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HARMAN Professional Provides Refreshing Sound For Kopparberg Urban Forest Festival

LONDON, United Kingdom – Taking place in Dalston, a northeastern district of London, the Kopparberg Urban Forest Festival will run for a full month from 2nd July until 3rd August, featuring a complete sound reinforcement system comprising HARMAN’s AKG microphones, Crown amplifiers, JBL loudspeakers and Soundcraft mixing consoles all provided in partnership with HARMAN Professional’s UK and Ireland distributor Sound Technology Ltd. Sponsored by the UK’s premium cider brand Kopparberg and promoted by MAMA & Company, the Kopparberg Urban Forest Festival mixes Scandinavian and London cultures to provide audiences with a vibrant array of events.

Ranging from night clubs to street art, the Kopparberg Urban Forest Festival is a unique social gathering where the local food and cider is as refreshing as the summer music that is being played through JBL VTX line arrays. The main PA features eight JBL VTX V20 loudspeakers, four S25 subwoofers, complemented by two VTX F15s plus VTX F12, VTX F18S and STX812M stage monitors. The system is powered with two Crown VRack 4×3500 HD systems and an I-Tech 5000 HD amplifier.

With a huge lineup of musicians, DJs and MCs, MAMA & Company is also relying on AKG for world-class microphones, including a range of AKG models including the D12VR, C1000S, D40, D5, DSR700 V2 and DHT700 D7 microphones. FOH and monitors are being mixed through a Soundcraft Si Performer 2 digital console, which is also controllable via the Soundcraft ViSi Remote app, enabling iPad control of the console via a single wireless network.

Working closely with London-based charity and venue The Bootstrap Company, Kopparberg will help facilitate their work to support local creatives and social microenterprises and represent the best that East London has to offer. As part of this support Kopparberg will be paying for two interns from the Bootstrap Company to learn about event management during the five-week run of the Kopparberg Urban Forest. When the Urban Forest closes its doors, Kopparberg will also be gifting its trees and greenery to The Bootstrap Company for distribution amongst its projects.

“The Kopparberg Urban Forest Festival is a dynamic event featuring a wide variety of performers and styles,” said Joe Roberts of MAMA & Company. “Therefore, we need an equally dynamic audio system to accommodate the range of talent onstage, and we found the most comprehensive and high-performance audio components through HARMAN and Sound Technology.”

“This event will showcase HARMAN’s ability to provide world-class components across the audio signal chain, from AKG microphones and Soundcraft consoles to JBL loudspeakers and Crown amplifiers,” said Ed Jackson, Application Engineer, Tour Sound, EMEA, HARMAN Professional. “It is also exciting to be working with the charity Bootstrap and to be part of helping provide the production for a charitable event!”

The event features over 50 artists including: We Were Evergreen, Lucy Rose, Little Dragon, Gaz Coombes and New Young Pony Club.

For more information on the Kopparberg Urban Forest Festival, please visit www.kopparbergurbanforest.com

For more information on MAMA & Company, please visit www.mamaco.com & www.mamacolive.com

For more information on Bootstrap Company, please visit www.bootstrapcompany.co.uk

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.

Atomic Design Partners with WorldStage On Turner Entertainment Networks’ Upfront at Madison Square Garden

ATOMIC and WorldStage once again partnered on the upfront for Turner Entertainment Networks’ TBS and TNT, which returned to The Theatre at Madison Square Garden with a bang. Or maybe it was a “Boom” as TNT launched a new, edgier tagline for its drama programming, which includes the new “The Last Ship” from Michael Bay and “Murder in the First” from Steven Bochco.

ATOMIC has been producing Turner Upfronts for more than a decade and was responsible for the lighting, rigging, production design, staging and set fabrication for this latest presentation to marketers and advertisers. For many of those years WorldStage has worked alongside ATOMIC supplying critical video support to various New York City venues.

“We’ve been an incredible team of partners for a long time,” says ATOMIC CEO and event executive producer Soren West. “We were together at the Garden with evening upfronts that featured The Eagles and Lenny Kravitz and at The Armory with Sting. Then we moved to the Hammerstein Ballroom and now we’re back at the Garden, which can accommodate the increased attendance for the Turner upfront.”

ATOMIC was tasked with “creating an environment through scenic, video, lighting and audio that could be transformed from one brand to the other, from one message to the other,” as the comedy and drama networks introduced new and returning shows and their stars.

