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Archive of the Product Applications Category

Martin Audio MLA Goes The Distance At BottleRock 2014

Napa, CA––Under new management, BottleRock 2014 provided three days of exceptional music, food and drink without any of the problems that affected last year’s trial launch.

As Jason Alt of Delicate Productions, provider of audio, video and lighting for the event points out, “This year’s festival was smoother, more organized and better run. Participating vendors and artists were taken care of in advance and everyone had a very positive festival experience.”

The eclectic lineup for the festival included The Cure, Outkast, Weezer, TV On The Radio, Heart, Third Eye Blind, Blues Traveler, Spin Doctors, Gin Blossoms and dozens more bands, solo artists and comedians that spanned a range of styles and musical generations.

Once again, Delicate provided Martin Audio MLA and MLA Compact loudspeaker systems for the two main sponsored stages, Toshiba and Sprint, to ensure proper coverage within the festival grounds and output control to prevent noise overspill in surrounding residential neighborhoods.

“The city of Napa didn’t have a noise ordinance until after last year’s event and we teamed with the city to establish one that would work for the festival and the city,” Jason explains. “We came up with 105dB C-weighted at front of house, 110 feet from the stage, measured over an hour period average. This gave us enough latitude for bands to get louder for ten minutes at a time, which allowed for dynamics within that average without adversely affecting any artist’s performance.

“None of the artists or engineers had any issues with the noise ordinance. Even with the newly imposed time restrictions of stopping by 10pm, the festival went really well. And we had no noise complaints from those living near the festival site either.”

Part of this year’s new PA guidelines included removing the delay towers from the main stage to eliminate excess noise, which had no negative impact on coverage according to Alt. “It made the throw for MLA about 600 feet and the system still performed really well. The audience listening experience didn’t suffer at all. People were able to hear it and everything sounded really consistent and clear.”

The Toshiba main stage system consisted of two speaker clusters a side, each consisting of 16 Martin Audio MLA and two MLD (downfill) enclosures; 24 ground-stacked MLX subs; 12 W8LM speakers for front fills; two clusters for side fills, each containing 4 W8C, 4 W8CS compact subs, and 2 WS218X subs; and 6 MLA Compact each as side hangs.

An Avid Profile 96/24 console was used for FOH, and Yamaha PM5D-RH, DSP5D and Avid Venue 48/24 consoles were used for Monitors. Six Shure UHF-R wireless systems with SM58 capsules were also part of the main stage setup.

For the second (Sprint) stage, Delicate combined 18 Martin Audio MLA Compact enclosures per side with 12 DSX ground-stacked subs; 2 side fill clusters containing 2 W8Cs, 2 W8CS compact subs and a WS218X sub; 4 W8LCs for front fills and Martin Audio LE1200S and LE2100S stage monitors to complete the package.

Asked about MLA, Outkast FOH engineer Darcy Khan replied, “I enjoyed the system a lot. The most important thing was the clarity at 200 feet. I was skeptical about that because a lot of line arrays claim to have it but don’t deliver. And this is the only system I’ve come across that can produce enough low end with just 24 subs, but the way Delicate set it up with that block across the front of the stage, it was there. I was very pleased with it, the system really delivered the goods.”

Concluding, Jason added, “Overall the MLA’s performance exceeded our expectations. Everybody was very impressed with what the system was able to do and all of the engineers, many of whom were new to the system, had a great mixing experience with it.”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

HARMAN’s Martin Professional M6 Lighting Console Brings Joy To Changlong International Circus Festival

ZHUHAI, China – Located in the southern Guangdong province and bordering Macau, Zhuhai is a premier tourist hotspot in China. Recently, it is also the host to the Changlong International Circus Festival, of which the committee selected the HARMAN’s Martin M6 Console to control and calibrate the lighting systems on and around the stage. Local Martin distributor Guangzhou Dan-Pro Stage Equipment Co., Ltd recommended the console from a world-renowned brand not only to match the popularity of the venue, but also to provide a compelling experience to such a joyous event.

The Martin M6 console offers the most advanced visualization of lighting control, accommodating a wide product range from traditional fixtures to moving lights and even the most advanced media servers with ease. The setup for the festival features two M6 consoles of the 64 channel version, as well as eight Ether2DMX8™ DMX routers.

“The M6 console is extremely popular amongst integrators, especially for live applications,” said Yuri Zhang, Vice GM of Guangzhou Dan-Pro Stage Equipment Co., Ltd. “During shows that span multiple days, it is imperative for the lighting systems to be controlled by a console that can consistently keep up with the pace without failure. To this end, the body of the console consists of a lightweight aluminum shell, which also allows for a compact design and fast setup times.”

