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Archive of the Product Applications Category

DIGGERLAND USA: FIRST CONSTRUCTION-THEMED ADVENTURE PARK BUILT UPON ASHLY

Diggerland_USAHAMMONTON, NEW JERSEY – OCTOBER 2014: Diggerland USA is the country’s first construction-themed adventure park, allowing children and their families to operate real construction equipment in a safe environment. The 14-acre park is located adjacent to its sister attraction, Sahara Sam’s Oasis, in New Jersey in the suburbs southeast of Philadelphia. Spellcaster Productions of nearby Hammonton, New Jersey designed and installed the system on a very tight timeframe; from land clearing to opening took just six months. An Ashly Audio ne24.24M modular Protea™ matrix processor outfitted with twelve inputs and twelve outputs provides all of the equalization, delay, ducking and routing for Diggerland USA, and seven Ashly KLR-3200 amplifiers power the park’s seventy-plus Community loudspeakers. Ashly’s networked neWR-5 wall-mount user control allows staff members to adjust input and volume within a given zone, and Ashly’s iPad app gives management complete control of the park’s audio from anywhere via Wi-Fi.

“While I was working on this project, our Ashly rep stopped by,” said Mike Shafer, project manager of Spellcaster Productions. “I showed him what we were up to, and he suggested the ne24.24M processor and the KLR-3200 amplifier. I did my homework and realized that moving to Ashly would save the client some money and would give us all the functionality and power we needed. We also designed and installed the sound system at Sahara Sam’s Oasis, and the client wanted to be assured Ashly would meet the same standard. I assured him that Ashly has been making quality equipment for over thirty years and that they are well known for their reliability. Ashly’s five-year warranty and my positive experiences assured him.”

The sound system permits Diggerland USA to play background music and advertisements, either of which will duck for pages made from a Shure wireless microphone or from the park’s phone system. All of the input sources feed the Ashly ne24.24M processor, which in turn feeds a rack of seven Ashly KLR-3200 two-channel amplifiers. The KLR-3200 is rated at 1600W into a 2 Ohm load, 1100W at 4 Ohms or 800 Watts per channel into a 70V line. This versatility makes it a perfect choice to power the Community Sound-centric loudspeaker system. Community D4LP loudspeakers cover indoor areas with low ceiling height, Community DP8 pendant loudspeakers cover a food pavilion and an arcade, and Community R.15 and R.35 loudspeakers throw from light poles to cover the vast outdoor spaces.

Diggerland_USA_ArcadeThe Ashly Remote App for the Apple® iPad or iPad Mini is used to provide the theme park management team with a customized wireless remote control. “I arranged it so that the app’s home page lists each zone with a radio button to select the input source,” said Shafer. “That, together with a volume slider for each zone, allows them to do everything they need to do. Because we gave them Wi-Fi throughout the park, they can make adjustments right there in the park – no walking back and forth to an equipment closet.” For staff within the arcade, the picnic area, and the concession stand, Shafer installed Ashly neWR-5 wall-mount remotes, which allow input selection and volume selection.

“The installation was smooth and straightforward,” said Shafer. “Programming the ne24.24M was easy – just a matter of connecting the right nodes and then tuning the system. Even some of the less common requests were easy, like a real-time page from a security monitoring company for afterhours if the park’s security system detects movement. The page warns intruders that the police have been called. Since the opening in June, we’ve been back to adjust things as they’ve determined how exactly they want things to function.”