The stage at Madison Square Garden featured a single big rear-projection screen, which featured informational content about the networks’ upcoming seasons. ATOMIC entertained the idea of using an LED screen but opted for a “high-quality rear projection solution with lots of lumens” to deliver the content.

Surrounding the screen was a band shell-style series of concentric aluminum arches, clad with neutral gray fabric, onto which WorldStage warped decorative video elements.

“The band shell was designed by Mike Rhoads, our production designer, who has done the upfront for at least eight years,” notes West. “The arches were quite complicated to draw and fabricate with those compound curves. I had serious concerns about the shape and the ability to cover it with projections and not create dead zones on the stage where people couldn’t stand. But WorldStage and screen producer Laura Frank of Luminous FX assured us that warping content onto the arches was totally within the realm of do-ability. We trusted them implicitly, and they delivered.”

WorldStage project manager TJ Donoghue, who has worked on the last three Turner Upfronts, says “the shape of the band shell surface with their compound curvature made alignment and warping of overlaps rather challenging.” In addition, “there were limited options for the projectors’ locations. But thanks to a great team effort by media server programmer Alex Bright, media server technician Shawn Duan, and projectionists Juan Mateo and Sean Kelly the warping and blending worked very well.”

A Pandoras Box media server drove Christie Roadster HD20K-J and 10K-M projectors. The HD10Ks were embedded in the show deck and pointed straight up at the arches, one of the more unusual projector placements for a one-time event.

WorldStage provided six Sony HD cameras, which fed a Ross 4 ME switcher for IMAG and capturing the upfront for a live-streamed webcast and a simulcast on tape delay targeted to advertisers and agencies in Chicago, Detroit and Atlanta. A final cut of the event was made for archiving and for distribution to Turner’s sales and marketing groups.

WorldStage also provided a full editing suite so the editing team had on-site capabilities at the Garden. “Delivery dates for content get later and later every year,” says West. “Having editorial on site enabled us and Turner Entertainment to fine tune the presentation and tweak the animation, graphics and video clips closer to show time. We could also ingest any new material quite late in the game.”

West notes that “One of the great things about this project is that Turner Entertainment recognizes the value of preparation, so we were able to involve WorldStage earlier than we typically would on other projects – about three or four months out. Then things got really involved about one month out.

“Part of our success over the years is due to the time we and WorldStage spend with the client in Atlanta,” he continues. “Two to three weeks out we do a table read there, the executives rehearse their speeches and we review the video content created thus far. So we get a good sense of how things are coming together and where the tricky transitions are from a technical and a stagecraft perspective.”

Subsequently, everyone reunited at ATOMIC’s headquarters in Lititz, Pennsylvania where they did a previs of the show in Pandoras Box, the lighting and video teams preprogrammed cues, and show management rehearsed the principals. “This really is the right way to work,” West says. “By the time we got to the Garden everyone knew the show.”

With another successful upfront concluded, West says, “WorldStage has been a strong partner of ours for many years. We’ve been through a lot of challenges together and are still making it happen as a team. It’s always great to work with them!”

“Everything went very smoothly,” agrees Donoghue. “It was great to be back in the Garden with ATOMIC, and the crew there was fabulous. We’re so pleased that everything went so well.”

At WorldStage Dennis Menard was also a project manager, Mike Alboher EIC and Encore operator, Pete Cerreta playback operator, August Yuson camera EIC, Alex Donaldson projectionist, John Denion APM and Ryan Eysner, Shannon Robinson and Pete Sokov utilities. In addition, camera operators were provided by Slate.TV, LLC and Locals One and 306 furnished crew.

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 nationally and internationally.

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NASHVILLE’S HISTORIC SOUND EMPORIUM STUDIOS INSTALLS AN API LEGACY PLUS

NASHVILLE, TENNESSEE – JULY 2014: Sound Emporium Studios is a go-to destination for artists including Willie Nelson, Kenny Chesney, and Alison Krauss, not to mention major projects by T-Bone Burnett. The facilities, built by “Cowboy” Jack Clement in 1969, are the birthplace of legendary recordings including Kenny Rogers’ The Gambler, REM’s Document, Sammy Davis Jr.’s final album, as well as Taylor Swift’s first. To meet the growing needs of its diverse clients, Sound Emporium consulted Rob Dennis at API reseller Rack-N-Roll, who directed the studio towards a 48-channel Legacy Plus console.