The show features 10 consecutive days of clown acts, circus and aerial acrobatics, animal performances and magic acts, pushing top groups around the world to exciting levels of brilliance. Since there are no two acts alike, all participants had different requirements for synchronizing the lighting effects with their performance. Powered by an industrial multi-core processor and solid-state drives, the M6 console is well equipped to endure such a long and arduous event.

“The M6 console is one of the most reliable lighting consoles to date,” according to Zhang. “It pushes innovative boundaries in terms of flexibility and modularity, as it works with nearly all forms of lighting equipment. By adding a custom touchscreen display to improve ergonomics and workflow, we boost user confidence, so that they may focus on the show.”

The Circus Festival organizers, Changlong Group’s board members, and technical staff were all satisfied with the performance of the Martin M6 console, and praised it for its design and effectiveness. The operators found the controls to be “ambitiously effective” and thus, the M6 will continue its mission to accommodate regular programs for the Changlong International Circus.

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 (www.harman.com) 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 15,200 people across the Americas, Europe, and Asia and reported sales of $5.1 billion for the last twelve months ended March 31, 2014.

Vista Systems URS Supports Fiat-Chrysler Automotive Group 2014 Investor Day Meeting in Detroit

TVS Communications Solutions recently provided production services to the newly-formed Fiat-Chrysler Automotive group (FCA) at its Auburn Hills, Michigan world headquarters, using a Vista Systems URS-1608 Universal Routing Switcher (URS) to support the visuals.

Every five years the automaker holds an Investor Day meeting where presentations lay out a five-year plan for the company. This latest meeting, which attracted journalists and investors from around the world, took place in a fully-renovated amphitheater with 16 conference rooms surrounding it. It marked the biggest Fiat-Chrysler gathering in the last five years.

“In just four weeks the FCA team gutted and renovated a 300-seat amphitheater and 16 meeting rooms from the ground up, including all AV and Lighting equipment,” says Chuck Laszyca, Chief Technical Officer at TVS Communications Solutions in Detroit. “IGI installed three Crestron DM routers, which fed all the display devices – a combination of monitors and projectors in the various rooms.” Sources were a variety of graphics computers, two laptops running Playback Pro, and a switched HDSDI program feed.

“I’ve always wanted to use a Vista URS in this type of production environment so it was really rewarding to easily configure and switch all the presentations that were routed through the DMs to all the rooms,” he says. “With the critical nature of the visual material and the need for rock solid delivery it was clear that Vista Systems processing was the way to go.”

Laszyca explains that, “since all the feeds were to discrete displays it was the perfect application for the URS. Four outputs with transitions fed the Crestron DM system that provided four unique signals going out to all these rooms. The remaining four outputs were used as a combination of “Source” and “Confidence” monitoring.

TVS used the URS to provide PIPs, handle transitions and perform aspect ratio conversions as needed. “As dissimilar graphic and unusually-formatted presentations and video clips came in, the URS handled every source with ease.,” he notes. “URS provided programmed transitions via recalled macros with a High Resolution Systems’ UDC-400 Universal Device Controller. With the extensive configuration handles within the URS GUI there was never a question that any last-minute source would be properly configured and ready for screens in no time.”

Since the URS utilizes the same hardware as Vista Systems’ well-known Spyder X20 “the image quality was fantastic,” Laszyca reports. “And the scaling quality doesn’t get any better than Vista. In short, URS performed as expected; flawlessly!”

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.

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Giant Pirates Entertainment Speeds Post-Production of Reality TV Series With Forscene

LONDON — June 11, 2014 – Forbidden Technologies plc (AIM:FBT), the AIM-quoted owner and developer of the market-leading cloud video platform Forscene, announced that Culver City, California-based production company Giant Pirates Entertainment has adopted Forscene into its post-production workflow in order to hasten editing of “The Feed,” a new reality-based television series that will air on the FYI network (formerly Bio). Forscene gives Giant Pirates the ability to start editing field packages immediately via the cloud rather than having to wait for hard drives to ship across the country, eliminating lag time that could throw the multi-site production off schedule.

The production required footage from New York field recordings to be sent to Los Angeles for very quick turnarounds as edited packages for use in studio shoots. Forscene enabled Giant Pirates’ post-production teams to view footage and start creating sequences in Los Angeles within hours of the shoot in New York, helping to keep the production running efficiently.

“Having the ability to work with footage via Forscene so soon after it has been shot is a new and welcome experience for our post team,” said Tracy Tong, supervising producer on “The Feed.” “When QSR Systems, our Avid vendor and rental company for this production, recommended Forscene, we were wary. We had never used any kind of cloud-based workflow before, so we had some concerns about compatibility with the Avid codec, upload times, and ease of use. It turns out we had no reason to worry.”

