to see if his show is a critical hit. With his career on the line, he shares his first Broadway night opening with his best friend, a television star; his fledgling producer; his erratic leading lady; his wunderkind director; an infamous drama critic; and a fresh-off-the-bus coat check attendant.

The all-star cast of It’s Only A Play includes F. Murray Abraham, Matthew Broderick, Stockard Channing, Rupert Grint, Nathan Lane, Megan Mullally and Micah Stock. This hilarious ensemble is directed by three-time Tony® Award-winner Jack O’Brien.

In designing the sound, Patton and Stasiw both aimed to create as transparent an audio system as possible. By strategically placing foot and boundary microphones hidden within the framework of the set and at the lip of the stage, the designers were able to successfully pick up the actors’ dialogues, while providing the audience with the transparent feel that they envisioned.
It’s Only a Play Gerald Schoenfeld Theatre
“The play features a high-profile cast, so we were looking to provide a very realistic, acoustical sounding package,” says Stasiw. “The goal in the sound design was to provide a slight vocal lift in order to ensure that everyone in the audience could hear the actors clearly, without it sounding like the dialogue was emitting from the loudspeakers. The selection and placement of microphones were two very important tasks for this play, and Masque Sound was instrumental in providing us with the equipment that we needed to be successful.”

Masque Sound supplied a selection of microphones from DPA, including the 4021s and 4061s. “We utilized the 4021s for our floor microphones and additionally hid some within the set. The 4021 is a great, compact cardioid microphone to use as a boundary source. We also used the 4061s, which not only sound great but also are so tiny that you can hide them without worrying that anyone will be able to see them. We hid microphones around the set in order to pick up the performers’ in as natural a manner as possible. The cast is an amazing set of performers who all have strong projecting voices, so most of the amplified signal is fed into the under balcony section and the delay system. These performers are so talented that their voices can easily reach all the way to the balcony rail, so we just have to ensure that the sound gets to the back of the house.”

At the heart of the custom audio equipment package that Masque Sound provided was the Yamaha CL5 Digital Mixing Console. “The CL5’s Dante® interconnect capabilities make it a great choice because the layout of the theatre makes it difficult to maneuver heavy paired cable from backstage to the front of house,” adds Stasiw. “The ability to only have to run two network cables from backstage to front of house is incredibly helpful. In addition, Yamaha still offers the most MIDI controllability out of any console, allowing us to automate the system by essentially controlling any singular function on the console with MIDI. The ability to have that remote control over any parameter in the deck was a necessity for this production”

The custom speaker system supplied by Masque Sound features a selection of speakers from d&b audiotechnik, including E12 two-way multipurpose loudspeakers for the main left and right and downfill, as well as C7-TOP two-way horn loaded loudspeakers for the center cluster. “The sound effects used for the show feature a lot of realism, including phones ringing, etc., so there are a number of speakers hidden in the set to help us image those objects on stage and ensure that the audience is sonically drawn toward the correct positions on stage,” adds Stasiw. “The d&b speakers are essential, as they sound superior, are easy to set up and minimize steps to successfully tune the sound system.”

Additionally, Masque Sound provided Patton and Stasiw with d&b audiotechnik E8 loudspeakers to position underneath the balcony along with a large surround system comprised entirely of E0s. Patton and Stasiw also hid some E0s on stage.

“Masque Sound is always great to work with,” concludes Stasiw. “I have always had a good experience coming out of their shop and really appreciate that they are a full solution provider. The crew has always been helpful in terms of assisting our staff with everything from service and technical support to equipment advice, and Masque Sound once again did a wonderful job in helping us bring our sonic vision to life on stage.”

It’s Only A Play’s 18-week limited engagement is slated to run through January 4, 2015 at The Gerald Schoenfeld Theatre (4235 West 45th Street). For more information, including how to purchase tickets, visit http://itsonlyaplay.com/.

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.

Chongqing International Expo Center Gets IC Live

 Chongqing, Peopl’s Republic of China – October 2014…Located at the confluence of the Jialing Jiang and Yangtze Rivers, Chongqing International Expo Center is one of the world’s ten largest convention centers, and the largest in western China. Designed and built by Insigma Systems Engineering Co, Ltd., and owned by Chongqing Panda Investment and Development Co., Ltd., the Expo Center covers more than 200,000 square meters (2.1 million square feet), with 16 exhibition halls that buzz throughout the year with exhibitions, conferences, and a wide range of events.