“Our clients have long requested an API in that room,” said studio manager, Juanita Copeland. “The flexibility, build and sonic quality, along with the reputation of API made it an easy decision. It just brings together a lot of great API sonic solutions into one user-friendly package. Having the 2500 bus compressor is the icing on the cake.” Copeland also mentioned having 48 inputs, 48 returns, and 12 aux inputs is a huge improvement to the studio’s former setup. The room can also be used for mixing now thanks to the Uptown 2 automation.

Since commissioning the console early this summer, it’s been used for tracking, overdubs, and some mixing. The Legacy Plus is already booked for major clients in the coming months, including one of the top 100 guitar players of all time, and a critically-acclaimed alternative country artist. Recordings for the hit ABC show Nashville are also booked for when filming resumes this month, as well as several rock projects later in the year. “We are just thrilled to finally have such an amazing console in that historic room!” adds Copeland.

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

www.apiaudio.com

ZONA RECORDING STUDIOS ADDS API’s THE BOX

LONG ISLAND, NEW YORK – JULY 2014: Recording engineer John Zona works with much of the talent in the artistic-rich area of Huntington, New York through Zona Recording Studios. While currently running the studio around his full-time gig of pin striping motorcycles, he is transitioning his time mixing and recording from a hobby to a full-scale operation. As part of that transition, Zona has added API’s THE BOX to help bring enthusiasm and excellence to clients, ensuring they’ll come back and refer others.

“I am very pleased with my decision to purchase THE BOX,” recalls Zona. “After shopping around, doing research, and even demo-ing the board at the API headquarters in Maryland, it became clear API was the way to go. I am very impressed with the quality of the EQs, mic pre’s, as well as the reputation, construction, and warranty of the board.”

Zona, who is also an accomplished drummer, bass guitarist and composer, is presently taking the final steps in reconfiguring and wiring his updated studio space. While doing that, he’s using THE BOX to re-mix music he’s previously recorded. “I am getting results I had not even anticipated,” shares Zona. “I look forward to being an API customer for years to come.”

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

www.apiaudio.com

FOR-A Switcher Meets Growing Technical Demands for First Baptist Church Oviedo

Cypress, CA – Established in the 1800s, First Baptist Oviedo is a longstanding Florida-based house of worship that has drastically altered its use of technology in recent years. In 2009, First Baptist Oviedo built a 2,700-seat worship center. Since that time, the church has delivered its message to a wider audience through live streaming, sermon archiving, and the production of podcasts on its website, as well as through its weekly shows on local television.

Recently, the church was in the market for a new video switcher to help run its productions more efficiently. Orlando-based video equipment specialist Encore Broadcast recommended the house of worship look at FOR-A’s HVS-390HS video switcher. Pleased with what they saw, the church purchased the HVS-390HS and began using the unit earlier this year in February. First Baptist Oviedo has been impressed with how the switcher has improved operations in its HD facility.
“We came from having a small switcher with only eight inputs. Our technological demands have rapidly grown with the production of our live broadcasts, and we needed a new switcher that could handle that,” said Josh Felix, the church’s director of technical arts. “We narrowed it down to two choices: FOR-A’s HVS-390HS and Ross Video’s Carbonite. Both switchers met our minimum requirements – each were 2 M/E units with full HD-SDI capabilities. However, a few features of FOR-A’s switcher stood out to us, one being its built-in color corrector on four channels, which has been huge for us. Another perk of the HVS-390HS is its built-in scalers, which allows us to easily scale SD images to HD.”

First Baptist Oviedo has two Sunday services, both of which have the same pastor and message, but each take on their own style. The earlier service is more traditional, led by the choir and orchestra, while the later service takes on a more contemporary approach with a live band providing music. The services are shown on local programming, one of which is broadcast live, while the church’s other television show broadcasts a sermon that took place the previous week.

Felix reports that the HVS-390HS switcher offers several useful features right out of the box, without requiring additional hardware. The church’s video production team enjoys the switcher’s Web browser interface, which allows them to control and manipulate the board remotely. They also appreciate the HVS-390HS switcher’s remote panel options. Video operators can have a mix for its broadcast television productions, and another setup for the church’s image magnification, allowing them to easily show the audience at home something different than what the audience at the church sees on its video screens.

