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HARMAN Brands Unite To Power Up Dierks Bentley’s 2014 RISER TOUR

Photo Credit: Tim Duggan

GLENDALE, California — Country music star Dierks Bentley is currently out headlining his 2014 RISER TOUR through the fall with VER Tour Sound supplying the audio reinforcement system featuring HARMAN’s JBL VTX line arrays and Crown I-Tech HD amplifiers. In addition, Christie Lites is providing a full Martin rig for the dynamic lighting system, highlighted by MAC Quantum fixtures.

The audio system features a left-right hang of 16 JBL VTX V25 line array loudspeakers per side, with six VTX S28 subwoofers per side in cardioid configuration. For side fill, VER has supplied supplying eight V25 loudspeakers per side, along with six G28 ground-stacked subwoofers per side. Powering the V25 loudspeakers are Crown I-Tech 4×3500 HD amplifiers, with I-Tech 12000 HD amps powering the subwoofers.

“Dierks really combines country and rock together and this show is very much like a rock and roll production,” said Chance Stahlhut, Account Manager, Tour Sound, VER. “At the same time, he’s true to his musical roots and the country element comes through in his performances.”

FOH Engineer James “Pugsley” McDermott has been working with Bentley for approximately nine years, and on this tour is working with monitor engineer Scott Tatter, system engineer Kennith Sellars, and RF tech Ashley Zapar. “With Dierks, how it sounds on stage is exactly how he wants it to sound out in the audience,” McDermott said. “He knows his crowd and he wants it to be an energetic show. He’s spent a lot of time putting the show together and he keeps you on your toes as an engineer. He’s the kind of client you want: someone who will push you to be as good as you can be and will make sure you’re always on your game.”

In his approach to mixing Bentley’s shows, McDermott’s priority is finding the perfect balance. “I treat this as a true rock and roll setup,” he said. “I want to mix to my audience, so if the crowd is loud I want to be just as loud. I want the first downbeat of the very first song to knock people back, to be impactful and surprising. That way the people know they’re in for a high-energy show. The PA and console are my instruments in that regard.”

McDermott added that he has worked with JBL throughout his entire career. “I’ve seen their products evolve over several decades and I’ve spent the past five years working with every loudspeaker you can name,” he said. “I’ve never had issues with JBL because I always know what to expect. They’re workhorse products in this industry.”

McDermott first heard the VTX system two years ago and was impressed, to say the least. “I think it’s an accumulation of line array concepts and processing and drivers and design working together to get a good product,” he said. “It’s not too heavy, you can fly it in most places; you can hang more boxes compared to other speakers. I love the top end of it, I think it’s the most brilliant sounding speaker that JBL has developed.”

“The VTX is just a really great box, it’s very consistent and we’ve had great results with it,” Stahlhut said.

On the lighting side, Chris Reade, Lighting Designer for Dierks Bentley, uses Martin’s MAC 2000 Wash, MAC 700 Profile, MAC Viper Profile, MAC Aura and MAC Quantum, all provided by Rod “Red” Gibson of Christie Lites. The Lighting Crew Chief is Marc “Chainsaw” Wuchter and the Production Designer is Bruce Rodgers of Tribe, Inc.

Reade mentioned that he was impressed right away with the MAC Quantum after seeing it at the LDI trade show in November, and decided he wanted to make it the workhorse in his rig. “The Quantum has powerful looks that can be used in a dramatic fashion,” Reade continued. “This fantastic set and video design by Bruce Rogers has big rock and roll features, but also some subtle theatrical elements as well. It was fun to work together with Bruce, and together make the complete design with the Quantums in mind.”

“The Quantum light has a lot of effect possibilities and narrowing it down to get powerful, unique looks, without overdoing it was a challenge,” Reade said. “I believe effects are more powerful if they are not used over and over throughout a show.”

“The Quantum is a great pairing with the Viper because the output is amazing, and after I showed Reade the fixture at LDI, we immediately found a way to incorporate it into his design,” said Gibson. “Reade and the Dierks Bentley tour have been great, loyal clients. We work well together and I always try to provide him with the latest products. I gave him the Auras a couple years ago and then the Vipers last year, and I’m proud to say that he is now one of the first tours with the Quantums!”

Reade mentioned that the MAC Viper is a powerhouse, being extremely bright and very fast with great optics and color mixing; it’s his number one choice.

Reade also said he enjoys the MAC Auras as well and typically uses them in groups to add to the effect, while the MAC 700 Profile is used for front key lights to provide a great look. He also uses the standard MAC 2000 Wash for color wash and punchy stabs when they are zoomed in.

“The reactions have been amazing,” Reade added. “Everything came together really well between all the departments, it was a great collaborative effort. I think we’ve been able to create something powerful and unique, and I’m really proud to be a part of this. I think the Quantums get a great reaction from the audience when they go from being used as a wash light to then being used as an effect. It’s pretty cool and unexpected and to be able to quickly transform from one type to another is pretty incredible.”