The Expo Center’s various halls have been outfitted with a number of high-performance sound systems based around Renkus-Heinz ICONYX IC Live digitally steered line array systems. The Grand Ballroom system includes four ICL-FR cabinets, permanently installed, as well as four more ICL-R portable systems for added flexibility. Four IC215S-R powered subwoofers provide low frequency reinforcement. Four CF121-2 full-range point source loudspeakers and four CF121M-2 stage monitors cover additional fill duties. A PreSonus StudioLive 16.4.2 digital console handles the mix, with a BSS BLU-80A processor providing system DSP.

 The large 1500-person conference hall is equipped with two ICL-FR columns, along with a pair of CF121M-2 boxes for fills. Two smaller 1000-person conference halls offer similar systems. All three venues also utilize PreSonus StudioLive 16.4.2 mixers and BSS BLU-80A audio processors, as well as Bosch DCN conference systems.

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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.

AUSTRALIA’S STUDIO ONE FLIGHT UP ACHIEVES “FANTASTIC” SOUND WITH AN API 1608

Studio_One_Flight_UpSYDNEY, AUSTRALIA – OCTOBER 2014: A self-proclaimed ‘analog-minded person,’ Nick Irving, owner of Studio One Flight Up in Sydney, works with independent singers, songwriters and musicians who are driven to create great records. While the studio is home to several vintage analog outboard gear pieces, Irving wanted a brand-new, reliable analog console to bring together the sound he works to achieve. Deb Sloss of Studio Connections Australia advised him towards a 32-channel API 1608 console, fitted with twenty-four classic API 550A EQs, and eight 560 EQs.

“It’s a dream console, really,” said Irving. “Computers make great multi-track recorders, but for the actual work of recording and mixing sessions, I need to be ‘hands-on”.” The moveable size of the 1608 played a role in Irving’s decision, allowing the studio to eventually grow into a new building. It also comes in 16-channel sections, allowing the actual console to expand, or even be retrofitted. “It’s chock full of API’s sensational EQs and mic preamps, silky-smooth faders, nice, bright, clear LED lights in all the buttons, and full metering with the brightly-lit VU meters.”

Studio One Flight Up uses the 1608 for both recording and mixing needs. “My sounds just get better and better now that I have an API console. Switching the metering between input and direct out is fantastic and very useful. Having buttons to engage the insert points is also a great and useful feature.” With the 1608, Irving and his crew do not need extra DI boxes, as each channel of the console has an instrument input. “It’s also great that the power supplies are quiet enough that they don’t have to be housed in a separate machine room,” Irving added.

Now that the studio renovations are complete, Irving is recording and collaborating on an album with Grammy award-winner Myles Heskett (ex-Wolfmother). “It is proving to be lots of fun. We’re really enjoying working on the API console. Everything I’ve done on it sounds fantastic – solid, crisp, clear.” Irving proclaimed, “I’ll never need another console in my lifetime!”

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

www.apiaudio.com

WIDE HIVE STUDIOS REOPENS WITH EXPANDED 48-CHANNEL API 1608

Howe_VeilleuxALBANY, CALIFORNIA: Wide Hive Studios in San Francisco’s Bay Area re-opened its doors earlier this year after a number of recent renovations and updates. A decade ago, veteran producer, engineer, and musician Gregory Howe folded his costly studio in San Francisco for a cozy, less expensive space in nearby Albany, California. He centered his Albany studio around a 16-channel API 1608, which he later expanded to 32 channels through a 16-channel expander. Now, with his most recent round of upgrades, Howe has added another 16-channel expander to create a 48-channel API 1608.

“I’ve been working with API gear for a long, long time,” Howe said. “I love the API sound. To me, it walks the perfect line between cleanliness, straight-up rock, and audiophile fidelity.” The recently-expanded 48-channel 1608 unifies the studio’s sound, streamlines its workflow, and also allows clients to tap into Howe’s massive collection of world-class outboard gear with ease. “The new sixteen channels primarily serve as returns from the equipment racks. We now have the flexibility and sound to do whatever we want.”

Wide Hive books jazz, funk, hip-hop, and soul artists exclusively. Since the console’s expansion, Howe has used it to record several tracks, which are receiving airplay, brisk sales, and profuse blessings from critics. Of note, swing jazz guitarist Calvin Keys cut Electric Keys with the help of the 1608 and the Wide Hive Players, an in-house collective group of jazz musicians.