“We design our video systems around FOR-A switchers because they’re reliable and offer excellent cost efficiency and functionality,” explained Jeff Cameron, Sales Engineer at Encore Broadcast. “FOR-A also consistently offers great support and training to its customers. The HVS-390HS has proven itself to be user friendly for the church’s volunteer staff, and has enhanced the house of worship’s video production capabilities.”

“Our goal every Sunday morning is to create a distraction-free worship environment through our equipment set up,” explained Felix. “With better quality video production gear like our HVS-390HS, we’re able to eliminate any technical distractions for our members, and this is critical to us. Even more so, technology allows our gospel to expand beyond our doors, reaching the world. I look at our FOR-A switcher as an infrastructure upgrade, and one of the main functions that help our video production run smoothly. I’m confident that the HVS-390HS will carry our church’s productions for many years down the line.”

About FOR-A
FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A’s product line, call 714-894-3311 or visit our web site at www.for-a.com.

HARMAN Professional India Takes 2014’s An Ode to the Blues Festival To a Higher Level with Stunning Sound and Lighting

BANGALORE, India — The blues has growing appeal as evidenced by the popularity of India’s An Ode to the Blues festival, now in its fourth year. Held at Bangalore’s CounterCulture performance space/restaurant, the festival featured international and Indian blues artists including Guitar Shorty, Soulmate, Blackstratblues, Ministry of Blues and many others, who performed on two stages outfitted with a complete HARMAN Professional live sound system and Martin lighting.

“With every event we do, our primary focus is on the artist and we want to present the way they sound and the way they look at their absolute best,” said Guru Somayaji, Program Director and Festival Manager at CounterCulture. “This year we wanted to up the ante to bring in a setup that not only looked good but sounded top-notch.”

The Robert Johnson Stage and the Roots Blues Stage were equipped with a variety of JBL loudspeakers including four VRX 900 Series loudspeakers, two STX828 dual-18-inch subwoofers, two PRX615M powered loudspeakers and two STX815M loudspeakers. The loudspeakers were powered by Crown VRACK complete, self-contained amplifier systems, which include I-Tech HD Series power amps, analog and digital connections and a globally universal power distribution system, all housed in wheeled rack with a suspension system that enables VRACK to be flown if desired.

A Soundcraft Si Expression 1 digital console with a Si Compact 16 handled the live sound mix for the Robert Johnson Stage, with a Soundcraft Si Compact 16 deployed for the Roots Blues Stage. The consoles were equipped with a Soundcraft Si Multi Digital Card to record the shows to a computer in multitrack digital audio. A selection of AKG microphones rounded out the system (Indian blues-rock band Soulmate are AKG endorsers).

The Robert Johnson Stage and Roots Blues Stage were illuminated by a complete Martin lighting setup that included RUSH by Martin MH 3 Beam, MH 1 Profile and MH 2 Wash models, plus MAC 101 LED wash and PAR 1 LED can lights. Martin M1 and M2GO consoles operated the lights for each stage.

HARMAN Professional India and students at India’s Audio Academy assisted CounterCulture in producing An Ode to the Blues. “This year through our partnership with HARMAN Professional and Audio Academy, the team not only delivered a fantastic-sounding and looking setup, but the students at Audio Academy also learned the process of setting up the system and the stage and in fact helped us a great deal,” said Somayaji. The students will go on to mix the multitracks and produce a finished live recording of the event. “From a lighting perspective, the audiences enjoyed a real treat – the Martin illumination created atmospheric, exciting and even surreal lighting experiences that took this year’s performances to an entirely new level.”

“An event of this scale requires a first-class sound and lighting setup. With multiple bands and a quick turn around required between acts, an effective and reliable sound system is an engineer’s backbone for an event of such complexity. HARMAN brands, AKG, BSS Audio, dbx, JBL, Soundcraft and Martin lighting ensured that! As an FOH engineer, I could not have asked for better technology. This was one of the best music festivals I have had the pleasure of being associated with,” added Nikhil Pai, Freelance Sound Engineer.

“Without HARMAN Professional India and especially application manager, Sunil Karanjikar, none of this would have been possible,” he noted. “Each and every artist complimented us on how exceptional the JBL loudspeakers and Crown amps sounded, the clarity of the Soundcraft consoles and the AKG mics and the striking lighting provided by Martin. The audio was truly stellar, with excellent balance, presence and clarity from every location around both stages.”