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 40-year old company is headquartered in Webster, New York U.S.A.

www.ashly.com

PIE MAN SOUND ENSURES LONGEVITY WITH 32-CHANNEL API 1608 CONSOLE

Pie_Man_SoundCARY, NORTH CAROLINA – OCTOBER 2014: Pie Man Sound opened last month in Cary, NC, – co-owners Max and Mitch Dancik were so eager to start using their 32-channel 1608 that it’s already been used to record several local projects. Mitch said the studio is already booked solid through the year with musicians from a variety of genres anxious to record. Among others, the studio is looking forward to sessions with a young jazz/rock band working on their debut album, a quartet of Mexican classical guitarists, and a quartet of classical sax players. Mitch believes the 1608 has been a huge part of Pie Man’s early success: “My standard setup allows me to switch from record to mix mode instantly. In a ‘mix as you go’ world, this capability is critical, and a very good reason for 1608 users to consider that extra sixteen tracks.”

Pie Man was designed and built from the ground up by Wes Lachot, who told the Danciks that the 1608 would take the studio from ‘great to WOW!’ “I visited various studios,” Mitch Dancik added, “including Manifold, and my ears said it was worth it. Another important consideration was reliability and maintenance. My friend Neil Steingart was an engineer at the Record Plant in NYC and he always spoke about the indestructible API console on their mobile studio truck.” While practical elements like these helped Dancik make his decision, he said, “The most important feature is the magic that the API imparts to the sound. API is one of only a few companies keeping the best of the analog technology alive and I hope consoles like the 1608 will always be available.”

The console has not only been used on a variety of projects, but also for a wide variety of technical processes. Dancik was excited to explain how multi-faceted he has found his new gear: “The 1608 is integrated with my DAW solutions, with everything going through the API on the way in and the way out. I do hybrid mixing, with fine adjustments in the box, and broad moves on the API.” His experience with API gear is not limited to his own console, though. He attended a session with producer Joe Chiccarelli at Studio La Fabrique, “and every time he got frustrated with a piece of malfunctioning outboard gear, he’d switch to an equivalent piece of 500 series gear in an API lunchbox he had brought along. The API gear always worked as expected. I told Joe I was considering a 1608 for a new studio, and he said ‘go for it!’”

ABOUT API (AUTOMATED PROCESSES, INC.) Established 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

PANORAMIC HOUSE CELEBRATES ITS FIRST YEAR WITH GREAT OCEAN VIEWS AND AN API 1608

Baccigaluppi_PanoramicHouseWEST MARIN, CALIFORNIA – OCTOBER 2014: Panoramic House is a personal recording studio and vacation home owned by John Baccigaluppi and Bobby Lurie, located on the western Marin coast north of San Francisco. The duo, who own and operate studios on both the east and west coasts (The Dock in Sacramento, CA and Mavericks in NYC), renovated the historic 1960s structure, which was built entirely from recycled architectural materials salvaged from the Bay Area. Now, Panoramic House is celebrating its first year of operation with equipment relocated from Baccigaluppi’s former recording studio, The Hangar, which includes his recently-expanded API 1608.

When the five-year-old 1608 moved to Panoramic House, it was expanded to 32 channels to accommodate the studio’s 16- and 24-track analog tape decks. “With more analog tracks, we needed more console real estate,” said Baccigaluppi. “The 1608 has served me very well. I love that it has the same API circuitry that runs its large-format consoles. Eight aux sends and eight groups paired with the modular 500-series slots make it a very versatile board. We have a lot of EQ flavors, including a handful of API 550A’s, 550b’s, and 560′s.”

Baccigaluppi’s familiarity with API equipment is a contributing factor to what has made the 1608 the heart of the new studio. “Panoramic House is definitely analog-centric,” he said. “The first console I ever worked on was an API 2488 at The Evergreen State College in Olympia, Washington, and I love that the 1608 continues in that tradition. Moreover, clients are always impressed. API is a trusted name in the industry.”

Panoramic House has already been host to several big-name indie bands, including My Morning Jacket, Band of Horses, and Thee Oh Sees. With the first year behind them, Baccigaluppi and Lurie are looking forward to the fall and winter in Stinson Beach and Bolinas. “It’s funny,” Baccigaluppi said, “that most of the vacation renters come to town during the summer when it’s foggy to the point that you feel like you’re in a cloud. But that’s when people take vacations, I guess. Conveniently, most musicians are touring during the summer. The other three seasons are lovely, and that’s when most musicians want to settle in and create. Plus, that’s when the surfing is the best!”

