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Intel Launches CES 2014 Pre-Conference Keynotes with Pedersen Media Group Receiving AV Support from WorldStage

When Intel was given the coveted first slot at the CES 2014 Pre-Conference Keynotes held in the Venetian Hotel Ballroom, Las Vegas, WorldStage was on hand to support Pedersen Media Group (PMG) by enhancing the core AV equipment package provided for all the keynoters and customizing the space to showcase the address by new Intel CEO Brian Krzanich.

WorldStage has worked with PMG on numerous Intel events in the past, including the Intel Developers Forum (IDF) and Intel’s International Sales & Marketing Conference (ISMC). In addition to the pre-conference keynote at this year’s CES, WorldStage also supported PMG with AV services for the joint McAfee/Intel Security customer experience at Delmonico’s.

The primary challenge of the keynote was limited access to the ballroom, which Intel shared with fellow keynoters Sony and Cisco. The ballroom’s core equipment package featured cameras, audio and projection gear that consisted of a widescreen rear projection center display and a pair of rear projection outboard displays.

To support Intel’s comprehensive vision of Computing, PMG’s Creative Director, Mark Pedersen, called for “an immersive, widescreen experience across the whole ballroom,” says WorldStage VP of production services and account manager Richard Bevan “So we used the center RP screen that was provided and brought in two FP projection surfaces per side to span the ballroom for seamless video playback, speaker support, demos and IMAG.” The screens were angled to follow the angle of the existing design creating a dynamic and dramatic display that spanned 175 feet. But scheduling logistics required moving those screen panels in and out a number of times before the keynote was delivered. Fabrication partner Communilux was instrumental in ensuring repeatable, consistent installation and line up of the screens each time.

“Since we were only allowed in the room for two set up and tech sessions and two rehearsals we had to roll in the screens on dolly carts then strike them afterwards so the other keynoters could use the standard package,” Bevan explains. “Three projectors overlapped each panel so every time we took the panels out and brought them in again, we had to constantly tweak projector alignment. If it was off by even a quarter of an inch it would have been critical.”

To maximize executive rehearsal time on site, WorldStage created “a complete duplicate set up in another ballroom, outputting Pandora to six monitors, so presenters could rehearse when they didn’t have access to the main ballroom” Bevan explains. “All programming and content files were loaded back and forth between the rehearsal room and the keynote ballroom over the course of six days.”

WorldStage furnished PMG with a Pandora system for multi-channel playback and a Vista Systems Spyder image processor for the screen switching. Eleven confidence monitors, consisting of thin-bezel NEC monitors, were installed in the keynote ballroom and in the rehearsal space to show the widescreen content, notes and demos.

The content featured a lot of “wow moments,” according to Bevan, including a stunning opening video that required a seamless blend of three 5K live action sources and 3D animation. Demoes spotlighted future technologies such as a chip with a miniature Pentium computer with Bluetooth and Wi-Fi that can be embedded in any device or piece of clothing; a wireless charging bowl; a smartwatch with geotracking; and a flying whale that came alive for an amazed audience of 5,000.

For the latter Leviathan Project, based on the child’s storybook about a whale airship, PMG created the ultimate immersive storytelling experience with Intel-collaborating with the USC World Building Media Lab. To bring a 60-ton whale to life above the heads of the audience, six HD camera feeds created the basis for the live feed onto which the “smart” 3D animation of the whale was layered. This augmented reality, created by the Intel and USC whizzes, was so seamless in appearance on tablets used by audience members and the web feed that many tried to reach out and touch it. WorldStage provided all the camera equipment to support the experience.

At CES WorldStage also partnered with the Taylor Group to support the Intel booth at the Las Vegas Convention Center and with Plumbago for the Intel press event at the Mandalay Bay Hotel.

At WorldStage Jack Dussault was project manager, Terry Nakamura projection supervisor, Jason Spencer the Spyder operator, Raul Herrera the Pandora operator and Jeff Gibson video engineer. PMG’s event producer was Rick Voigt. TPN provided the base equipment package for all the keynoters at the Venetian.