Somayaji concluded, “We look forward to further such associations for next year’s An Ode to the Blues festival and other events.”

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.

HARMAN’s Crown Offers Online Certification Program for DriveCore™ Install Series Amplifiers

ELKHART, Indiana — HARMAN’s Crown Audio announced that it now offers an online certification program for its DriveCore Install (DCi) Series amplifiers. Available free of charge, the program offers instruction covering Crown’s DCi Analog, Network and Network Display amplifier models and information about the company’s exclusive DriveCore technology that is at the heart of the amplifiers’ powerful and efficient operation.

The course is available online at: http://www.crownaudio.com/usa/drivecore-install-series.html. Simply click on the blue “Test Your Knowledge” icon at the right of the screen to register and take the test. The test consists of approximately 50 questions and has a time limit of three hours to complete. Once registered, users may take the exams in one sitting or save their progress and resume the test at a later date.

“Our DCi certification program was created with installed sound contractors, systems integrators and other professionals in mind, to help them get the most out of Crown’s DCi Series amplifiers and use them effectively in a wide variety of real-world situations,” said Dan Saenz, Business Segment Manager, Crown Audio. “We designed the DCi Series as the new industry standard in installed-sound amplifiers and models are available with connectivity options and power ratings to suit any application.”

Once logged on, participants are asked a series of questions about the DCi Series amplifiers. Information to help in completing the exam can be found in the DCi training videos on the Crown YouTube channel (https://www.youtube.com/user/CrownInternational) and on www.crownaudio.com. Additional helpful information is available by working within HARMAN’s HiQnet Audio Architect software and watching its training videos, viewing the company’s System Technology Bulletins and by having a general understanding of professional audio and networking. The test is designed to provide guidance to those seeking training, and the questions themselves offer helpful resources.

Participants must receive a score of 90 percent or greater to earn certification. There is no limit to how many times the test may be taken. Once they pass, users receive a downloadable Certificate of Completion and a notification is sent to Crown.

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.

Bexel Expands Inventory with $13 Million Investment to Support 2014 FIFA World Cup(tm) and Beyond

Company Upgrades Key Products to Service US Rights Holders Host Coverage

BURBANK, Calif. - Bexel, a unit of the Vitec Group's Services Division and a leading worldwide provider of broadcast services and solutions, recently completed a major inventory upgrade to support the company's extensive installations for both the Spanish and English-speaking U.S. rights holders at the 2014 FIFA World Cup Brazil(tm). The $13 million investment increases Bexel's service offering of products in several key areas, including camera systems, switchers and routers, and servers.

The significant investment is strategically aligned to support Bexel's continuing expansion into the major global sporting event sector. "Bexel has had an incredibly busy year," commented Tom Dickinson, CTO of Bexel. "We came right off doing the winter games in Sochi, Russia, directly into World Cup preparation. This was the largest World Cup effort that Bexel has ever undertaken, as we provided complete turnkey facilities with on-site technical support to two major broadcasters. To support these live events that are international in scope, we invested millions to expand our systems and solutions so that we can service our clients with the technology they require to execute at this level."

Grass Valley and Sony Camera Systems-


Bexel has made a significant investment in the expansion of its camera inventory. Over 50 new camera systems were purchased to support Bexel's increased servicing of global sports arenas. Thirty Grass Valley LDX 80 Compact cameras and 20 Sony HDC-2400 cameras have been added to the Bexel roster. All 50 camera chains were used in Brazil.

In addition to the cameras, Bexel bought more than 50 supporting lenses, ranging from wide-angle lenses to Cannon XJ95x and Fujinon XA99x8.4 super-telephoto lenses. The company's inventory of camera support equipment has also grown, including new Vinten Vector 75 Pan and Tilt Heads and Sachtler tripods.

Evertz Routers and Grass Valley Switchers-

Bexel has undertaken a major upgrade of its routers and increased the quantity to include two new Evertz EQX routing systems from 288x853 up to a full size 394x970. In addition, Bexel has an Evertz EMR router at 288x864. These routers are central to the company's support of its large systems and bigger than what would be found on many mobile trucks.