“Forscene’s cloud-based technology has shortened the cycle from acquisition to post dramatically,” said Rob Cloyd, president of QSR Systems. “In our fast-paced business where production cycles are shortened, Forscene’s technology has delivered.”

“Forscene has saved us the significant time and complexity involved in getting footage across the country to our team, which has made for an incredibly efficient and timely workflow,” added Ross Jacobson, Giant Pirates co-founder.

Forscene allows Giant Pirates’ Los Angeles editors to view footage within hours of the media cards being handed to the New York assistant editor. As soon as the media is saved to Giant Pirate’s media drives, a proxy copy is automatically created and uploaded to the Forscene cloud. At that point, the story team in Los Angeles can watch, log, and string out the footage — days before the shipped media can be ingested and grouped in the Los Angeles post-production offices. Once the story timelines are completed in Forscene, the sequences can be exported and are relinked to the original source for the editors to begin working in Avid.

In terms of ease of use, Giant Pirates users had no problems learning to tap into all of the Forscene functions. “Anyone with a general understanding of Avid or Final Cut can quickly learn how to work with Forscene. Even someone with no experience on Avid could easily pick it up with a quick half-hour training session, or by watching the Forscene YouTube videos,” Tong said. “Forbidden and QSR technical support were nothing short of amazing throughout the process. It was a nice touch to have a support chat built into the program for our AEs and producers if they couldn’t figure something out.”

“With short shooting schedules and the need for carefully packaged stories that convey a sense of things happening in real time, reality TV shows are perfect candidates for Forscene,” said Greg Hirst, business development director, Forbidden Technologies plc. “With Forscene, they now have a new weapon in their arsenal for undertaking these challenging productions.”

More information about Forscene can be found at www.forscene.co.uk. More information about Forbidden Technologies can be found at www.forbidden.co.uk.

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About QSR Systems
QSR Systems is a leading provider of post-production equipment rentals to the entertainment and broadcast industry. Located in Southern California, they have been delivering state of the art solutions since 1991. Whether you need one tape deck or an enterprise-level high definition network solution, QSR Systems is a one-stop shop for all of your post-production needs.

About Forbidden Technologies plc
Forbidden develops advanced technologies that enable media makers and broadcasters to create and distribute compelling viewing experiences to demanding worldwide audiences. Forbidden’s flagship product, Forscene, is the world’s most advanced cloud-based video post-production platform. It allows post-production professionals to make and deliver stories with high quality and production value in demanding, fast-paced landscapes. Quoted on the London Stock Exchange Alternative Investment Market, Forbidden partners with high-profile media and technology organisations including Atos, BIM, deltatre, EVS, and Key Code Media. More information about Forbidden can be found at www.forbiddenco.uk. More information about Forscene can be found at www.forscene.co.uk.

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Archimedia Master Player Now Supports Closed Captions and Subtitles With Latest Upgrade

DELRAY BEACH, Fla. — June 11, 2014 – Archimedia Technology, a new company whose technology and applications bridge the gap between content producers and their archives without loss of quality, today released Archimedia Master Player v2.1, an update to its software that frame-accurately plays all common archiving and master formats in use today. Version 2.1 adds precise support for timed text, commonly known as closed captions or subtitles, regardless of the standard or vendor — a feature that is especially useful for media companies that work with multiple standards and proprietary caption formats.

“Closed captions and subtitles are increasingly becoming the focus of regulatory and standards bodies the world over, making them a necessary but complex part of the content that the Archimedia Master Player is designed to play. Consequently, support for closed captions and subtitles has been our No. 1 customer request ever since IBC last fall,” said Josef Marc, Archimedia chief marketing officer. “The small size of these files doesn’t make them any easier to process than big master video files. We’ve been making incremental improvements to the player since we launched it a year ago, including several intermediate steps that were necessary before it could tackle subtitles and their complexity. Now our customers can use the player to make sure their content is compliant not only with FCC rules in the U.S., but also with the growing list of closed captioning rules and standards around the world.”

Archimedia Master Player v2.1 introduces support for more than 80 external-file subtitle formats and more than 50 embedded formats. The external-file formats supported include .srt (DVDs, PCs), .scc (SD, Final Cut(R)), .smi/.sami (Microsoft(R)), .stl (EBU standard), .itt (iTunes(R)), SMPTE Timed Text (ST 2052-1 for MXF, also used in IMF), and .xml (DCP). The player also supports the Unicode multilanguage/multicharacter standard, and for the United States, the Federal Communications Commission (FCC)-mandated EIA-608 (SD) and EIA-708 (HD) standards.