Howe’s commitment to recording is not lost on his listeners. Reviews of Wide Hive releases never fail to comment on their excellent sound quality. “I’m a huge believer in analog summing,” he shares. “Digital summing involves a massive calculation that necessitates sacrifices. I can hear those sacrifices in the music. I’m looking forward to the cohesion we’ll have when the whole console is API.”

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

www.apiaudio.com

(PHOTO CAPTION: Owner of Wide Hive, Greg Howe (left) pictured with Steve Veilleux owner of SVT Audio.)

Yamaha QL5 and Dante Networking Used for Reality Tattoo Competition TV Show

Ink Master crew Yamaha QL5 low

BUENA PARK, Calif.—Ink Master is an American reality competition on Spike TV in which 17 tattoo artists from around the country compete in challenges assessing their tattoo and related artistic skills as they perform timed-challenges spanning an array of styles and techniques on willing ‘human canvasses’ battling for the grand prize of $100,000. They are judged by noted tattoo artists and tattoo enthusiasts, rock legend Dave Navarro and tattoo icons Chris Nunez and Oliver Peck, with one or more contestants being eliminated during each episode.

Shooting reality TV is a complicated, fast past, process that requires immense precision. For example, the audio team for Ink Master juggles 40 audio inputs for the contestants, judges, and human canvasses plus 16 plant mics and four boom operators, the show’s host, not to mention, producer mics, stage manager mics, cameras, etc.

Using the Dante™ networking protocol and a custom control surface designed by Peter Schneider co-owner of Gotham Sound and Communications, Inc. (NYC) who designed the show’s entire audio system in collaboration with the show’s film mixer and sound supervisor, the late Martin Kelly who passed away shortly after the new season began. With this custom design, all audio and video is seamlessly juggled and successfully networked together. The mixes are pulled altogether by a new Yamaha QL5 Digital Audio Console, provided by Scharff Weisberg/Worldstage of New York.

“The control room essentially never gets powered down, and shooting takes place around the clock, states Schneider. Marty’s (Kelly) main concern was that the system be absolutely rock solid. We both felt that the Yamaha QL5 and Dante networking could provide that inherent reliability.”

Schneider provided an overview of the signal flow that includes wireless mic sources for the 16 tattoo artists and ‘human canvasses’, the four judges, and four boom operators. 16 wired plant mics are used, one per tattoo booth, along with communication sources for the director and producer/show runner, plus output destinations for recorders and boom recorders, and mix outputs for the director mix, producer mix (via Aviom), including eight mono camera mixes via Lectrosonics DNT.

“With all of these patch points, we needed an audio transport technology that wasn’t an after-thought to the mixer, but rather integrated into the very heart of the mixer, Schneider says. In this way, audio could be converted one time and then distributed, mixed, and processed to all of the needed destinations, all without leaving its native transport stream. The Yamaha QL5 digital audio console met our requirements, and more, including integrating analog I/O that can be seamlessly combined with the Yamaha Rio input/output box preamps and other Dante audio sources. In the Ink Master situation, our 16 plant mics were input via a Rio1608 that was remotely located 200 feet away in the studio. These outputs were used for IFB feeds and LTC time code.”

Since season two of Ink Master, the show has always relied on Yamaha as its mixing solution, starting with the Yamaha LS9-32 (using MADI) followed by a CL5. “We all loved the rock solid reliability of Yamaha’s products, and moving up to the new QL5 was really the only logical choice for the mixing console.”

For more information on Gotham Sound and Communications, visit www.gothamsound.com.

For more information on the Yamaha QL Digital Audio Console and Dante networking, visit www.yamahaca.com.

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Photo ID: L to R: The late Martin Kelly (Sound Supervisor, Ink Master), Peter Schneider (co-Owner, Gotham Sound and Communications), Paul Padilla (Senior Rental Technician, Gotham Sound and Communications)

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of professional audio products offering complete systems solutions for the sound reinforcement, touring, broadcast, commercial recording, and post-production markets with a complete line of digital mixers, amplifiers, speakers, processors, networking capabilities, and NUAGE Advanced Production DAW System. YCAS is also the official North American distributor for NEXO speaker products. With the new CIS Series that includes ceiling and surface mount speakers, mixer and power amplifiers, and matrix processors, the Company furthers is commitment to their commercial installation solutions customers. All market sectors receive comprehensive in-house/field product training, a dedicated dealer network, and 24/7 technical support.