“The support from Martin has been outstanding,” Gibson said. “Grif Palmer was a huge help in making sure we had the Quantums in time for the start of the tour, and we couldn’t be happier!”

Photo Credit: Tim Duggan

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

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Attleboro Access Uses JVC Mobile News Cameras to Produce Live Reports of Community Events

WAYNE, NJ – JVC Professional Products Company, a division of JVC Americas Corp., today announced Attleboro Access Cable System, Inc. (DoubleACS), the PEG (public, education, government) station serving Attleboro, Mass., and surrounding communities, is using four GY-HM650 ProHD mobile news cameras to provide live news reports from the field.

Attleboro is located roughly halfway between Boston (DMA #7) and Providence,R.I. (DMA #53). According to Jim Jones, DoubleACS operations manager, unless there is a major news event, Attleboro is routinely marginalized by television news from the major market stations. “We want to provide that breaking news coverage to our community,” he said.

The mid-sized public access station had been trying to adopt some capability for live ENG for years. Microwave was quickly dismissed because of high initial capital costs. Satellite technology was easier to manage and required fewer startup costs, but satellite time (purchased in 10-hour blocks) was simply too expensive.

When the city was upgraded to 4G service about two years ago, DoubleACS personnel realized an opportunity to produce live ENG reports economically. “After almost seven years of searching for a solution, we found one,” Jones said. “We saw the JVC camera released at NAB and knew this was definitely the camera that we needed to get. It was a very easy choice to make.”

An active PEG operation with five full-time employees, DoubleACS produces more than 35 hours of content per week across its three channels, which are available on Comcast cable systems in the area. Programming is also uploaded to its Web site for on-demand viewing. Live ENG reports air during Attleboro Update, a weekly news program.

DoubleACS purchased its GY-HM650s in 2013 and has coupled each one with a MiFi 4G mobile hotspot. While upload speeds vary around the region, Jones said the streaming HD image quality from the JVC cameras remains solid between 1.5 and 3 Mbps. “If you’re in the main area of the city, you can transmit with no problem back to the studio,” he added. “It’s been smooth sailing for us.”

At the station, two Teradek Cube 305 decoders convert the signal to SDI and feeds it to the production switcher for live reports from the field. The station feeds the IFB through a cell phone, so the studio anchor can speak directly to the reporter. Plus, Jones said the system only has two or three seconds of latency, so anchor and reporter can interact without major delays.

The GY-HM650’s most important features for Jones were the ability to stream live video and its .MOV native file recording, so there’s no transcoding necessary to start editing footage immediately in any of the station’s 10 Final Cut Pro NLE workstations. He has also been impressed by the image quality and built-in wide angle 23x zoom lens. “The range is something that you don’t see in any other camera,” Jones added.

The station uses the live capabilities of its JVC cameras every few weeks, covering everything from fires to bridge dedications to the Special Olympics. “It doesn’t have to be breaking news,” Jones explained. “Whenever an opportunity presents itself, we try to use it.”

Last summer, DoubleACS was on the scene for the arraignment of Aaron Hernandez, the former New England Patriots tight end charged with first-degree murder, at Attleboro District Court. “We were there providing a local aspect to the viewers,” Jones said. With a GY-HM650, the station was able to provide coverage of the story alongside network news affiliates.

“The GY-HM650 gives you the opportunity to set yourself apart from other PEGs or be on equal footing with your local network affiliates,” Jones offered. “Why wouldn’t you be trying to utilize the power of that camera?”

ABOUT JVC PROFESSIONAL PRODUCTS COMPANY

Headquartered in Wayne, New Jersey, with West Coast operations in Long Beach, California, JVC Professional Products Company is a division of JVC Americas Corp., a wholly-owned subsidiary of JVC KENWOOD Corporation. JVC is a leading manufacturer and distributor of broadcast and professional video and audio equipment, D-ILA front projection systems, and Super LoLux HD video security products. For further product information, visit JVC’s Web site at http://pro.jvc.com or call (800) 582-5825.

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SSL Live Hits Summer Festivals with The Killers

“This console is the most analogue-correct digital console; it sounds phenomenal”

SAN FRANCISCO – Following The Killers’ wildly successful 2013 Battle Born world tour, performing in 50 countries and headlining arenas on six continents – including a sold-out Wembley Stadium show for which they wrote The Wembley Song – the Las Vegas-based phenomenon is back on the road this summer in support of their Direct Hits greatest hits compilation. With appearances at North American and U.K. music festivals, the band’s FOH engineer, Kenny Kaiser, is delivering their chart toppers with help from the new SSL Live console.

Kaiser works for Delicate Productions of Camarillo, California, serving as PA tech or system tech for Selena Gomez, Train and as monitor tech and crew chief for The Foo Fighters, among others. After moving to the Killers’ camp last year, he took over the helm for their 2014 tour. However, Kaiser was not fond of their previous FOH console and knew instantly that he’d need to make a switch.