The closed caption and subtitle feature is necessary because of changing regulations and consumer expectations. In the U.S., closed captions are now required by the FCC for all kinds of broadcasting and distribution, and the transition from videotape to file-based workflows and Internet distribution has led to various “safe-harbor” rulings — and in turn a growing need for quality control to validate captions and compliance. At the same time, consumers around the world now expect subtitles in a variety of languages as a matter of course, increasing the demands on quality control.

This new feature for closed captions and subtitles is free for all existing customers, who can get the upgrade now by downloading it from Archimedia’s support site at support.archimediatech.tv. Version 2.1 is now shipping on all Archimedia Workstations.

Information about the Archimedia Master Player, including an online demo, a free trial, and online purchasing, is available at www.archimediatech.com.

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About Archimedia
Archimedia Technology specializes in the processing, conversion, and playback of mastering formats, including JPEG 2000, for the professional broadcast, digital cinema, and video archival industries. Its technology and applications bridge the gap between content producers and their archives without loss of quality. Archimedia’s products fulfill a critical piece of the production and archival workflows, encapsulating complex file interchange and quality control processes for mastering and archive formats into practical solutions that give end users a new level of access to their assets. More information is available at www.archimediatech.com.

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

Video Link: www.youtube.com/watch?v=J4L10zkO_T4&feature=youtu.be
Video Caption: Archimedia Master Player’s new support for captions and subtitles

Photo Link: www.wallstcom.com/Archimedia/Archimedia-MasterPlayerv2-1CaptionsViewer.jpg
Photo Caption: Archimedia Master Player v2.1 Closed Caption and Subtitle Feature

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BeckTV’s Integration Expertise Enables University of Florida’s GatorVision to Join SEC Network

State-of-the-Art Control Room, Originally Engineered by BeckTV, Will Now Support up to 120 Productions and Expand Educational Experience for Broadcast Students

AUSTIN, Texas — June 10, 2014 – BeckTV, one of the United States’ premier design-build systems integrators, is working with the University of Florida to adapt its GatorVision on-campus broadcast control room for live HD sports broadcasting on the upcoming SEC Network. After providing initial systems integration, installation, and support to develop and deploy the state-of-the-art control room in 2012, BeckTV is now continuing its ongoing partnership with the school’s University Athletic Association (UAA) for the expansion. With a scheduled launch in August, the SEC Network will be operated by ESPN and is dedicated to covering the sports and success of the Southeastern Conference (SEC).

Initially launched for the Florida Gators’ 2012 football season, the GatorVision control room is located in the University of Florida’s College of Journalism and Communications building. In partnership with the UAA, BeckTV designed the facility to support HD shows for the Daktronics video boards and the GatorVision streaming video platform from six major sports venues located throughout the campus — the football stadium; the basketball, volleyball, and gymnastics arena; and baseball, soccer, softball, and lacrosse stadiums. The control room also provides an important hands-on educational component for radio/television students in the College of Journalism and Communications.

With the launch of the new SEC Network, GatorVision will now be responsible for producing and publishing more than 40 broadcasts per year to the network’s digital platform, increasing its workload from an average of 70 shows a year to well over 100. To accommodate this workload, BeckTV has configured the new control room with dual control panels for the Grass Valley Kayak switcher, with one panel supplying feeds to the Daktronics displays and the other to the SEC Network.

Also, the UAA has expanded its complement of Sony PDW series camcorders to eight — six for tier 1 events such as marquee football games, and at least one for tier 2 events. This expansion will enable GatorVision to produce up to three shows at once; such as an SEC Network broadcast, a video program sent to the Daktronics screens, and a separate digital webcast for another event happening at the same time in a separate venue.

“We’re very happy that we contracted initially with BeckTV on our control room project, because they engineered a fantastic design that can be easily scaled for additions such as the SEC Network feed,” said Brad Noblitt, director of engineering for the University of Florida’s College of Journalism and Communications and WUFT-TV. “It’s risky and complex to take a control room that has been operating well with known sources and then add new systems to it without disrupting existing programming — a puzzle that requires the highest levels of integration expertise. We knew we had the right partner in BeckTV with its ability to put the puzzle pieces together and ensure the project is done correctly from the outset.”

The SEC Network will bring a vital new element to the GatorVision control room’s educational mission, which from the beginning has given broadcast students hands-on experience with professional-scale audio and video equipment. In addition to the Grass Valley switcher, both the GatorVision and WUFT control rooms share resources such as routers, intercom, audio, and playback equipment. Since the new control room can mirror the College’s downstairs production facility, broadcasting students in the WUFT studio are able to shadow live productions taking place in the upstairs facility. “Now, with the SEC feeds, our students will be able to learn and experience switching for a live, real-world broadcast — something very few other journalism schools in the country can provide,” Noblitt noted.