Prism Sound Announces A Drum Masterclass In Germany

Gavin Harrison

Internationally acclaimed drummer Gavin Harrison is collaborating with Prism Sound to deliver a unique Drum Masterclass, which will take place at KMR Audio in Berlin on Saturday November 1, 2014.

Harrison has worked with a wide range of artists including Iggy Pop, Porcupine Tree, Sam Brown and King Crimson. His Masterclass in Germany will focus on techniques for recording drums in a studio and will give those attending the opportunity to record a track on his Sonor drum kit.

Harrison recently gave a similar Masterclass at Ananda Studios in the UK, which was hugely successful. Prism Sound supported that event by providing audio interface equipment.

Bernard Nocker, Prism Sound’s sales representative in Germany, says: “We were so inspired by it that we decided to host another event in Germany where there is enormous demand for this kind of hands-on workshop. Gavin is an inspiring teacher and during the Masterclass he will focus on the demands of being a session player and how to deliver a great performance, even when under pressure. He will also give each attendee individual feedback so that they can raise their game to another level.”

To ensure the highest possible audio quality throughout the recording chain, Prism Sound will once again deploy a number of its Atlas USB audio interfaces to track the microphones from the drum kit into Logic. Aimed squarely at multitrack recording applications, Atlas benefits from Prism Sound’s 27 year history in digital audio processing and interface design. It incorporates the company’s latest award-winning CleverClox dual hybrid clocking technology and offers recording professionals ultimate quality analogue and digital I/O for Mac or Windows PC at sample rates up to 192kHz. In addition to the USB host interface, Atlas also features Prism Sound’s new MDIO interface expansion slot. With eight acclaimed Prism Sound microphone preamplifiers as standard, Atlas is ideally suited to the needs of drummers.

Gavin Harrison’s Prism Sound Drum Masterclass runs for three hours and is not suitable for beginners. Capacity is limited to a maximum of 12 participants and the cost of the session is €150 per person. Anyone wanting to attend should visit:

http://www.prismsound.com/music_recording/store/store_offers3.php?lng=de

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

Clay Paky B-EYE K10s Make Red Rocks Debut with STS9 Concert and Join Band’s Fall Touring Rig

BNSTS920140906JP_1200px_004Lighting designer Saxton Waller selected 22 Clay Paky A.leda B-EYE K10 LED-based moving lights controlled by a grandMA2 with NPU for two sold-out STS9 concerts at the famed Red Rocks Amphitheatre in Morrison, Colorado, the lead up to the band’s cross-country fall tour. The fixtures and console were provided by Brown Note Productions, Inc. in Thornton, Colorado. A.C.T Lighting, Inc. is the exclusive distributor of Clay Paky and MA products in North America.

The instrumental band STS9 (Sound Tribe Sector 9), which plays self-described post-rock dance music, is one of the nation’s top-grossing tour acts with a heavy presence in the festival circuit. Their dates at Red Rocks, September 5 and 6, preceded the start of their first tour in nearly a year. The tour will play venues in the Midwest and East, including Chicago, New York, Detroit and Pittsburgh.

Brown Note Productions, Inc. is a full-service audio, lighting and video production company specializing in touring, festivals and special events. It won the 2013 Parnelli Award for “Hometown Hero Lighting Company of the Year” and is nominated for the same award again this year.

“STS9 is our flagship client: We’ve been working with the band for the 10 years we’ve been in business,” says CEO Sara B. Knutson, who is partnered with her husband, Ryan, in Brown Note Productions. “STS9 has played Red Rocks, named the best concert venue in the country, a number of times before. And we do 30-35 shows there annually with clients, so it’s a very familiar venue. The B-EYE K10s made their Red Rocks debut with STS9, then will accompany the band on their six-week tour.”

Brown Note Productions is a fan of Clay Paky products with more than 60 Sharpys and 16 Sharpy Washes in their inventory. Now, 22 B-EYE K10s have joined the product roster.

“We expect the K10s to be accepted by all the major tours,” says Knutson; the fixtures were rented previously by String Cheese Incident for their show at Electric Forest. “We also look for the K10s to bring in new clients who are excited by the hype and what the lights can do. Clay Paky always puts out amazing products – look at Sharpy and how it has revolutionized the industry. Their products are solid and in-demand – we can’t keep them in stock!”