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

Websites to include:
https://www.vrbo.com/505782
http://www.singlefinstudiogroup.com/

Acoustic Light Turns New Page With HARMAN Soundcraft Vi3000 Console

Scraft_AcousticLightASSISI, Italy – Catering to large-scale musical events, orchestras and choirs, Italian systems integrator Acoustic Light recently added a HARMAN Soundcraft Vi3000 console to its HARMAN-dominated inventory. This decision not only signifies the growth of the company’s services, but also denotes a significant leap towards leading the sound and lighting market in the province of Perugia. The console was sold through HARMAN’s regional distributor, Leading Technologies.

The owner of Acoustic Light, Stephan Lüthi, explained that 70 percent of his inventory consists of HARMAN gear, including JBL loudspeakers, AKG microphones, Crown amplifiers and other Soundcraft consoles. Having owned HARMAN equipment since the company’s inception in 2002, Lüthi has plenty of experience with the Soundcraft Vi Series.

“I was excited when the Vi4 and Vi6 were launched, and the Vi1 has also been perfect for a lot of my needs,” said Lüthi. “They are delightful consoles to work with, leading to great successes at major festivals. Now that we’ve grown as a company, we want to continue our reliance on the HARMAN gear that helped us get to this stage, and so we did not hesitate in ordering the new Vi3000.”

Lüthi greatly appreciates the distinct ease of use that Soundcraft consoles grant sound engineers at any venue. Thanks to the onboard inputs and outputs of the Vi3000, communication across the signal chain is seamless, which is convenient for projects taking place in conference rooms and theaters.

“I just love Soundcraft, and that’s why I have always used their consoles,” said Lüthi. “Even though the market is full of other brands, none of them satisfy me as much as Soundcraft, in terms of convenience and sound quality. Now that we are equipped with the Vi3000, we will be able to tackle any show with ease.”

For more information on Acoustic Light, please visit www.acousticlight.it

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 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 workforce of approximately 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

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Extra! Extra! Masque Sound Delivers High-Energy Sonic Explosion to Touring Production of Tony Award-Winning Hit Musical, Newsies

Custom Audio Equipment Package Hits the Road to Take Broadway Sound from Coast to Coast

PHILADELPHIA, PA, OCTOBER 21, 2014 – When the Tony® Award-winning Broadway musical NEWSIES flies off the rack to begin its North American tour on October 11, Sound Designer Ken Travis relies on Masque Sound, a leading theatrical sound reinforcement, installation and design company, to deliver a dynamic custom audio equipment package for the smash hit.Liana Hunt and Company. Broadway company of NEWSIES. CDisney. Photo by Matthew Murphy

NEWSIES, the new American musical, features a Tony® Award-winning score with music by eight-time Academy Award® winner Alan Menken and lyrics by Jack Feldman, a book by four-time Tony® Award winner Harvey Fierstein and is produced by Disney Theatrical Productions. NEWSIES is directed by Tony® nominee Jeff Calhoun and choreographed by Christopher Gattelli, who won a 2012 Tony Award® for his work. The entire creative team is reuniting to bring the break-out smash musical to audiences across North America.

Having designed the sound for NEWSIES’ Broadway run, Travis has a deep understanding of the show’s audio requirements. His goal for the tour was to replicate the remarkable Broadway sound in each of the different venues and theatres, all of which have their own unique characteristics and challenges. In order to accomplish this, flexibility in the sound system was a key component.
Newsies, the musical
To achieve the all-encompassing range that Travis was looking for, Masque Sound provided a DiGiCo SD10 Live Digital Console. “The SD10 is a much smaller console than the SD7 that was initially used on Broadway, which makes it easier to travel with throughout the tour,” says Travis. “Its footprint in the front of house is half the size; yet, it still provides us with incredible flexibility without compromising any of the show’s audio capabilities.”