“Delicate is a great partner of Hi-Tech Audio [supplier of the SSL Live console for the tour] in San Francisco, where I’m based,” he says. “Louis Adamo, president of Hi-Tech, called to say they had a new SSL console, so I went down and played with it. I found it fluid and the surface very intuitive. I also had a chance to take a class for engineers and production companies. After I took the class, I found the console even more intriguing. One thing that stuck in my mind was actually taking it apart and looking inside at how it’s made – it’s built like a tank. Plus, with the name SSL, you can’t go wrong; that’s a great name in consoles.”

As Kaiser is part of a new breed of engineers, The Killers’ previous mix platform just wasn’t his style. “There was too much button pushing to get to certain places and it was too spread out,” he continues. “There were fader banks on either side, so I had to do a lot of left and right movements. With Live, it’s more centralized. I don’t have to move around the console and I can stay in one spot, hit one button and quickly do what I need to do.”

Kaiser, who will occasionally use other consoles for events supported by Delicate, finds SSL Live to be more convenient to work on due to its flexibility and the manner in which an engineer can customize the fader banks. “It’s very intuitive and user-friendly,” he adds. “There are a lot of options as to how you can set up SSL Live.”

The accuracy of the console also stood out to Kaiser. “Because my background is a system tech, I’m an audio measurement and phase dork,” he explains. “Some engineers might have an eight or 10 dB boost or cut on an EQ band and my thought, if you have to do that, is that something is wrong – either the wrong mic or the console isn’t doing what the engineer needs. I now find that certain things I used to do, I don’t have to do anymore because the EQ does what it says its doing. When you’re on the first band and you want a cut at 120 Hz, it actually does 120. Some consoles say they’re doing 120, but then when you actually plug it in and check, it’s not quite there. Sometimes the Q isn’t quite what it says; with this console, it’s precise.”

Another big hit was Live’s onboard effects. “Everything is built-in, the reverbs sound glorious and it’s all on board,” says Kaiser. “I don’t have to go out and buy a console and then say, ‘Okay, now I need some external piece of software or hardware to get what I want.’ Everything I need is right there in one box to make the sound how I need to make it, which makes my job easier.”

But it doesn’t just stop at the effects, the console’s all-pass filters were also a big selling point for Kaiser. “As a system tech, I use all-pass filters to align side hangs to the mains,” he explains. “Being able to have that on inputs to align a pair of kick or snare drum mics is a huge tool to get the phase just right.”

Kaiser also mentions the clarity and distinctness that each instrument has in his mix. “On other consoles, once you start adding more stuff, you hear them start to overload and hear the coherence start to go away, but not with the SSL Live. SSL definitely did their homework to make it sound as analogue as possible. This console is the most analogue-correct digital console I’ve ever encountered. It sounds phenomenal.”

The Killers recently headlined the Hangout Festival on the sandy beaches of Gulf Shores, Alabama where the console was put to the true test of the weather. Kaiser notes, “despite the heat, high humidity, wind and sandstorms that we encountered that weekend, the console was just great.”

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

Electrosonic Provides Audio-Visual Systems for National September 11 Memorial & Museum in Lower Manhattan

The National September 11 Memorial & Museum has opened in the footprints of the World Trade Center in Lower Manhattan. Electrosonic provided the audio-visual systems for the museum, which is primarily located about 70-feet (21-meters) below ground and offers a unique and moving visitor experience.

The National September 11 Memorial & Museum is an educational and historical institution honoring victims of both the 9/11 terrorist attacks and the 1993 bombing, while examining 9/11 and its continued global significance. The museum building was designed by Davis Brody Bond, LLP with exhibit designs by Thinc Design and Layman Design. It is accessed by an entry pavilion designed by Snøhetta.

The main exhibition space, reached by a gently sloping ramp, includes remnants of the Vesey Street stairs, the Twin Towers’ structural columns, a portion of the original foundations plus a permanent collection of artifacts. The memorial exhibition features the Wall of Faces, which displays photo portraits of the nearly 3,000 victims of the attacks, and interactive tables to learn more about them. The historical exhibition uses artifacts, photographs, and media to recount the events of September 11, explore the background leading up to these events, and examine their aftermath and continuing implications. The vast Foundation Hall houses the exposed side of the slurry wall, the surviving retaining wall of the World Trade Center, and the well-known Last Column, a 36-foot high column covered with mementos from Ground Zero.

Bob Haroutunian of PPI Consulting was the audio-visual systems designer for the museum and education center. Arup was the designer for the Pavilion Auditorium. The majority of the content was provided by Local Projects, with additional content provided by Infusion and Project Rebirth.