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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Challenging Texas Chapel Gets Help from Iconyx

Tyler, TX – March 2014… The Chapel of Saints Peter and Paul opened its doors last year after a lengthy construction project, rewarding this east Texas town with a brand new 13,000 square foot main building, along with a new softball field. The 650 seat sanctuary is a beautiful, classically designed structure with a high peaked roof and plenty of ornate wood, marble, and glass.

“It’s a really impressive architectural design, and the acoustics are ideal for their choir and organ,” explains Jason Brantley, CEO of Longview, TX-based Sound Logic Integrations. “But it’s not so good for the band or for intelligibility.”

The Sound Logic crew was brought in to design the audio for the new building, opting for a system centered around Renkus-Heinz Iconyx digitally steerable array loudspeakers. A pair of IC16-R-II columns mounted on either side of the proscenium covers the entire room.

“We originally specified some acoustical treatment to cut down the reverberance a bit,” says Brantley. “But the budget for sound absorption was cut halfway through the project, and we ended up with about a quarter of the treatment we had planned for. That’s where the Iconyx really saved the day.”

Brantley says the ability to tightly focus the sound toward the seating areas, and away from walls, windows, and other reflective surfaces, was critical to the success of the audio system design. “The band and the choir are not on stage — they’re in a choir pocket that’s stage left. The Iconyx enabled us to take the first beam and push it right past where the choir mic is hung, to eliminate any feedback issues. That kind of precision is something we could have only done with the Iconyx.”

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Headquartered in Foothill Ranch, California, Renkus-Heinz, Inc. is the worldwide leader in the design and manufacture of audio operations networks, digitally steerable arrays, powered and non-powered loudspeakers, system specific electronics and fully integrated Reference Point Array systems.

ASHLY AUDIO POWERED PROCESSORS AT CORNELL UNIVERSITY’S SAGE CHAPEL CONDENSING SEVEN FEET OF PROCESSING & AMPLIFICATION INTO SEVEN INCHES

ITHACA, NEW YORK – MARCH 2014: Erected in 1875, Sage Chapel sits near the center of the picturesque campus of Cornell University in upstate New York. It is expressly non-denominational, and its interior is adorned by symbols of all the major and minor religions from around the world. For services and other events, Sage Chapel seats over 700 people, plus a large choir. To help voices carry with intelligibility in the large space, its sound reinforcement system has evolved with the state of technology over the decades. Apart from the chapel’s two organs, the system also provides reinforcement for any musical instruments used. Its latest upgrade condensed seven feet of rack space used for 1990s-era processing and amplification into just seven inches using an Ashly Pema 8250 and an Ashly ne4250pe. Each unit combines Ashly’s Protea signal processing with clean, high-powered amplifier channels – twelve in all.

“We put the previous system in over twenty years ago to deal with issues of intelligibility that were plaguing them at the time,” said Barny Cole, president of Calf Audio, also of Ithaca. “We put in three sets of loudspeakers arrayed in stereo pairs on delays running from the front of the chapel to the back. It delivered great sound quality, but it took a ton of processing to dial in. In those days, that meant a lot of separate rack units to individually equalize and time align each component. That system took seven feet of rack space! The university approached us recently to ask if we could condense all that processing because the closet was coveted by the janitorial staff. Of course, they didn’t want to lean their mops against a bunch of electrical equipment, so if we could condense it down and raise it up, everyone would be happy.”

With its fully-implemented front-end processing capabilities, the Ashly Pema 8250 now takes care of all of the “everyday” mixing and processing chores. It also delivers eight 250-Watt amplifier channels, all within two rack spaces. Because the Pema 8250 also includes line-level outputs from the processing section, it feeds the four-channel Ashly ne4250pe amplifiers with optional processing. All together, the system provides twelve 250-Watt amplifier channels and all of the processing they require in a tamperproof package. “I’m predisposed to choosing Ashly,” Cole admitted. “The company is a close neighbor – they’re just an hour-and-a-half down the road – and I like the individuals who work there. Ashly’s products are famously solid and reliable, and their service is spectacular. Since they deliver all of that at a huge price advantage, it would seem silly to bother with anyone else!”