“The University of Florida is a real trailblazer, not only in college sports broadcasting but also because of the powerful educational component it’s providing for tomorrow’s broadcast engineers — which is so critical with today’s chronic shortage of engineering talent in the broadcast field,” said John FitzRandolph, vice president and senior engineer at BeckTV. “We are proud to continue our ongoing partnership with the UAA for this exciting new phase in the history of GatorVision, a true win-win-win for students, sports fans, and the university.”

Further information about BeckTV is available at www.becktv.com.

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About BeckTV
BeckTV (formerly Beck Associates) is one of the United States’ premier design-build systems integrators. With more than 30 years of experience, BeckTV has designed and built more professional television facilities for more customers than any other systems integrator. In virtually every application from broadcast and cable networks, local TV stations, sports trucks, and stadium venues to educational institutions and houses of worship, BeckTV uses a collaborative approach to assure successful outcomes, on time and on budget. The company maintains full-service offices in Denver, New York, and Austin, Texas. More information about BeckTV is available at www.becktv.com.

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

Photo Link: www.wallstcom.com/BeckTV/BeckTV-GatorVisionControlRm4.jpg

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Wohler to Serve as Master Distributor for Cinnafilm Tachyon Wormhole File-Based Retiming Solution

Wohler Will Offer the Award-Winning Appliance Directly and Through a Select Network of Value-Added Resellers Worldwide

SAN FRANCISCO — June 10, 2014 – Cinnafilm(R) and Wohler Technologies today announced that Wohler will serve as the exclusive master distributor for Cinnafilm’s Tachyon(R) Wormhole(TM), an automated file-based retiming solution that enables up to a plus or minus 10 percent runtime adjustment while preserving not only video and audio quality, but also closed caption integrity. The solution is based upon the RadiantGrid Intelligent Media Transformation Platform(TM), and Wohler will offer it directly and through select resellers.

“Naming Wohler our worldwide distribution partner for the Tachyon Wormhole appliance was an easy decision since we had already partnered with the company on the technology side,” said Ernie Sanchez, vice president at Cinnafilm. “Our global clients will quickly realize the value of having a distributor that can not only supply the appliance, but also provide expert support for every aspect of the functionality our combined technologies deliver.”

Using Cinnafilm’s popular Tachyon Standards Transcoding(TM) plug-in for the Wohler RadiantGrid Intelligent Media Transformation Platform, Tachyon Wormhole gives time back to broadcasters by evolving the media transformation process from a business cost into a source of revenue generation — without affecting the viewer’s experience.

Using Wohler’s RadiantGrid software platform as its processing framework, the turnkey Tachyon Wormhole system can process up to two HD streams in real time. The technology also facilitates retiming of closed caption data and integration of audio retiming into the Cinnafilm Tachyon Wormhole video-processing workflow. It handles unlimited channels of audio and resynchronizes CEA-608 and -708 captions, as well as SMPTE 436M and 360M caption data. Users simply select the target runtime by choosing a specific length or by entering a percentage adjustment.

Tachyon Wormhole also offers all of the features and functionality of the award-winning Tachyon Standards Transcoding Appliance: standards conversion, high-quality deinterlacing, superlative resolution conversion, inverse telecine, broken cadence removal/correction, and options such as audio loudness correction, color legalization, and watermarking.

“The Cinnafilm Tachyon Wormhole solution has enjoyed incredible interest among customers with a need to retime media while retaining both video quality and associated ancillary attributes within the file-based domain,” said Craig Newbury, vice president sales for Wohler’s RadiantGrid business line. “Our enhanced distribution channels, coupled with an intimate understanding of the capabilities and application of the Tachyon Wormhole solution, make Wohler the natural partner for this product. We are very excited to be working closely with Cinnafilm to deliver this unique product to a wider market.”

More information about Cinnafilm and Tachyon Wormhole is available at cinnafilm.com/tachyon/tachyon-wormhole/. Information about Wohler and the company’s products is available at www.wohler.com.

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About Cinnafilm(R)
Cinnafilm(R) Inc. are the creators of ultimate-quality video optimization and conversion software for cinema, broadcast, and multimedia delivery. Cinnafilm’s Tachyon(R) conversion technology is integrated into high-value transcoding platforms like the Wohler RadiantGrid Intelligent Media Transformation Platform(TM), creating the world’s fastest Standards Transcoding(TM) solution and providing clients an affordable and scalable alternative to legacy SDI-based conversion technologies. Visit http://cinnafilm.com/ for more information.