“This was a very large museum project located several stories underground, which made it a bit of a logistical challenge,” says Electrosonic project manager Jackson Benedict. “The site is spread out over nearly eight acres, so just getting from one side to the other took a long time.” The project spanned several years so Electrosonic had to stay on top of evolving technology and equipment advances as equipment was specified and installed.

Electrosonic created full-scale mock ups of about 70 percent of the exhibits at some point in time. “We did a lot of testing with Design & Production near Washington, D.C., Hadley Exhibits in Buffalo and our own facility in Burbank,” adds Electrosonic account executive Bryan Abelowitz.

Electrosonic supplied a traditional museum system for the exhibition space where approximately 100 media experiences are available for visitors. These range from touch screen interactives, small theaters and displays playing media to recording booths that enable visitors to record their own 9/11 stories.

Several exhibits required especially complex media systems. The first exhibition visitors see as they enter the galleries is We Remember, which features recollections of people around the world as September 11, 2001, dawned. Six large, vertical screens are staggered down a 60-foot ramp; a portion of a world map is projected on each of the six screens, such that, at the top of the ramp it appears to be one cohesive map. Digital Projection projectors with mirror mounts display the content, while 16 ceiling-mounted Atlas speakers recount, in multiple languages, where people were on that fateful day.

Rebirth is based on timelapse documentary footage captured by filmmaker Jim Whitaker over the last 13 years on the site, from the clean-up of the pit to today’s rebuild. Seven Sharp projectors display the approximately 11-minute video on three walls that surround visitors. A full EAW sound system delivers the audio. “We built a full-scale replica of the room in our Burbank facility and tested a variety of content in it,” Benedict reports.

Since the Last Column, a 36-foot steel piece from the Twin Towers, is so tall, two 55-inch ELO touch screens run Local Projects’ interactive software, allowing visitors to scroll up and down its full length to see high-resolution details of the signatures and mementoes on its sides.

Eight interactive tables in the memorial exhibition enable visitors to scroll through the Wall of Faces or search for loved ones and access biographies and family photos. 3M supplied the touch screens, Dell the computers and Local Projects the software to operate this especially impactful exhibit.

Electrosonic also provided a full AV system for the multi-purpose Pavilion auditorium, an approximately 150-seat theater used to show videos throughout the day and available for hosting events from standard presentations to video conferences.

The museum has four education classrooms equipped by Electrosonic with digital whiteboards, document cameras, video conferencing systems plus other standard features.

Key equipment components in the museum include Sharp, Christie and Digital Projection projectors, Alcorn McBride audio playback, Vista Group SoundStik audio stations, Dataton WATCHOUT display and playback, Adtec signage players, Boland, Sharp and Samsung LCD displays, Extron extenders and Medialon system control.

Three control rooms service different areas of the museum with a total of 26 equipment racks in use. Signals are extended via a mix of fiber optic and twisted pair extenders. “The fiber and copper backbone we used allows the museum to expand with higher-resolution video or new monitors and projectors as they become available,” notes Benedict.

The Pavilion auditorium has its own control room with two racks. Each education classroom is self-contained.

Electrosonic is providing two on-site technicians to help keep the museum’s exhibits in good order.

About Electrosonic
Electrosonic, celebrating its 50th anniversary, is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, control rooms, and corporate meeting rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

ABOUT THE NATIONAL SEPTEMBER 11 MEMORIAL & MUSEUM

The National September 11 Memorial & Museum is the not-for-profit corporation created to oversee the design, fundraising, programming and operations of the Memorial and Museum. The Memorial and Museum are located on eight of the 16 acres of the World Trade Center site.

The Memorial remembers and honors the 2,983 people who were killed in the horrific attacks of September 11, 2001 and February 26, 1993. The design, created by Michael Arad and Peter Walker, consists of two reflecting pools formed in the footprints of the original Twin Towers and a plaza of trees. The Museum displays monumental artifacts linked to the events of 9/11, while presenting intimate stories of loss, compassion, reckoning and recovery that are central to telling the story of the 2001 and 1993 attacks and the aftermath. It also explores the global impact of 9/11 and its continuing significance. Davis Brody Bond are the architects of the belowground Museum and Snøhetta designed its entry pavilion. The Museum’s exhibition designers include Thinc, Local Projects and Layman Design.

For more information or to reserve a ticket to the 9/11 Memorial Museum, go to 911memorial.org.

Learn more about Electrosonic. Visit http://www.electrosonic.com

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YouTube Brandcast Presented by Google Debuts New Location with Production by Good Sense & Company and Technology by WorldStage

After the past two years coping with the confined space of the Beacon Theater, followed by the out of the way Basketball City location, for 2014 the YouTube digital “Upfront” (formally called Brandcast) found itself within the spacious environs of the Theater at Madison Square Garden. That space provided the canvas for an innovative scenic design penned by the design team at Good Sense & Company, led by creative director Joshua Cicerone and head of design Chris Jones.