An Ashly neWR-5 wall panel remote control provides simple selection of several presets. At its most basic, the Ashly Pema 8250 auto-mixes all of the usual inputs. The presets also allow selection of arrangements for other common event scenarios. For more complicated events, a console can patch in and take control of the inputs. Calf Audio is usually called in to provide sound engineer support for those more complicated events.

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 37-year old company is headquartered in Webster, New York U.S.A.

www.ashly.com

Jünger Audio Bridges A Gap With D*AP8 MAP

Following Dolby’s decision in 2013 to discontinue its DP570 Multichannel Audio Tool, dynamics specialist Jünger Audio is now the sole company in the world that can supply a product to fill the gap.

The company’s D*AP8 MAP Monitoring Audio Processor, which will be on show at Jünger Audio’s NAB 2014 Booth (C2134), is the only Loudness processor on the market capable of offering real-time metadata emulation as standard. This vital feature allows broadcast engineers in post-production, DVD and DTV facilities to check the quality of Dolby Digital AC3-encoded audio prior to transmission so that they can monitor exactly what the consumer will ultimately hear.

“Metadata emulation is very important to the broadcast community, especially those working in the USA where the ATSC has specified that all audio must be Dolby AC3 encoded prior to transmission,” says Jünger Audio’s CEO Peter Pörs. “Every set-top box in the USA – and in many other countries, too – has a Dolby Digital decoder installed as standard. These decoders receive audio metadata, which is the unique ‘data about data’ delivered by Dolby Digital bitstreams.

“Metadata is important because it ensures that television audiences at home hear their programs the way producers and content creators intended them to be. All kinds of audio parameters, including Loudness levels, are controlled this way. In countries where you can be fined if you get audio loudness wrong, it’s vital that broadcasters can check exactly what consumers will hear before material leaves their facilities.”

Jünger Audio’s D*AP8 MAP Monitoring Audio Processor combines an audio monitor controller and a loudness measurement device in one unit, thus providing comprehensive quality control and loudness monitoring for anyone working in a production or broadcast environment.

Designed for quality checking surround (5.1) and/or stereo programs, D*AP8 MAP features a built-in Dolby® Metadata generator and an optional Dolby® decoder that allows users to decode Dolby-E, Dolby-D (AC-3) and Dolby Digital plus (E-AC-3). It can also be used for live monitoring and to ensure compliance with today’s standards and regulations (ITU 1770-3, ATSC A/85 or EBU R128).

The unit comes with alarm signals that alert the operator when pre-set loudness thresholds are exceeded, and these signals can be delivered by simple GPOs and/or SNMP traps, which carry actual loudness values. Loudness measurements can be performed over a long run or over a fraction of a program, or both. These measurements can be triggered by automation systems via GPIs or via the network – or even manually by buttons on a remote panel.

Alongside loudness measurements, D*AP8 MAP also offers functionality for acoustical QA. It has eight speaker outputs that allow for A/B checking of stereo compatibility of a surround downmix through alternative speakers, as well as via L/R front speakers.

By incorporating 3G, HD and SD auto detection, D*AP8 MAP gives users the option of dealing with all 16 channels of SDI embedded audio at the same time. This means the engineer can listen to one program while permanently logging the loudness of two (5.1 +2 mode) or four (4×2 mode) programs. It is also possible to send further embedded programs to D*AP8 MAP’s AES outputs to feed a third party instrument for analyzing and/or display.

For no extra cost, the D*AP8 MAP SDI board also acts as an embedder and comes with video delay to compensate for any kind of audio delay. This feature is ideal for those looking to maintain lip sync in QA suites or control rooms.