About Wohler Technologies Inc.
Wohler’s tradition of innovation began more than 30 years ago with the creation of the industry’s first in-rack audio monitoring product, and it continues today through the company’s continued development of unique solutions that span the baseband, stream, and file-based domains and include advanced monitoring solutions for video, audio, and captioning applications; solutions for IP monitoring, encoding, and decoding; and the award-winning RadiantGrid(TM) platform for efficient file-based content transformation and distribution. Together, Wohler’s advanced, cost-effective confidence monitoring and media transformation products ensure high-quality production across any platform and delivery to any device. More information about Wohler is available at www.wohler.com.

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

Photo Link: www.wallstcom.com/Wohler/Wohler-Tachyon-Wormhole.jpg
Photo Caption: Tachyon(R) Wormhole(TM), automated file-based retiming solution.

PSS Sound Delivers Supreme Audio Integration to Multiple Venues with HARMAN’s JBL Loudspeakers, Crown Amplifiers and Soundcraft Digital Consoles

BATON ROUGE, Louisiana – Based in the capital of Louisiana, complete audio systems integrator Premier Production & Sound Services, LLC (PSS) is known for its dedication to providing the best audio designs to a wide variety of venues and events including festivals, concerts, university functions and corporate conferences. A major factor contributing to the company’s success is its use of HARMAN’s JBL, Crown and Soundcraft equipment, generating integrated solutions that are impressive in quality and consistency.

To deliver a full turnkey audio system at the limited 325-seat Manship Theater for the Manship Red Carpet Gala Fundraiser featuring GRAMMY®-winning Rick Springfield, PSS stacked three JBL VTX V25 line array loudspeakers per side from the ground up, on top of three VTX S28 subwoofers in cardioid configuration and a VTX V25-VT vertical transporter per side, with four VERTEC® VT4886 subcompact line array loudspeakers serving as front fills. Also, four VT4886 loudspeakers on top of three VT4883 subcompact subwoofers per side in cardioid configuration served as side fills, supported by two VT4883 subs with four VT4886 for drum fill and 16 SRX712M stage monitors. The entire system was powered by 36 Crown I-Tech 12000HD and nine I-Tech 4x3500HD amplifiers, and mixed with a Soundcraft Vi6 digital console.

Knowing the sound needed to reach three different levels of the theater, Brian Gordon, co-owner and head audio engineer of PSS Sound, said, “Due to building constraints, we were unable to suspend the VTX line arrays, but thanks to the versatility of the VTX series, we were able to get coverage for the entire room with such little gear. After calculating for vertical dispersion, the front fills were enough to cover half of the first level, with the three VTX V25 loudspeakers covering the rest of the house. We are pleased that the ground-stacked configuration gave us the vertical coverage and sound quality that the artist demanded.”

In addition, the Our Lady Of the Lake Foundation held its 29th Annual Gala at the Baton Rouge River Center, hosting a show for the regional Our Lady of the Lake hospital, starring the blue-eyed soul staple, Hall and Oates. PSS came through with eight JBL VTX V25 and four VT4886 downfill enclosures and six S28 subwoofers in a cardioid configuration per side, supported by four VERTEC VT4888 midsize line array loudspeakers and four VT4886 downfill per side for out fill and four VT4886 loudspeakers for front fill. The system was again powered by 36 I-Tech 12000HD and nine I-Tech 4x3500HD amplifiers, while the Soundcraft Vi6 served as the master control console.

“We wanted to run all the signals through the Vi6 before they hit the PA system, to avoid compromising on sound quality and to have control of the Gala function before the band took the stage,” said Bryant, co-owner and Director of Operations. “The cardioid configuration of the JBL loudspeakers was vital for this particular show, because it eliminated the low-end frequencies that the artist was very sensitive to.”

“The D2 driver is the most amazing thing I’ve ever heard, virtually eliminating half-order distortion, greatly reducing 2nd-5th harmonic distortion, and virtually eliminating modal-breakup to beyond the limits of human hearing in the extreme high-end frequencies,” stated Gordon.

Lastly, the Groovin’ on the Grounds concert at Louisiana State University allowed PSS to showcase its ability to put out a tremendous amount of power through its JBL system, which included 12 VTX V25 loudspeakers per side and nine S28 subwoofers per side, with eight VT4886 loudspeakers as down fills. All units were flown, except for four VT4886 loudspeakers and six SRX728 subwoofers on the ground functioning as front fills.

All 39 Crown I-Tech 12000HD and 15 I-Tech 4x3500HD amplifiers were used to power the system, while the Soundcraft Vi6 console was used for FOH and monitors. For all three shows, JBL HiQnet Performance Manager™ and HARMAN HiQnet Audio Architect™ were used to design and adjust the system configurations.