The resulting design, arrived at after much iteration, provided unique challenges for the production team with its reliance on techniques more likely to be seen on a Broadway stage than a one-off 90-minute presentation for an audience of 2,200 New York advertisers and agencies.

“The new location and a direct line with the client’s content creation team allowed us focus on the overall look and come up with a fresh design that makes the MSG Theater more dynamic,” says Jared Siegel, Co-Founder and Production Director at Brooklyn-based Good Sense & Company. “Our goal was to combine impressive LED, projection mapping and automation using rotating and tracking scenic units as a great way to reveal performers.”

To handle the technical requirements for the lighting and visuals, Good Sense turned to WorldStage Inc and Senior Project Manager, Josh Perlman, who returned for the third year in a row. Siegel credits WorldStage for their willingness to “roll with the punches on a show that underwent many changes along the way,” Siegel says. “I think we had 16 or so rounds of budgets. WorldStage was always very patient and accommodating.”

According to Perlman, WorldStage began working with Good Sense some four months prior to the Brandcast, reviewing each design and working out the complicated technical systems required to support them. “This year the design introduced a significant projection tracking element, which added a bit of complexity to the show,” he says. “To make it even more fun, the tracking pieces, when rotated, revealed an LED video wall on the reverse side of the dimensional projection surfaces. This provided the best of both worlds – punchy LED visuals and sculptural projection mapping with all visuals tracking the movement”

The movement of the four large scenic pieces allowed presenters, guests and performers to enter and leave the stage area in dramatic fashion while keeping the visuals flowing in an uninterrupted stream as the projections remained in view throughout the rotational movement. ShowMotion was again tasked with handling the scenery and automation. Their extensive Broadway experience gave them an edge, however Brandcast required them to install and test intricate automation in just a few (long) days, while normally they would get weeks to prepare for a show. Luckily the expertise of Ashley Bishop (Senior Project Manager at ShowMotion) provided her team with the focus to execute a flawless show.

“Our design required the projected images to follow the screens as they opened up,” says Siegel. “Then, we combined those visuals with the big “hero” screen, which used Barco C5 LED, as well as 9mm LED for the other scenic units. They looked great and worked well together.

“The screens had a very glacier-like appearance with multiple protruding planar surfaces, but the LED on the back was very flat,” he explains. “Adding the tracking of the projections really changed things a lot. It required a lot of time and programming, but it was very much worth it because it created a great effect – as if the imagery was painted on the surface of the scenery.”

Siegel notes that, “generating content pixel maps for a set like this is always a challenge. They need to be very precise and they create very large files, which makes content coordination tricky. For example, one performance featured a dancer on stage interacting with an animated, hand-drawn partner who was flung in the air for quite an amazing effect across the screens. That sequence alone was very complicated and it was one of many.”

To support the multitude of content and display requirements, WorldStage deployed a veritable mountain of technology. The main backgrounds and show content played off ten d3 Technologies’ media servers (primary and back ups), which fed all the destinations. The d3s and all the other playback sub-systems were routed through five Vista Systems’ Spyder X20 units. “Everything worked just great,” Siegel reports.

The image tracking function was supported by a custom app created by the WorldStage Integration team and kept the visuals glued to the projection screens no matter where and how they moved.

Perlman notes that in addition to the major screen switching elements, WorldStage provided a 7-camera live video shoot during the Brandcast, switched through the companies large Ross HD rig. “This coverage was switched to IMAG feeds as well as to records, which were cut down and posted quickly on YouTube after the event concluded,” he explains.

“Let’s not forget that WorldStage also supplied the lighting for Chris Dallos’ lighting design, and that was great, too,” Siegel says.

At WorldStage Mike Alboher was the EIC who oversaw the entire system: d3 integration, Spyder implementation, Ross Video switching and video transmission. Raul Herrera was the lead programmer with Alex Bright the server tech and projection warper. Programmer Bruno Fare and system tech Jason Spencer commanded the Spyder X20s. Mike Naylor is the Ross engineer.

Sound Designer Dave Ferdinand (One Dream Sound) had his own set of challenges to overcome. Siegel originally wanted to use the main array at the theatre, but the design called for a stage that extended into the audience and the large rotating projection screens that occasionally blocked the main array. Ferdinand needed to add a second vocal array downstage, but with all the front projection he needed something with a small silhouette. He chose Meyer Sound’s MINA arrays, which offered the punch he needed in a tiny package.

Good Sense & Company is a Brooklyn-based agency that designs and manages live events for some of the biggest and most enterprising arts and entertainment groups, charities, corporations and private interests around the world.

WorldStage Inc., the company created by the merger of Scharff Weisberg Inc and Video Applications Inc, continues a thirty-year legacy of providing clients the widest variety of entertainment technology coupled with conscientious and imaginative engineering services. WorldStage provides audio, video and lighting equipment and services to the event, theatrical, broadcast and brand experience markets national

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Riedel to Provide Radio Communications Network and Equipment for Glasgow 2014 Commonwealth Games

WUPPERTAL, Germany — June 25, 2014 – Riedel Communications, provider of pioneering real-time video, audio, data, and communications networks, will supply all radio communications equipment and services for the Glasgow 2014 Commonwealth Games, running from July 23 to Aug. 3 in Glasgow, Scotland.