“Broadcast engineers still a need for a hardware based monitoring controller that combines loudness management and logging features with the ability to monitor Dolby®-E, Dolby®-D (AC-3) and Dolby® Digital plus (E-AC-3), as well as HE-AAC formats,” Pörs explains. “Our D*AP8 MAP is the only unit on the market that can do all of this and we will be using the NAB 2014 platform to ensure that everyone knows about it.”

For more information about Jünger Audio, please visit NAB booth C2134 or visit the company’s website at www.jungeraudio.com

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About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.jungeraudio.com

HARMAN’s Lexicon PCM Total Bundle Is the Go-To Reverb Plug-In for Producer, Trainer and Writer Mo Volans

SALT LAKE CITY, Utah — Mo Volans enjoys a multifaceted career as a producer, musician, writer and product trainer. He got his groove going when he was signed to the UK’s Global Underground and Subversive Records. For 15 years he wrote, produced and remixed records for major and independent labels, including Positiva, Hed Kandi, Skint, AATW and MOS/Data, where he first got his hands on classic HARMAN Lexicon gear like the 480L.

His electronic music production and composing skills led Volans to producing music for TV and around 2006 he was asked to write an article for Remix magazine, which launched a parallel career as a music writer. Since then he’s written countless features and currently contributes to Future Music, AskAudio and Audiotuts+.

Thanks to his thorough understanding of electronic music technology and knack for explaining it clearly, Volans has become an in-demand producer of training videos. He is now the lead trainer at MacProVideo.com and AskVideo and has produced training and promotional material for a number of major computer music platforms, including Ableton, Logic, Reason, Cubase, Maschine and BitWig. Through all his occupational diversity, his preference for Lexicon has remained constant, and it’s no surprise the tech-savvy Volans has adopted the Lexicon PCM Total Bundle plug-in package.

The Lexicon PCM Total Bundle offers a wide variety of legendary Lexicon reverbs and effects like Vintage Plate, Hall, Room, Concert Hall and other hallmark Lexicon reverbs, and effects that run the gamut from Pitch Shift, Chorus, Dual Delay and Resonant Chords to other completely unique sounds. It’s designed to work with popular DAWs like Pro Tools and Logic, as well as with any other VST, Audio Unit or RTAS-compatible platform and with Windows and Macintosh computers.

“I’ve been using Lexicon as long as I can remember,” he said. “I’ve been fortunate to work with almost every model of Lexicon hardware, from flagship products like the 480L in larger studios to my more recent use of the MX and PCM reverb and effects processors in smaller facilities and my own project studios. When I had the opportunity to try the PCM Total Bundle I didn’t hesitate.” Mo quickly found it to be invaluable.

“I’ve been using the PCM Total Bundle as my go-to reverb solution literally since the day it arrived.” Mo uses the plug-in for both his own recordings and in his training courses. “When it comes to demonstrating algorithmic reverbs this is just about as good as it gets for me. If I can call something that’s used in training videos a ‘textbook example’ of something, then the Lexicon is it.”

Anyone interested in electronic dance music (EDM) creation should note that Volans has recently completed what he calls an in-depth six-hour training course for MacProVideo.com on mixing and mastering electronic dance music in Logic Pro X music production software. He used the PCM Total Bundle extensively throughout this course, and for recent online features for Future Music and AskAudio.

Does the PCM Total Bundle live up to what Volans is accustomed to hearing from Lexicon’s industry-standard hardware? “I’ve worked in the studio with Lexicon gear for a long time. Having used the hardware I can say without a doubt that this plug-in is the real deal.” For Mo, Lexicon technology stands out from all other reverb units and plug-ins. “Lexicon manages to create stunning acoustic spaces that no other algorithmic processors seem to be able to touch. The richness of the reverb tails are legendary, and for good reason. I’ve found other processors that can do a good job – but Lexicon consistently nails the non-linear acoustic nature of real-world spaces.”