One of the biggest challenges that Travis faced in preparing for the tour were the varying sizes and shapes of the theatres. While the Nederlander Theatre on Broadway is a small house with a relatively smooth soundscape to navigate, a majority of the theatres throughout the tour are much larger and deeper, with wider prosceniums, and require greater amplification from the sound system.

“Since we cannot block the seats with sound towers, we had to alter our delays and add some extra fill speakers to accommodate the wider venues,” Travis continues. “In some locations, we specifically aimed the audio toward a section that was extremely left or right. We needed to make sure the system was as comprehensive as possible, and with Masque Sound’s vast equipment expertise, we were able to create a system that worked in multiple locations.”
Kara Lindsay as -Katherine Plumber- and Jeremy Jordan as -Jack Kelly- and the Broadway company of NEWSIES. CDisney. Photo by Deen Van Meer
Travis utilized a d&b audiotechnik Q-Series speaker system for the tour for its compact size, articulate sound quality and superior sound pressure level. “I am very familiar with the Q-Series and know how it plays in 2,500-seat rooms versus 4,000-seat rooms,” he says. “NEWSIES is a pop tour, so there are moments throughout the production in which the stage gets really loud and full of dynamic dialogue and movement. I feel comfortable knowing that the Q-Series speaker system can handle the workload.”

Masque Sound also provided Travis with a custom microphone package, featuring a selection of DPA microphones as well as a Sennheiser radio microphone package for the more than 20 channels of wireless that will be used for the show.
NEWSIES Ensemble. Broadway company of NEWSIES. CDisney. Photo by Deen Van Meer
“The team at Masque Sound has once again been great to work with,” Travis concludes. “As soon as we found out about the tour, we sat down with the crew and started to plan. The team at Masque Sound knows what I like to use, and they were able to quickly and efficiently help me to purchase the orchestra audio equipment package, ensuring that each piece of equipment would perfectly address my needs in creating this sound vision. The collaboration with Masque Sound and Alex Hawthorn, my associate sound designer, allowed us to create a wonderful audio package that sounds amazing.”

The NEWSIES North American tour’s scheduled stops include Cleveland, Louisville, Baltimore, Chicago, Atlanta, Miami, San Francisco, Las Vegas, Los Angeles, Dallas, Boston, Washington, D.C. and Toronto. It makes its official opening in Philadelphia in late October. For more information and to purchase tickets, please visit www.NewsiesTheMusical.com.

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

Yamaha NUAGE Ignites Post Market in Spokane

BBB-Nuage 1

BUENA PARK, Calif.—Bing Bang Boom! In Spokane, WA specializes in integrated music and sound design for film, television, advertising, video games, and the Internet. Their award-winning work can be heard on projects for CBS, ABC, NBC, Spike TV, HBO, Warner Bros. Films, and many blockbuster theatrical trailers.

The company recently added a new Yamaha NUAGE Advanced Production DAW System to their production arsenal. CEO Bill Byrne said that up until the purchase of the NUAGE system, he had been recording and mixing using multiple Mackie consoles, until Mackie was no longer providing the unlock
codes for their software, making it impossible to work on them.

“I have been a long time Cubase user and wanted to upgrade for at least the past five years having so many legacy projects in Cubase for Bing Bang
Boom Music and Sound Design Libraries, states Byrne. Even though stereo is still the main delivery format for the libraries, I still get calls to customize tracks, and to switch to ProTools or any other system with thousand of tracks would not have been cost or time effective. There really wasn’t any other system available that was completely integrated like NUAGE, plus it sounds amazingly good!”