“The ability to communicate effectively at Games venues and throughout Glasgow and other parts of Scotland is an essential element to delivering a successful Glasgow 2014 Commonwealth Games,” said Brian Nourse, chief information officer, Glasgow 2014 Commonwealth Games. “We have benefited from Riedel’s extensive experience of being involved in many previous major sporting events to ensure a robust communications solution is delivered for our event,”

Riedel Communications has designed a radio communications solution for use across Glasgow and at the 14 venues hosting 17 different sporting competitions. The company is providing all radio handsets and radio communication accessories — including more than 6,000 radios — used in the lead-up to and during the Games, along with a terrestrial trunked radio (TETRA) digital network and a Motorola MOTOTRBO digital radio repeater system. Both the TETRA and MOTOTRBO systems are dedicated, fully monitored, and serviced solutions.

TETRA combines the advantages of analog trunked radio with those of digital mobile radio to provide optimal frequency usage, high transmission quality for speech and data, maximum security against eavesdropping, as well as flexible networking and connection management. Beyond that, the digital trunked radio system supports full duplex communication, GPS-positioning, and connection to the public telephone network. The system offers the option of operating different virtual channels, and it can leverage IP connectivity to support wide-area operation.

With this communications infrastructure, Riedel will ensure outdoor street-level coverage at all official venues, throughout the city of Glasgow, and along the official cycling road race and marathon routes, as well as indoor coverage at Glasgow 2014 competition venues. Riedel is also supplying the radio communications solution for the Scottish leg of the Queen’s Baton Relay, ensuring radio communications run smoothly as the baton makes its way through Scotland to Glasgow for the Games.

“We are delighted to be the Official Radio Communications Partner of the Glasgow 2014 Commonwealth Games,” said Christian Bockskopf, head of marketing for Riedel Communications. “We’ve worked closely with the organizers to develop a radio communications solution that satisfies both the technical and operational requirements of all the key players during this world-class event.”

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

# # #

About Riedel Communications
Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro audio, event, sports, theater, and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fiber backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Founded in 1987, the company now employs more than 400 people at 11 locations in Europe, Asia, Australia, and the Americas.

Photo Link: www.wallstcom.com/Riedel/Riedel-Glasgow2014Logo.jpg

Rate Card Link: www.wallstcom.com/Riedel/Riedel-Glasgow2014RateCard-RadioEquipment.pdf

BBC Studios and Post Production Installs Front Porch Digital Systems to Expand One-Stop Service

DIVArchive(R) and DIVAdirector(R) Provide Secure Long-Term Storage Component to Complete End-to-End Digitization, Transcoding, Restoration, and Archive Service

ANNECY, France — June 24, 2014 – Front Porch Digital, the global leader in cloud-based content storage management (CSM) solutions, today announced that BBC Studios and Post Production’s Digital Media Services business — the commercial subsidiary of the BBC that preserves, remasters, and manages content for clients such as Imperial War Museums — is installing Front Porch Digital’s DIVArchive(R) CSM and DIVAdirector(R) media asset management (MAM) systems. The systems will allow the Digital Media Services team to provide secure long-term storage for clients’ assets alongside existing services such as film and tape digitization, digital image restoration, and Digital Production Partnership (DPP) delivery, enabling a true end-to-end digitization, transcoding, restoration, and archive service.

“We are extending our existing services to provide reliable and secure off-site backup. This provides our clients with a simple disaster recovery option, safeguarding their precious assets and eliminating the need to invest in their own expensive archives,” said Kevin Shaw, lead technologist at BBC Studios and Post Production Digital Media Services. “In the case of larger customers that are looking to set up their own archives, we already offer a consulting service, and the addition of Front Porch Digital products broadens the scope of the advice and assistance we can offer them.”

The DIVArchive and DIVAdirector systems will store, or fully or partially restore, the DPP asset and check the integrity of any asset via checksum calculation and tracking. The systems will also speed up the workflow when content is being ingested for long-term archiving, eliminating the need to transfer or deliver large amounts of data to clients. The Digital Media Services business can now also offer migration to new formats as part of its services in order to future-proof clients’ assets.

DIVAdirector will allow the Digital Media Services team to create a consistent metadata database as a future resource while DIVArchive provides a cost-effective interim storage solution at very short notice. The investment fits with the company’s business model, providing the flexibility to scale up very quickly, from smaller projects involving a few film or tape assets to digitization of hundreds of thousands of tapes or full restoration of hundreds of hours of film.