“Mo has been with Lexicon every step of his highly successful career. The diversity of his work and his consistent use of our plug-ins speaks to the ability of our reverbs to meet the requirements of any style of project he takes on. Furthermore, seeing him using Lexicon to teach a new generation of producers is the best compliment he can give us,” stated Noel Larson, Director of Marketing, HARMAN Signal Processing.

For more information about Mo Volans and his work please visit www.movolans.com.

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

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HARMAN Professional and KD’s Southern Cuisine Bring Upscale Dining and Entertainment to Oklahoma City’s Bricktown

OKLAHOMA CITY, Oklahoma – Bricktown, Oklahoma City’s entertainment district, just got a lot more entertaining with the opening of KD’s Southern Cuisine (www.kdsbricktown.com), an elegant dining establishment that serves up Southern culinary favorites for lunch and dinner – and when it’s late in the evening, transforms into a nightclub with DJs, dancing and live music, all served up through a HARMAN Professional audio system.

The design brief given to Norman, OK system integrator Pro Presenters, LLC and its President/CEO, Steve Patrick, was clear: the ownership group wanted KD’s to have an upscale look and feel, and “New York City club-level audio where we could really push some sound pressure levels.” However, to keep the open, contemporary interior design undisturbed, the sound system had to be completely hidden from view.

KD’s is divided into four areas – dining room, bar, private lounge and patio – and the system had to cover the sonic gamut from subtle background music to live bands and DJs pounding out the volume. In the bar area in particular the owners were insistent upon having dance club-capable SPL, but with so much emphasis placed on the décor, there was no room to hang loudspeakers, let alone large ones. There were also some unique architectural challenges and solutions – including a motorized glass window that runs the length of one wall of the dining room. When the window is closed the bar can get loud while the dining room maintains a lower noise level.

For the bar area, Pro Presenters needed a loudspeaker that could fit into the wall behind the bar while delivering the requisite volume. The company went with 12 JBL AC15 ultra-compact loudspeakers, inset into the framework and placed at a height and in locations to ensure even, unbroken coverage throughout the room. The bar has a floating ceiling, which included a cavity where Patrick and his team had room to install four JBL ASB 6112 compact subwoofers.

Adjacent to the bar is a small performance area for DJs and live bands, where four JBL VRX928LA compact constant curvature loudspeakers and two VRX918S subwoofers are mounted on each side of the stage. “These are perfect for this kind of application,” Patrick noted – “they’re small and don’t get in the way of anything but are full-range and sound really good.” Two more VRX928’s and a VRX918 are located in the private lounge.

The main dining room and two private dining areas (which can be combined into a larger private dining room for bigger affairs) required music that could go from a gentle background level to something louder. Patrick wanted to install loudspeakers in the ceiling but had to work around a number of large circular hanging lighting fixtures. However, the ceiling also had several openings in which additional LED lights were installed – and these openings were also large enough to accommodate 14 JBL Control 26C coaxial ceiling loudspeakers and four Control 19CS in-ceiling subwoofers. In addition, two Control 26C loudspeakers were placed in the ceiling in each of the two private dining rooms, and four Control 28 indoor/outdoor loudspeakers are mounted in the outside patio area.

The loudspeakers are powered by a total of nine Crown amplifiers, a mix of DSi 6000, DSi 2000, CDi 1000, CDi 4000, 280A and 180A models. “These amps just made sense for this installation – their onboard processing enabled us to easily tailor their frequency balance, and other parameters to the loudspeakers, subwoofers and room acoustics. The 280A works in conjunction with a push-to-talk mic in the kitchen so the backline workers in the kitchen can hear what’s going on up front, and the 180A is simply one of the best amplifier values out there,” said Patrick.

A Soundcraft Si Performer digital live sound console handles both lighting and sound for the stage and main dining areas. Patrick chose the Performer because “we felt like it was two consoles in one. One person can do it all – mix the sound for both rooms and control all the lights with onboard DMX-based scene recalls. It’s amazing how much capability is built into this console.” He noted that thanks to the console’s built-in reverb, compression and effects, it also eliminated a lot of rack components they would otherwise have needed in the system.