Byrne said he’s been doing more and more mixing “in the box” but with most projects having 100+ tracks, navigating with a mouse was becoming impractical. “I had been working with Ron Cheney from RSPE for at least three or four years trying to come up with a suitable system. Every year, we would meet up at NAB in Las Vegas and look at new systems along with trips I would take to the RSPE office every three or four months. While there are a lot of systems out there, I really needed total integration with Cubase, and no other system really offered that but NUAGE.” Last April, Byrne and Cheney met up again at NAB and were given at great run through on NUAGE, heading back to the Yamaha Commercial Audio booth over the course of the show with more questions for the NUAGE team who he said were quite helpful.
.
“Ron Cheney was extremely patient and helpful; his goal was to make sure I had the right system for my needs and not to just sell me something, Byrne says. I am very impressed by how hard he worked to make this happen for me. At around the same time, I saw a NUAGE system on a magazine cover with Hans Zimmer and other film industry notables. They were discussing surround sound in headphone mixes, which was quite interesting. So RSPE arranged a private demo with the NUAGE team, and I was impressed to see their level of commitment, a good sign that they would be there to support the product.”

After a basic run through using the RSPE Mac and installing the tools for NUAGE on his Mac Book Pro and hook up the system, Byrne was able to run one of his projects off his laptop. “We spent several hours going through the system and the “what ifs” needed to integrate a large I/O system into the setup. We discussed the Yamaha NIO and RIO boxes and how they could be integrated. At the end of the demo, I knew the NUAGE system was perfect for me. I was also quite excited (for the first time in many years) about all the new creative and productive possibilities.”

One of Byrne’s biggest issues was the need to have at least 32 live inputs and multiple cue mixes for his tracking room as he still records with a lot of real instruments. “I needed something that wouldn’t tax the main CPU as I always have lots of virtual instruments playing in every project that hit the CPU hard. The NIO and RIO boxes totally solved that problem for me, and having remote control over the mic pre-amps through the RIO is fabulous! I’m able to work with a 128 buffer on the main CPU and that makes tracking live players while all my VSTi’s are running too a snap.”

Of course having total integration with Cubase made it a no brainer notes Byrne. “Having the knobs and buttons labeled and dedicated to Cubase/Nuendo functions meant I wouldn’t have to spend any time at all mapping functions like I would have had to do had I purchased a third party system. Getting around my projects is so fast now. When I was mixing “in the box” with a mouse and also my iPad remote, because of the time factor in navigating around or even just automating fader moves, I tended not to try and experiment with different mix options. Now, with the NUAGE and the touch sensitive faders, if I want to try something different, it’s so easy to do and I can instantly get back to where I was if I don’t like it. For Cubase, it’s brilliant!”

“For old school guys that have worked a lot on analog consoles like Tridents, APIs, and Neves,, the seamless integration of the live input NIO and RIO I/Os, channel control, master, and DAW functions really does make it feel like you are working on a console, adds Byrne. The way the knobs and buttons light up to give you hands-on access to the functions and being able to program lots of Quick Controls for the functions I use all the time is great too. The jog wheel
feels great and the transport functions make it a snap to navigate and edit very quickly.”

Byrne said he’s owned a lot of Yamaha products over the years that are still in use, “The fact that they are providing the hardware and also own Steinberg gave me great confidence that the product would continue to develop and be supported. I had been waiting a long time for the NUAGE system and Yamaha/Steinberg have delivered way beyond my expectations!

Bing Bang Boom! recent projects using NUAGE include a music track for the home video release of How To Train Your Dragon 2 and a new BBB trailer sound design library called Arsenal of Awesome.

For more information on Bing Bang Boom! visit www.bingbangboom.net.

For more information on the Yamaha NUAGE Advanced Production System, visit www.yamahaca.com.