"The World Cup, being such an expansive event, required host broadcast facilities to have very extensive routing capabilities to manage the signals coming in from all the venues simultaneously," said Dickinson. "This routing of the signals was one of the key requirements, due to the complexity of the event and the large amount of content being managed in a given time period. To support that, and to ensure that both networks had maximum production flexibility, we upgraded our router fleet with two additional, high-end EQX systems, both of which were deployed in Brazil."

Two new 5M/E Grass Valley Kayenne Video Production Centers were also acquired, for an inventory total of six production switchers. "We're continuing to invest in Kayenne switchers, as we build out our flypacks to support massive global events like Sochi and the World Cup," stated Dickinson. "We were able to do both US host facility installations with all Grass Valley Kayennes, which worked perfectly. We had four of our switchers in Brazil with a total of five control panels.

EVS XT3 Video Servers-

Bexel has also upgraded and expanded its entire fleet of EVS servers, as well as acquired a host of EVS support products. With the $5 million purchase of 25 new XT3 video servers, Bexel now has a deployable fleet of more than 50 XT3 units. The servers range from six-channel to eight-channel units, and include a new 10 gigabit Ethernet networking feature that allows users to move files over an IP network much more efficiently.

Both U.S. host providers used Bexel's EVS XT3 servers in Brazil. "The XT3s were crucial to the systems we set up in Brazil," noted Dickinson. "Both broadcasters' workflows were file-based and very EVS-centric. The EVS XT3s were key to how the large amount of content was managed from all the World Cup venues."

To service U.S. hosts' coverage over the course of the entire month-long tournament, Bexel transported approximately 26,000 pieces of equipment and 35 senior engineers and support staff to Brazil.

The Spanish-language rights holder for the U.S., broadcast extensive coverage from Rio de Janeiro in addition to the actual World Cup matches. The Bexel set-up served as the hub supporting their extensive pre- and post-game coverage and entertainment broadcasts of its morning show from Copacabana Beach, and the rooftop of the Atlantico Sul Hotel.

"We put together a total of five control rooms on site in Brazil, and everything worked seamlessly," concluded Dickinson. "The extensive investment we made for the World Cup has positioned Bexel to be able to handle any major sporting event anywhere in the world, with the highest quality of well-built systems. We are already looking forward to upcoming events, and we're confident that this investment will allow us to continue supporting our clients with both the strongest systems and the smartest solutions available."

Bexel will also utilize the new broadcast solutions and equipment on upcoming telecasts of the U.S. Open, NCAA Football, MLB, and the NFL, as well as other live events.

Yamaha YCATS Training Moves Toward Future In Networking

BUENA PARK, Calif.—Yamaha Commercial Audio Training Sessions (YCATS) is moving in a new direction with their console training programs. This year, YCATS has created two new console classes in order to eliminate the repetition between the CL, QL, M7CL and LS9 seminars as these consoles share many of the same software features. The new classes will initially be held at HB Live during the first week of August, HB Live is sponsoring a CL/QL Series Essentials Class in North Haven, CT and ATR/Treehouse is sponsoring the same class in Warwick, RI.

HB Live, a division of HB Communications will host new sessions Tuesday, August 5th between 8:30 – 5:00 pm at 60 Dodge Avenue, North Haven, CT. For more information, call 800-331-1804. Registration details below.

ATR/Treehouse sessions will be held Thursday, August 7th between 8:30 am – 5:00 pm at the Ocean State Theater, 1245 Jefferson Blvd, Warwick, RI. Complementary breakfast and lunch will be served. For more info, contact ATR/Treehouse at 401-751-3121. Registration details below.

“The new YCATS training direction will be much for efficient and streamlined for our customers,” states Marc Lopez, Marketing Manager, Yamaha Commercial Audio Systems, Inc. “We are improving the YCATS programs for networking and acknowledge that our end user customers operate different Yamaha digital consoles from time to time with many common paradigms between the various models that enables us to improve the efficiency and effectiveness of our training programs.”

Console Operation – Level 1 is for those with little or no familiarity with Yamaha live sound consoles. Console Operation – Level 2, is more of an intermediate to advanced class designed for those familiar with the basic functions of Yamaha digital consoles. This new training format will allow YCATS more efficiency in terms of customer time. It will also reinforce that the software of Yamaha digital consoles is the same, and a user familiar with one should have no problem operating another. Right now, the largest demand is for training on CL, QL, M7CL and LS9; all sharing similar software.