“With Crown amplifiers we have been very happy with the rock solid stability of the I-Tech HDs. The improved filters and V5 presets have made the combination unstoppable and we have been equally impressed with the newer 4x3500HD amplifiers which allow us to greatly diversify amp racks to do many different configurations,” added Bryant.

“When using the software, we started with the V5 presets and moved forward with further tweaks based on the room and venue. This allowed us to be flexible in our design, even though the concert moved from the originally planned outdoor environment into an arena setting,” said Bryant. “The technological leap that the JBL D2 drivers made for high end clarity allowed us to deliver clear sound at these high powered venues, without distortion or feedback.”

“Thanks to our integrated HARMAN systems, we were able to provide consistent high-quality audio for all three shows,” Bryant concluded. “We have also recently purchased more V25, G28, V20, S25 and F18S loudspeakers to augment and upgrade our existing inventory.”

HARMAN (www.harman.com) 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 15,200 people across the Americas, Europe, and Asia and reported sales of $5.1 billion for the last twelve months ended March 31, 2014.

DPA Microphones Goes on a Musical Journey with The Walk to Fisterra

Company supplies array of microphones for a unique recording and musical documentary about a U.S. cellist’s 600-Mile Trek through France and Spain

NEW YORK, JUNE 11, 2014 – New York-based Cellist Dane Johansen is embarking on The Walk to Fisterra, a 600-mile musical/walking journey along the Camino de Santiago, a popular pilgrimage route through France and Spain. Over the course of his six-week journey, which began May 14, Johansen will stop at several of the 36 historic churches along the Ancient Roman footpath, where he will perform Bach’s Six Suites for Unaccompanied Cello, while a team of filmmakers and music producers capture content for a stunning documentary about the pilgrimage. To ensure the highest quality audio, sound engineer, Kyle Pyke, and Grammy® Award-winner, Jesse Lewis, who is the music producer and co-sound engineer on the project, are using several pieces from DPA Microphones’ product line.

Included in their audio arsenal are d:dicate™ 4007A Omnidirectional mics for location recording and a combination of d:dicate 4011F Cardioid Podium and d:vote™ 4099 Instrument mics for close-pickup of the cello. A variety of d:mension™ 5100 Mobile Surround and d:dicate 4017B Shotgun mics are being used to capture ambience along the trail, while d:screet™ 4061 Miniature mics pick up dialogue.

“DPA was our top choice for microphones to record the audio for this journey,” shares Pyke. “When we were spec’ing out what we might need for the project, we enlisted DPA Microphones to be our exclusive mic partner. The reason is pretty simple, not only does the company’s catalog offer everything we could hope for, and more, in terms of microphone quality and detail, but DPA itself embodies an open, adventurous approach to pushing the industry forward, which is an intrinsic quality of The Walk to Fisterra.”

“DPA’s entire line of microphones is world class and the first I turn to for literally any situation,” adds Lewis. “Whether they are used for dialog, mobile-surround ambience or a solo cello, there isn’t another product line out there that can do everything that DPA’s mics can do. The accessories give us configurability, the vast microphone line gives us a freeing flexibility – which is something we especially need on this journey – and the capture of speech, ambience and music is lifelike and pristine. For a project like this, we need voices to be clear and the music has to be stunning, and that’s just what we get with DPA. Since DPA spares no expense in development and production, no matter the microphone or application, their mics are really a perfect fit for The Walk to Fisterra.”

As Johansen performs at churches along the route to Fisterra, his team will produce recordings and sound maps of each location, which Lewis can then use back in the studio to recreate the audio during film screenings or as background for Johansen’s live performances. “When we are on the road in often less-than-ideal acoustic environments, it’s important to make sure that nothing is lost due to noise or lack of detail,” continues Pyke. “We’re very happy with our selection of DPA mics, which ensure we keep the natural sound of the instrument intact during the recording process.”

To prepare for any unique audio challenges that they may encounter at the older venues, Pyke will rely on the cardioid pattern of the DPA d:dicate 4011F and d:vote 4099 mics, to capture sound directly off the instrument. The 4011F, superior for high sound levels and close pickup, will highlight the sound around the cello, while the d:vote 4099, much more natural sounding than any internal microphone or pickup, will be mounted directly on the cello to accurately record the instrument while removing any unwanted noise. Pyke also plans to use his DPA d:dicate 4007A Omni mics to capture in surround sound the reverberations produced by the instruments in the churches, which have an antique architecture that offers unique acoustics. The setup uses a decca tree in front, with two mics spaced at a variable distance and width, to give a sense of depth between venues.

“The 4007A’s flat response across the frequency spectrum is the perfect tool for capturing the true sound of the hall in both musical recording and impulse responses,” shares Pyke. “The 4011F offers a colorless pickup yet still retains its musicality, while the 4099 is conveniently small and unobtrusive without losing any detail. Additionally, the 5100, which we use to capture ambience in the venues, offers incredible audio quality in a rugged, easily mounted microphone design.”