“BBC Studios and Post Production’s Digital Media Services team is an award-winning resource in the U.K. for helping content owners conserve and maximize the value of their material,” said Rino Petricola, COO and general manager at Front Porch Digital. “It’s gratifying that Front Porch Digital systems will play a role in this important effort by further enhancing the one-stop digitization, transcoding, restoration, and secure archiving service the team already provides.”

More information about Front Porch Digital is available at fpdigital.com.

# # #

About Front Porch Digital
Front Porch Digital is the global leader in solutions for migrating, managing, and monetizing media content. Operating on site and in the cloud, the company’s purpose-built software employs the latest technologies to deliver truly flexible and scalable media workflows. Solutions delivered by Front Porch Digital appropriately manage large and complex media files and workflows while ensuring optimal performance and utmost security. More information is available at fpdigital.com.

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

Photo Caption 1: DIVArchive(R) Content Storage Management System
Photo Link 1: www.wallstcom.com/FrontPorch/FrontPorchDigital-DIVArchive.jpg

Photo Caption 2: DIVAdirector(R) V5.2 Organization and Clipboard
Photo Link 2: www.wallstcom.com/FrontPorch/FrontPorchDigital-DIVAdirectorV5-2Clipboard.jpg

Photo Caption 3: DIVAdirector(R) V5.2 Organization and Shot Lists
Photo Link 3: www.wallstcom.com/FrontPorch/FrontPorchDigital-DIVAdirectorV5-2ShotLists.jpg

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Lydvaesenet Snaps Up Denmark’s First HARMAN’s Soundcraft Vi3000 Digital Console

Henrik Kjærgaard, Lydvæsenet

AARHUS, Denmark – LydRommet A/S has confirmed its first sale of HARMAN’s Soundcraft’s Vi3000 next-generation digital mixing console to concert touring and festival specialists, Lydvæsenet—run by Henrik Kjærgaard. The delivery was the first of three Vi3000 sales confirmed by Lars Christensen, Sales Manager at LydRommet, HARMAN Professional’s territory distributor.

He confirmed, “We began promoting the Vi3000 as soon as the first pictures were up in cyberspace and immediately received a number of inquiries. Henrik was one of the first people we approached.”

The momentum grew further during the presentation at this year’s Prolight+Sound Show in Frankfurt, and having taken delivery of its own demo console, LydRommet’s participation at local promo events, supported by HARMAN Professional’s Dom Harter and Dave Karlsen, further spread the word.

Both Lars Christenesen and Henrik Kjærgaard—a vastly experienced sound engineer in his own right—say there is much to commend the first of Soundcraft’s new console, pinpointing the Dante/ MADI interfaces for recording/plugins; 96 mix channels; 24 stereo or/mono busses; the built in local rack; the high-quality local mic pre’s; the additional screen and control for the price; the 36 faders, and in particular “the fantastic audio quality.”

“Most of our customers just say ‘wow’ and can’t believe what they are getting for the money,” continued Christensen. “The Vi3000 is certainly introducing the Vi quality to a broader range of productions.”

Lydvæsenet is no stranger to the Soundcraft platform and already has a number of Si Expressions, Si Performers and a Vi1 in its inventory. “All were chosen because of the audio quality, facilities and ease of use,” confirmed Kjærgaard.

There were several reasons for the latest purchase, he said. “The main reason was the I/O capacity of the Vi3000, which we needed to take on certain tour productions. But all the other cool features like onboard MADI/Dante, UA plugins, upgraded DSP and graphics certainly helped to make the decision.”

The first tour of duty for the Vi3000 was with Lis Sorensen, an evergreen Danish pop artist at the Jelling Musik festival.

In summary, Lars Christensen stated, “We are proud to count Henrik as one of the most enthusiastic users of Soundcraft’s entire range of digital consoles. He needed the enhanced capacity that the Vi3000 could offer—and the RealTime Rack and access to UA plugins certainly didn’t hinder the decision!”

Speaking generally, he believes the Vi3000 would make a perfect partner for every sound engineer and rental company. “Unofficially, the Vi’s are the preferred digital consoles for a festival stage—and this will be enhanced with the Vi3000 with all its facilities, integration with the UA RealTime rack and the overall price point.”

He also noted that trends in live mixing are changing, and audio quality and ease of use are again taking top priority. “We believe people are reverting from mixing on screens to mixing on their ears, so consoles with the most direct access and control will gain market share, and those based on menus will decline,” he predicted.

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

Alcorn McBride A/V Binloop HD Helps PaintScaping Grab the Audience for Gardner Denver at OTC’14

LA-based PaintScaping wowed the crowds at OTC’14 with a 4K 3D projection mapping display sourced from Alcorn McBride products. Four 8-channel Alcorn McBride A/V Binloop HD players provided dynamically animated, live-action content captivating the crowds at the Gardner Denver booth. The effect was so remarkable it even made in the front page of the Houston Chronicle.