In addition to the new Console Operation Levels, YCATS is adding “Digital Sound Reinforcement – Dante” and “CL/QL Series Essentials”. “DSR – Dante” is a one-day class covering design and use of Dante networks with Yamaha products as well as several third party products (i.e. Shure ULX-D and Aviom D800). “CL/QL Series Essentials” is a class for those who have been trained on the M7CL and LS9 and covers all new features with the CL and QL consoles and the set up of Dante networks.

For an end user looking for more in depth information on a particular console, YCATS has produced an online video series that can be used as a reference. New videos and webinars are on the docket for later this year.

Detailed descriptions of the new classes can be found online at:

Console Operation – Level 1: http://www.yamahacommercialaudiosystems.com/training_class_desc.php?courseID=33
Console Operation – Level 2: http://www.yamahacommercialaudiosystems.com/training_class_desc.php?courseID=34
Digital Sound Reinforcement – Dante: http://www.yamahacommercialaudiosystems.com/training_class_desc.php?courseID=35
CL/QL Series Essentials:
http://www.yamahacommercialaudiosystems.com/training_class_desc.php?courseID=32

Look for the new YCATS classes coming in Chicago, IL; Hayward, CA’ Long Island City/Queens, NY; and Nashville, TN. A full list of locations for this year can be found at: http://www.yamahacommercialaudiosystems.com/training.php?catID=11001.

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About Yamaha Commercial Audio Systems, Inc.:
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.

Masque Sound Custom Audio Solutions Take the Stage at New York City’s Famed Public Theater

NEW YORK, JULY 21, 2014 – As the curtain rose on the 2014 summer season of The Public Theater’s free Shakespeare in the Park at the Delacorte Theater in Central Park, Masque Sound, a leading theatrical sound reinforcement, installation and design company, was once again on-hand to offer its support to one of New York City’s most beloved traditions, providing custom audio equipment packages for this year’s lineup, as well as for The Public’s array of other shows and events hosted throughout the year.

The Public Theater, the only theater in New York that produces Shakespeare, the classics, musicals, contemporary and experimental pieces in equal measure, boasts several expansive venues, including its landmark downtown home on Astor Place, which houses five theaters plus Joe’s Pub; the Delacorte Theater in Central Park, home to its beloved, free Shakespeare in the Park; and the Mobile Unit, which tours Shakespearean productions for underserved audiences throughout New York City’s five boroughs.

Recently named Audio Supervisor of the famed establishment, Corrine Livingston manages upwards of 20 plus shows and productions throughout The Public Theater’s different venues in a given year, including Shakespeare in the Park. In order to ensure that each show provides audiences with the clear, dynamic audio that they have come to expect, Livingston relies exclusively on Masque Sound’s custom audio equipment packages to meet The Public Theater’s vast sound requirements.

“With all of the logistics, managing and planning that goes into running all of these venues and associated shows, knowing that Masque Sound is providing all of our audio equipment is one less thing I have to worry about,” says Livingston. “I am always looking for ways to take our productions to the next level and build upon the wonderful work my predecessors have created. With Masque Sound’s extensive inventory and expert team, I am afforded the opportunity to do so.”

Shakespeare in the Park moved to its permanent home at the Delacorte Theater in 1962, and, since then, over five million New York natives and visitors alike have enjoyed free Shakespeare performances each summer season. The majestic, open-air theater has a seating capacity of 1,800, and each season, more than 100,000 people attend performances produced by The Public Theater. Since Shakespeare in the Park’s inception, more than 150 productions have been presented for free at the venue.

“Masque Sound has enjoyed a long and successful relationship with The Public Theater, especially the Delacorte and its summer productions of free Shakespeare in the Park,” says Stephanie Hansen, vice president and general manager, Masque Sound. “Having served as the Delacorte’s audio equipment provider since its first production, which took place more than 50 years ago, is quite an accomplishment and something we take great pride in. With the support of Corrine and everyone at The Public Theater, we look forward to continuing to provide our custom audio solutions to The Public Theater’s multitude of productions in the years to come.”

This summer’s free Shakespeare in the Park performances include Much Ado About Nothing, directed by Jack O’Brien, which ran from June 3 to July 6 and King Lear, directed by Daniel Sullivan, which is slated to open on July 22 and conclude on August 17. All performances begin at 8pm. For more information on The Public’s free Shakespeare in the Park, as well as the full line-up of events produced by The Public Theater, visit http://www.publictheater.org/.

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

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