In order to ensure the recordings offer listeners a true sense of the experience, Pyke must also capture dialogue and the ambience of journey along the Camino. To produce the best results, a combination of a d:mension 5100 Surround, 4017B Shotgun and several d:screet 4061 Miniature mics will be used. The d:mension 5100 comes conveniently packaged for recording surround on the road, as it can be mounted to a camera or boom, while the 4017B shotgun provides everything necessary for clear directional sound regardless of environmental conditions. The d:screet 4061s, though tiny, produce an accurate omnidirectional pattern without need to be aimed directly at the sound source.

The Walk to Fisterra was inspired by Johansen, who feels the voyage is symbolic to his relationship with music. The dedication needed to perfect the Bach Suites requires an artist to continuously pursue a singular goal and therefore is like a pilgrimage, endless and requiring extreme effort, daily commitment and absolute resolve. Johansen and his team hope the performances of Bach’s music and visits to mentor young cellists in schools along the Camino during The Walk to Fisterra, will inspire the communities as they speak through the universal language of music.

Johansen performs throughout the world as a soloist and chamber musician and he is a member of the Chamber Music Society of Lincoln Center. He made his Lincoln Center Debut performing Elliott Carter’s Cello Concerto with James Levine in celebration of the composer’s centennial and his Carnegie Hall debut in 2012, performing a program of his own design entitled Lightness, which explored philosophical lightness in music of the 20th century.

El Camino de Santiago, an ancient route to Santiago de Compostela and Fisterra on the western edge of Europe, was originally a Pagan footpath that was later appropriated by the Romans as part of their campaign to Christianize Spain. Still journeyed by those seeking to challenge their bodies and minds, the path features roads, monasteries and cathedrals along the route to provide pilgrims with areas of rest.

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.

The Electrical Storm at ULTRA Music Festival with HARMAN’s Martin Professional

MIAMI, Florida — At this year’s ULTRA Music Festival in Miami, HARMAN’s Martin Professional hooked up with the people who dedicate their lives to make the massive production, that is ULTRA, a huge success once again.

In this video, part one in a series of three, you’ll get to meet some of the key people getting their hands dirty while preparing for the show. Watch them in the act as they fire up the ULTRA Music Festival engine for the ultimate festival experience and prepare to give you and the crowd a sensory overload.

Watch part 1: The Electrical storm: http://youtu.be/mxtRd52Oi28

ULTRA Music Festival is an annual, outdoor electronic music festival starting in Miami, Florida and then moving onto nine countries across the globe. It has become an international hub for a multitude of subcultures, all celebrating the music they love.

ULTRA Music Festival is also where industry people meet to pick up groundbreaking tricks, to learn and get inspired. The genre of EDM (Electronic Dance Music) is currently at an all-time high, and all the sub-genres of EDM culminate in a massive electrical storm of EDM at ULTRA.

Every year, ULTRA Music Festival gathers an impressive line-up of the world’s biggest EDM DJs and music producers, here amongst the accomplished Carl Cox who, for the 10th year running entertains ULTRA’s crowd in the Carl Cox and Friends Arena.

A show like ULTRA Music Festival is a complex equation, where all the pieces have to add up. While the guys behind the scenes worked hard to get everything ready in time, disaster was lurking around the corner. As showstart drew closer, so did a tropical storm. Weather forecasts predicted a veritable electrical thunderstorm with tropical showers which, if it were to become a reality, would force the organizers to cancel the show. All technical elements in the stage designs were equipped with some shielding, but this was no way near sufficient to withstand the raging elements of a tropical storm. Luckily, the festival gods above showed mercy and the storm evaded Miami at the last minute.

Being one of the first to kick off the festival season, ULTRA Music Festival strives to not only outdo last year’s shows in every aspect, but also to raise the standard and become a benchmark for the other festival experiences of 2014. At ULTRA Music Festival only the best is good enough. Failure of one means failure of all, and innovation in stage design reaches sky-high proportions, year after year.

This year, a combination of Martin lighting fixtures were deployed across multiple stages, including: RUSH 5×5 Strobe, RUSH MH2, RUSH PAR1, MAC III Profile, MAC Viper, MAC 101, MAC Aura, M-1 Control, M2go Console.

Stay tuned for part 2 of the ULTRA Music Festival series, where we will introduce you to how the team handles challenges and obstacles connected to a huge production such as ULTRA Music Festival.

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 (www.harman.com) 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 15,200 people across the Americas, Europe, and Asia and reported sales of $5.1 billion for the last twelve months ended March 31, 2014.

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