“The ownership group couldn’t be more pleased with the way the KD’s installation turned out,” Patrick concluded. “The system is completely unobtrusive visually, and perfectly suits KD’s dual requirement for a system that can play quieter music during the day and get everybody dancing at night with sound quality that rivals that of any nightclub.”

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, HARMAN Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

DK-Technologies Ships First DK T7 Meters To Calrec

Audio and video metering specialist DK-Technologies has fulfilled the first orders for its new DK T7 Audio and Loudness meter, which was launched to much critical acclaim at IBC last year.

The DK T7 began shipping in February with the first two units delivered to UK console manufacturer Calrec. These have now been fitted into 48-fader Artemis Light consoles destined for Al Jazeera in London. Other broadcast and post production customers have chosen either stand-alone DK T7 meters or the new 3U rack mounted variant – the PT0T7. This fits neatly into a Tektronix rack system and can be used separately or in conjunction with a waveform monitor.

“We’re delighted with the number of pre-orders the DK T7 has generated and we’re ramping up production to fulfil them,” says DK-Technologies’ Product Marketing Director, Uffe Kjems Hansen. “The DK T7 is exactly what the market needs – a cost-effective audio meter with an easy to use multi-touch interface that delivers a whole host of useful features at a very cost effective price. At just €3,495 and USD 6,390 MSRP, there is simply nothing else on the market in this price range that gives users access to so much functionality. The nearest competitor product that even comes close to the DK T7′s feature-set is nearly double the price.”

Dubbed as the ‘everything included’ audio meter, the high precision DK T7 incorporates as standard every Audio and Loudness meter function currently offered by the award winning DK Meter range. These functions include Bargraphs, Moving Coil Emulation, DK-Technologies’ proprietary StarFish™ and JellyFish™ display technology, FFT spectrum analysis and, of course, industry compliant Loudness and Logging. The new DK T7 also includes 3G SDI Picture Preview, as well as the ability to read and log against SMPTE time-code – a feature that has only recently been added to the DK Meter range.

“Engineers working in the broadcast and post production industries now have to cope with a complex set of formats, standards and documentation requirements,” Uffe Kjems Hansen adds. “For this reason we felt it was vital to give them an easy to use Audio and Loudness meter that did the job it was bought for as soon as it came out of its box. The DK T7 is the most complete, high precision Audio and Loudness meter on the market today – and the most honest because it does not involve any hidden costs.”

The DK T7 allows end-users to adapt to virtually any format including 3G SDI I/O. The unit also offers 8 AES/EBU input/output channels, 2ch Analogue input channels, headphone output and HDMI monitor output. At just 20 x 135 x 180 mm (depth, height and width), its compact design also allows it to be highly portable and easy to position, while its intuitive multi touch interface makes it very straightforward to use.

Since first showing the DK T7 at IBC 2013, DK-Technologies has incorporated a number of improvements that are now available as standard. These include a pause/resume function for Loudness Logging that will save engineers time when they are adjusting Loudness to hit targets on larger time spans.

“Essentially, this function allows engineers to work step-wise through the entire audio clip, rather than having to go back and measure loudness from the top for every tweak,” Kjems Hansen says. “We’ve also improved our software so that it includes a new 7.1 Surround display feature for Theatrical Mix. This is something no other meter can do and it will have particular relevance to engineers working on big motion picture productions.”

For more information about the DK T7, please visit www.dk-technologies.com. Alternatively, please visit DK’s US distributor Ward-Beck, which will be showing the DK T7 and other DK product at NAB 2014, Booth N1202.