-END-

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

Technical Productions Inc. Quarterbacks the NFL’s St. Louis Rams Pre-Game Show With HARMAN’s Soundcraft and BSS Audio

HARMAN_RamsPregameST. LOUIS, Missouri – Having delivered audio services for all pre-game NFL events for the St. Louis Rams for the last two years, as well as other productions for over a decade, Technical Productions Inc. (TPI) again provided the audio system for the festivities prior to the team’s first game for the third season. While maintaining a low budget just outside the Edward Jones Dome in St. Louis, engineers Stephen Jones and Marshall Stacy of TPI took advantage of the HARMAN Soundcraft Si Expression 3 console’s mixing power and BSS Audio signal processors to achieve the most compelling sound for the audience.

As is typical for the Rams’ live pregame events, TPI supplies a 20×26-foot stage to complement the space. Featured in this particular event were a Si Expression 3 console with two 32×12 stage boxes and three Dante cards, plus five BSS Audio FCS-960 graphic EQ units and four BSS Audio FDS-366T loudspeaker management processor, of which two were used for the main PA’s and two for the monitors.

“We’re trying to get the highest-quality sound for the best price,” said Stephen Jones of TPI. “Because we have to maintain a low budget, we are always trying to keep up with modern technology. That’s why we switched to the Si Expression lately, because it’s affordable and allows us to add more loudspeakers to the mix. Also, with the ViSi Remote iPad functionality, I can be at front of house while the monitor tech is onstage when syncing up all our equipment; it’s just easy.”

Despite the Si Expression’s affordability, Jones is confident it can stand up to other, more expensive brands. “The EQ on the Si Expression sounds very nice compared to our previous boards,” he said. “I also like the fact that I can make every mix stereo or mono, because I use a lot of parallel compression in my mixing. I like to break up the instruments and vocals into different subgroups and compress them individually.”

Having the Si Expression allowed Jones, who is very detail-oriented, to maximize his abilities during a show, and with the onboard memory, no intricate setting is left unsaved. When combined with technologies from BSS Audio, Jones has everything he needs without going over the budget.

“I like the immediate response from the BSS Audio technologies inside the console, which are very sensitive, so that whenever I make a move I can hear it instantly,” said Jones. “Overall, it’s a really great-sounding system.”

For more information on Technical Productions Inc., please visit www.technicalproductions.com

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 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 workforce of approximately 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

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Trumpeter Farnell Newton is “Ready to Roll” with HARMAN’s AKG Microphones

AKG_FarnellNewton copyPORTLAND, Oregon – As a globetrotting trumpeter for such renowned artists as Bootsy Collins, Jill Scott and Jarrod Lawson, it’s hard to imagine Farnell Newton having any time to focus on his own solo career. However, his new album, Ready to Roll, is a testament to his non-stop commitment to his craft, while the songs within the album showcase Newton’s musical versatility. Whether it’s in the studio or on the road, Newton is a committed user of HARMAN’s AKG microphones.

Recorded in his home base of Portland, Oregon, Ready to Roll is a slight departure from Newton’s previous albums. “This album is all funk, soul and R&B,” Newton said. “Although I play a lot of jazz—and will be recording with a jazz label in December—I’m keeping those worlds separate. I want people to be able to let go and groove to this record.”

While Ready to Roll is comprised of original compositions, Newton’s touring experience with other big-name acts has played an influential role in his writing. “Playing with Bootsy has inspired me to play funkier, while my shows with Jill have definitely helped me write more soul-based music as well,” he said.

Newton recorded all of his horn parts on Ready to Roll with an AKG C214 large-diaphragm condenser microphone, which offers a supreme one-inch capsule on an integrated suspension to reduce mechanical noise.

“The C214 is terrific, I used it for my last album as well, and it’s clear, not tinny-sounding, and it’s easy to use,” Newton said. “When I’m recording my horn parts, I know how they should sound to the listener. The C214 gets me to that sound very quickly and easily. Even if I have to go back and tweak the EQs after the fact, I still know it was recorded correctly and has that flavor I’m looking for.”