Brown Note Productions has a long history with MA consoles, too. “We started with one many years ago and have really ramped up our inventory so we now carry two grandMA2s, a grandMA2 light, an NPU, a command wing and we still have a grandMA1. They are the go-to desk for any major tour; they’re on every rider and are specked for all the big national festivals.”

Saxton Waller, who heads Denver-based Roygbiv Lighting & Show Design, has been the lighting designer for STS9 for 14 years. He saw Clay Paky B-EYE K20s at a recent Phish concert and when a sample K10 became available he got a chance to “play with it” for a day and see if the fixture would fit into STS9′s new touring rig.

“I used 22 K10s for Red Rocks, and we’re touring with 20,” he says.
“I’m using the K10s any way I can: every function they have, I use – wash mode for big-stage looks, beaming down without opening the prisms for small beam effects, rotating them and opening and closing the prisms for custom effects.” At Red Rocks and on tour STS9 has opted not to use video elements in their shows so lighting design and effects play a bigger role than ever.

At Red Rocks Waller placed one K10 behind each of the five band members and tilted the fixtures forward about 25º “to get them under the band and all the way back to the rocks,” he explains. The remaining 17 K10s were mounted in the truss. The fixtures will be deployed in a similar way for the touring rig.

Waller built custom macros for the K10s that extend creative flexibility with color. “I’ve written probably 30 custom chases with colors attached. So in a three-spoke fan each spoke stays the same color all the way around, like a gobo wheel spinning. I can fire them of in any combination,” he explains.

He attached ghost protocol presets to his custom chases to facilitate writing the macros assigning the K10 color combinations. “Each chase can have 60-80 steps, so I only have to write it once, not each time I have a different color combination.”

Waller has also invented a way to see each beam of the K10s in MA 3D setting up each cell as an individual moving light. “It’s been priceless for me to see the beam structure in the studio without setting up the entire rig,” he says.

“Brown Note is a great company and has always been a great partner of ours,” says A.C.T Lighting Vice President of Sales, Brian Dowd. “They’re always excited about trying the latest and greatest equipment and they’re able to do so in a way that really showcases the gear.”

Chris Ruppel from Brown Note Productions gets kudos from Waller for “making it all happen” with K10 and grandMA2 programming.

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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Analog Way releases new Apps and bolsters its offerings of Software and Tools

September 2014 – Analog Way, a leading designer and manufacturer of innovative presentation switchers and image converters, is pleased to announce the immediate availability of AW Toolbox. This wireless App to remotely operate the LiveCore™ series of AV processors completes Analog Way’s recent line of software and tools released to help operators get the most out of the high-end mixers.

Analog Way is pleased to announce the availability of AW Toolbox, a mobile App designed to control the LiveCore™ series of presentation mixers. The wireless application offers the ability to fine-tune any multi-projector Soft Edge Blend, recall presets and Master presets with seamless transitions, and easily configure the processor’s inputs and outputs, all via WiFi. In addition, AW Toolbox displays sources and logos through dynamic snapshots automatically refreshed every second. Compatible with Android™ tablets and Apple iPad, AW Toolbox is available on both the Google Play Store ($19.90 – 14.90€) and iOS App Store® ($19.99 – 17.99€).

Philippe Vitali, Integration and Application Software Director, explains: “In order to make the operation of our LiveCore™ mixers even simpler, we’ve designed AW Toolbox to offer remote control. Through its user-friendly interface, operators can now easily operate their system with a tap or flick of a finger, wherever they are in their show area”.

In addition to AW Toolbox, Analog Way’s Integration and Application Software team has released a series of free tools to provide support to users in their daily operations.
Among them, AW Gateway allows up to 5 simultaneous connections to one single Analog Way switcher that does not natively support multiple controllers.
The AW Screen Frame Cutter was designed for Soft Edge Blending applications. The tool helps split any wide-screen image into multiple still backgrounds including overlaps very easily.
Finally, Analog Way released the AW EDID Editor. This free software allows users to create and edit any standard EDID files to ensure optimal compatibility between sources and display systems. AW EDID Editor can be used within any application no matter the systems involved.
These tools are all available as free downloads on www.analogway.com and are all compatible with Windows and Mac OS X.

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Related Topics: Product Applications, Switchers, Videos |

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