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About DK-Technologies
DK-Technologies develops and produces audio meters, video sync and test signal generators, as well as video waveform monitors and colour analysers both for LCD and CRT monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

BitWise Controls Announces New Yamaha Module, Giving Integrators the Ability to Instantaneously Setup and Integrate More than a Dozen Popular Home Entertainment AV Receivers into BitWise Controls Systems

 

ENGLEWOOD, COLORADO, USA   MARCH 28, 2014 – BitWise Controls, a leading innovator of powerful and flexible control and automation systems, announced today the addition of its Yamaha Module to its ever-expanding lineup of third-party templates and modules available to BitWise Controls dealers. These modules—single files containing pre-configured GUI content and device programming—make it easier for integrators to set up, design, and install various products and subsystems. Each module is available for download at the Bitwise Online Store, where BitWise dealers can see his or her entire module purchase history, making it simple to provide updates, additions, and enhancements in the future.

“Yamaha’s YNCA receivers are very popular, are feature rich, and provide multi-zone capability, making them ideal products for home integrators and custom installers alike,” says Mark Buster, CTO of BitWise Controls. “By adding Yamaha AV receivers to our GUI Module lineup, we will be dramatically expanding the base of supported receivers on the BitWise Controls platform, making it easy and both time- and cost-efficient to integrate these components into any supported BitWise Controls system. It’s a win-win for both integrator and end user.”

The BitWise Controls Yamaha AVR Module lets dealers take full advantage of newer Yamaha AV receiver’s music streaming and multi-zone capabilities. Compatible with all receivers that support the YNCA protocol, the BitWise Yamaha GUI Module allows the end user to navigate and control supported music services like Pandora®, Rhapsody®, and SiriusXM®, as well as any attached USB storage, connected iPod®/iPhone®, or network attached storage (NAS). The module provides easy drag-and-drop GUI content for phone- and tablet-sized interfaces, as well. Other features include support for a main zone and a second zone, with simultaneous control of volume/mute across both. Additionally, a receiver’s scene functionality is integrated seamlessly, allowing the user to turn on the receiver, select the input, and choose the Surround option with a single touch from any BitWise-enabled device. Convenient popups make it easy to add tone, option, and surround mode selection to any GUI page in the BitWise environment.

The Yamaha Module works on both iOS® and Android® platforms, and is compatible with automation projects that use BC1, BC2, and BC4 controllers and with Yamaha RX-V671, RX-A700, RX-A710, RX-V867, RX-V871, RX-A800, RX-A810, RX-A1000, RX-A1010, RX-A2000, RX-A2010, RX-A3000, and RX-A3010 receivers, or any other Yamaha AV Receiver that utilizes the YNCA protocol.

 For more information, contact Katye (McGregor) Bennett of KMB Communications by phone, +1(425) 328-8640 or email, Katye@kmbcomm.com.

About BitWise Controls

Designed and backed by more than 20 years of mission-critical control, monitoring and AV systems integration experience, BitWise Controls provides powerful and flexible control and automation solutions for commercial, industrial, education and residential control applications. BitWise Controls was founded in 2008 with the goal of offering innovative and reliable new products, designed and tested and manufactured in the United States. For more information, go to www.bitwisecontrols.com. Dealership opportunities are available. To learn more, send an email to sales@bitwisecontrols.com or call +1 (866) 932-2292.

About Yamaha

Yamaha Corporation of America (YCA) is one of the largest subsidiaries of Yamaha Corporation, Japan and offers a full line of award-winning musical instruments, sound reinforcement and home entertainment products to the U.S. market. Products include: Yamaha acoustic, digital and hybrid pianos, portable keyboards, guitars, acoustic and electronic drums, band and orchestral instruments, marching percussion products, synthesizers, professional digital and analog audio equipment, Steinberg recording products and Nexo commercial audio products, as well as AV receivers, amplifiers, Blu-ray/CD players, iPod docking systems, earphones, headphones, home-theater-in-a-box systems, sound bars and its exclusive line of Digital Sound Projectors. YCA markets innovative, finely crafted technology and entertainment products and musical instruments targeted to the hobbyist, education, worship, professional music, installation and consumer markets. For more information, go to www.usa.yamaha.com.