In addition to his own live performances, Newton employs his AKG WMS4500 wireless microphone system while on tour with Bootsy Collins and Jill Scott (and will do so on Jarrod Lawson’s upcoming European tour). The WMS4500 includes an SR4500 true-diversity receiver and a D7 Vocal Set.

“I’ve never had any problems with the WMS4500, I just plug in and start playing,” Newton said. “I’ve never had to worry about any RF-related issues and it sounds great. I’m always ready to go.”

For more information on Farnell Newton, please visit www.farnellnewton.com

For more information on AKG, please visit www.akg.com/pro

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 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 workforce of approximately 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

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Rogue Element Embraces an Open Source Philosophy

Dan Mulligan

Rogue Element has become one of the first digital cinematography companies in the UK to adopt an Open Source policy for its rental division by providing Open Source Digital Camera Solutions.

In a move designed to unleash and encourage creativity, the Soho-based company is ensuring that 4K cinema is fully open to everyone by making AXIOM Beta Open Digital Cinema Cameras available to its rental customers.

AXIOM Beta cameras are the first products to be developed by apertus°, an Open Source cinema organisation founded by film makers and financed through crowd funding. The people behind apertus° were galvanised into action when they became concerned with the expensive and limited tools they were forced to work with every day. Instead, they wanted access to affordable devices and technology that delivered the highest possible image quality and could be customised to exactly suit their needs.

Since its formation in 2007, the apertus° project has applied an Open Source philosophy to everything it has developed. As no patents have been filed, anyone can access the technology behind its cameras and people are actively encouraged to adapt, modify, repair and even replicate them. To date, reaction has been very positive. Not only has the company achieved – and exceeded – its initial crowd funding target but it also has the backing of some very important film makers and cinematographers.

ASC and AIC Cinematographer Roberto Schaefer, who was responsible for films such as Quantum of Solace, Finding Neverland and Stranger Than Fiction, says: “I believe than an Open Source camera will allow us to customize the digital camera to our personal liking. That should include ergonomics and hopefully give the ability to get rid of the shoebox, front heavy trend of current designs. I look forward to using custom elements to create the new Digital Aaton, even though they are no longer in business. The design possibilities that I’ve seen from the apertus° project are exciting, as are the image creation possibilities. Not being locked in to any one company’s idea of what the images should look like is a breath of fresh (film) air. Currently in order to switch film stocks we have to change camera systems. The AXIOM will hopefully change all of that and allow us to change stocks with a physical switch.”

His views are shared by Emmy and Academy Award-winning DOP and Visual Effects Supervisor David Stump, who says: “The spirit of Open Source frees up the creative spirit to do something that no one else thought of,” while IMAX cinematographer Lee Ford Parker adds: “Open Source cameras are a step back toward the dark room, in which making the tools is part of the joy of making the art.”

The AXIOM Beta camera has just been released and is currently only available at cost to the community that backed the initial crowd funding campaign. Rogue Element was one of those backers and Managing Director Dan Mulligan says: “Open Source is a fantastic concept and we are delighted to be supporting apertus° by making this format available to the UK rental market. In taking on the Open Source philosophy, we hope to facilitate unfettered access to the technology and free up the creative spirit so that the cinema industry can engage in practices that encourage freedom of expression and is no longer limited by who can contribute.”

Established by Mulligan in 2001 firstly with camera rentals, Rogue Element then pioneered tapeless and file-based digital workflows and onset correction with 3D LUTs, S.two & Codex data recorders and Filmlight colour timing suites until 2011.
Now starting an Open Source operation for 2014 onwards Rogue will offer new camera solutions and options for the Broadcast & Features markets.

Rogue Element can also provide dailies and workflows for Arriraw (Alexa 16:9/4:3 sensors) RED RAW (RED Epic & Dragon 6K),Sony S-Log3 (Sony F65), Canon RAW (Canon C100/300/500), Cinema DNG (Blackmagic), GoPro and many other of today’s professional and niche camera systems. With this new operation for 2014 we want to pursue new avenues for the market.