The Gardner Denver booth was uniquely designed for OTC’14, the largest energy trade show in the world. Gardner Denver designs, manufactures and globally markets pumps for the oil and gas industry.

“We designed the mapping for the booth after consulting on the shape of the mapping structure, which was inspired by Justin Timberlake,” says PaintScaping CEO Philippe Bergeron. “The client had seen a concert and wanted that look – something very different from what you see at other trade show booths. The result created quite a buzz at OTC!”

The content was in two pieces, a three-minute showpiece and a 25-minute informational loop. “Twenty-five minutes of 4K is very challenging for the pipeline,” Bergeron says. Four 8-channel A/V Binloop HD players were on site along with four Christie 18K Roadster HD projectors. “We rendered the content at 4K then split it into four HD files and converted them for the Binloops. The job was hard for us but the content splitting went flawlessly.”

With a “Beyond Tough” theme, the showpiece highlighted Gardner Denver products with bullet points and animations, live-action montages, an animated particle system, world map, a pulsating 3D mapping surface and a high-energy music track.

Although PaintScaping had deployed A/V Binloop HD players previously, the company now owns a complement of the devices, which were the perfect choice for a trade show of this size and scale.

“Binloops are extremely reliable when it comes to synching – that’s their strength,” Bergeron notes. “This was a project where we could not afford even one-frame delay, because you would see it. When you do projection mapping on a building and the walls are separated by several feet, delays aren’t as obvious. But at the trade show you couldn’t camouflage a delay.”

Mapping was done with PaintScaping’s proprietary software. “It was very challenging because we had two moving targets: the structure and the projectors,” Bergeron explains. “Mapping had to be done on site the day before the show once everything was up and exactly in place. So we had almost no time to map. But the Binloops performed fantastically. Flawlessly!”

In addition, the trade show floor was flooded with light. “The images were sensational especially considering the enormous amount of ambient light,” says Bergeron. “The projection was so bright – almost like it was a poster.”

Jared Stone, Marketing for Gardner Denver, says that “having no experience with Alcorn McBride before the show, I was unaware of what we were dealing with. I was very happy with the smooth operation of the Binloops as well as with Philippe and his team’s expertise. PaintScaping did a great job with the entire show.”

Stone notes that the 3D mapping “was definitely the hit of our show and garnered attention from the local media, including the Houston Chronicle – the third largest publication in the U.S.!”

At PaintScaping the lead 3D animator was Barry Dempsey, with additional animation by Andrea Losch and Gordon Fales. Rob Ostir created the 3D set up of the projectors. The field team was led by Mike Cianciola along with the AV Technician Chris Butterfras.

About Alcorn McBride:
Founded in 1986, Alcorn McBride is the leading manufacturer of show control, audio and video equipment for the themed entertainment industry, and a rapidly growing provider of audio and video systems for retail environments and transportation applications. Staffed by some of the industry’s best engineers and backed by outstanding customer support, the company has demonstrated great agility in bringing new designs to market. A hallmark of Alcorn McBride products is their durable, zero maintenance design. The company’s products provide consistent, reliable operation for audio and video playback applications worldwide. For more information, visit www.alcorn.com.

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Las Vegas Production Company High Jumps with Yamaha NUAGE System

BUENA PARK, Calif.—Dog & Pony Studios in Las Vegas has been in business for 11 years with its primary focus on audio post, sound design, composition, and audio for games. Clients include MGM Resorts, Caesars Entertainment, Skechers, and Aristocrat Technologies, to name a few. Recently, the company raised the bar by installing one of the first Yamaha Steinberg NUAGE DAW systems in the U.S. RSPE Audio Solutions in Toluca Lake, California installed the system.

No stranger to Steinberg’s Nuendo, having used the software since Version N3.x as well as Yamaha products, all three Dog & Pony production studios run Steinberg Nuendo 6.07 and house a Yamaha MSP7 5.1 speaker monitor setup. “I first learned about the NUAGE system on social media, and that followed with a demo by RSPE, states owner John McClain. It took just the three or four hours of the demo to know that NUAGE was a great fit for our facility. The first thing that strikes me about NUAGE is the ability to forgo use of the mouse and keyboard which, to me, is a huge advantage and the “holy grail” of how a controller should work. The build quality of the system is quite obviously very good.”

McClain said that his number one feature on NUAGE is its ergonomic layout.
“From editing and sound design to mixing and post, almost any function needed is available from the work surface. My favorite feature about Nuendo has always been the number of ways you can solve a problem and the ability to design your own workflow, key commands, etc. to fit your own needs. With NUAGE, the Yamaha and Steinberg design engineers continued that openness with many ways to set up NUAGE to fit your own workflow. The support from the Company has been fantastic; they are very focused on the end user and open to suggestions for future product enhancements.”

For more information on Dog & Pony Studios, visit www.dogandponystudios.net.

For more information on NUAGE, visit www.yamahaca.com.

-END-

Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

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