Dan Mulligan, who has recently returned to Rogue Element after a three year stint at Technicolor, says: “The Arriraw format is now well established and there are a raft of high-end products catering for this market. We are still providing our customers with access to these workflows as they continue to develop, but thanks to our investment in the apertus° project we can now bring a very high quality Open Source 4K camera to the market at a much lower entry cost.”

Mulligan adds that for many film makers, cost can be an ongoing issue and the price of using high end equipment does bar many talented people from entering the market.

“This is why it is good to see the appearance of an Open Source camera system that has a much lower entry point,” he says. “The ability to create your own 4K camera and your own workflow is hugely beneficial for the film and broadcast industry because it will encourage content creation and allow people to get involved at much less cost.”

Rogue Element is not initially consider charging for the rental of its AXIOM Beta cameras. Instead, it will make its income through consultancy and through supplying additional new sensors, lenses, tripods etc., and add on services such as storage and workflow.

“We want people to try them so we are making them as easily available as possible,” Mulligan says. “With the Axiom Open Source we now have a camera solution coming from an opposing end of the release spectrum with a differing approach to its target audience. There should be more than enough room for both this and the higher end systems.”

-ends-

About Rogue Element:
Rogue Element provides digital cinematography filming services plus data and dailies, to the Film and Broadcast industries. A pioneer in tapeless and file-based digital workflows and on-set colour correction, the company’s growing rental division also supplies and supports a wide range of professional Digital Cameras including RAW camera systems and workflows, apertus° AXIOM Beta Open Source cameras and new solutions for RAW workflows.
www.rogueelementdigital.com

At full speed: The Art of Light uses wysiwyg for Armin Only – Intense world tour

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wysiwyg enables a spectacle for each and every visitor

The Art of Light, a Netherlands-based creative light designing, programming and operating company, used wysiwyg version R33 to previsualize lighting design and effects for DJ Armin van Buuren and his ‘Armin Only – Intense’ worldwide tour.

“A completely original lighting design was designed by Marc Heinz. The Art of Light was in charge for all the programming and used wysiwyg R33 to previsualize the tour,” said André Beekmans, founder of The Art of Light.

“Because the design includes 388 moving lights, 67 strobes, 100 LED fixtures and some conventional lighting, we needed to pre-program the lighting design in our studio before we started the rehearsals. The 6 hour show includes 25 timecode tracks including live performances and dancers.

“wysiwyg is realistic and reliable. When used in combination with all paperwork and drawings, it proved to be a really powerful previsualization tool for Armin Only – Intense,” enthused André Beekmans.

The Art of Light was established by André Beekmans in 2011. Today, a highly skilled design and engineering team works on the biggest, brightest and technically complex high profile events around the world. Their scope includes a number of world firsts including all shows for Hardwell, Afrojack and Armin van Buuren. Festivals such as Dance Valley, Tomorrowland, Amsterdam Music Festival and tours including A State of Trance, Revealed and Fusion Cube.

“The projects that we work on are inspired by creativity and we are always pushing the boundaries of what can be achieved with lighting. In saying this, we rely on wysiwyg previsualization to see, to tweak, to test, to cue as well as to provide to clients and the contractors, technicians and musicians we work with. Watch this space as there are many more spectacular events on the horizon.”

Images: © The Art of Light.

http://theartoflight.nl/

About CAST Software
Established in 1994, Toronto Canadian-based software and hardware developer, CAST Software celebrates its 20th year in business in 2014. CAST Software serves its core markets in entertainment production, special events and meetings. Its award winning flagship software products are wysiwyg design and previsualization suite, and Vivien — Event Designer. All products are designed and created in-house and supported by an established global distribution and reseller network.

CAST Software Ltd. is a member of the CAST Group of Companies Inc.

www.cast-soft.com

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