Accompanying image: BitWise Controls Yamaha AVR GUI Module Screenshot

 

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Jünger Audio Shows The D*AP4 VAP Voice Processor At NAB 2014

At NAB 2014 (Booth C2134), dynamics processing specialist Jünger Audio will be showing its recently introduced D*AP4 VAP Voice Processor – a unique unit that is designed to make life easier for engineers working in radio stations, TV production voice-over studios and feature film ADR facilities.

What makes this processor so special is the inclusion of Jünger Audio’s proprietary Spectral Signature™ dynamic EQ – a totally new creative tool that offers automatic and dynamic EQ control to balance spectral differences. By analyzing incoming audio and comparing its spectrum with individually predetermined voice ‘fingerprints’, this clever unit can automatically apply dynamic EQ corrections to give a consistent sound.

For people working in TV voice over and feature film ADR, this facility is a Godsend. Imagine, for example, that you have booked an expensive and well-known actress to voice the cute little rabbit in your new children’s TV series. Over the course of the recording sessions you notice that her voice sounds different at different times of the day – maybe because she is tired, or has developed a sore throat, or has had a heavy night and smoked a lot of cigarettes. If you want your rabbit to sound exactly the same every time, how do you overcome this?

Jünger Audio’s D*AP4 VAP Voice Processor is the answer. On day one you record the actress’ best rabbit voice, and then measure it using Spectral Signature. The voice’s tonal characteristics are analyzed and recorded as a curve on a graph, which is used as a template for all future recordings. The next time your actress does her rabbit voice, the unit compares the new recording to the saved version and automatically adjusts the frequency until both voices match. Voilà! A perfect rabbit voice every time, thus saving a fortune in repeated ADR and voice over sessions, not to mention a lot of frustration on all sides.

Jünger Audio’s D*AP4 VAP Voice Processor is equally interesting to radio broadcasters who want to create an aural identity for their radio stations. By using exactly the same spectral sound management principles, the unit measures specific voice recordings and then uses these sound fingerprints as a reference. The Spectral Signature algorithm matches all subsequent live recordings to these fingerprints, thus creating a dedicated ‘station sound’.

“The D*AP4 VAP draws on our extensive experience with previous Voice Processing devices such as our popular VO2, but adds new tools and algorithms to create an easier and more efficient approach to voice processing with no compromise in sound quality,” says Peter Pörs, CEO of Jünger Audio. “We have also included processing such as HP/LP filtering, versatile dynamics section, full parametric EQ and de-essing, and made the unit really easy to use – even for non-technical radio staff such as producers and journalists.”

Jünger Audio has also provided a dedicated voice leveler combined with an auto-mixer circuit to help mixed voice programs into loudness-based broadcasting on the fly. Using the optional SDI I/O card automated voice over for SDI embedded audio becomes an attractive feature of the D*AP4 VAP.

Available as either an insert into a mixing desk or as a stand-alone unit, D*AP4 VAP offers interfaces that allow integration in existing environments via an AES insert. The unit can also be used with an optional analogue board that adds two high quality mic-preamps.

For more information about Jünger Audio’s D*AP4 VAP, please visit NAB booth C2134 or visit the company’s website at www.jungeraudio.com

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About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.jungeraudio.com

OneRepublic Wraps Its “Native” World Tour with Clay Paky B-EYEs, and Sharpys

OneRepublic’s headlining “Native Tour” wraps in the UK March 24 after spending last year circling the globe and breaking new ground as the first tour to utilize Clay Paky’s A.leda B-EYE K20 innovative, LED-based moving lights. A complement of Clay Paky Sharpys was also on hand.

The American pop rock band toured Europe, North America, Asia, Australia and New Zealand last year in support of its third studio album, “Native.” OneRepublic’s tour has continued in 2014 with more dates in Europe and the UK.

On this final leg of the tour lighting designer Chris Lisle has carried over a diamond-shaped theme from last year, which features trusses, video screens and even some of the same fixtures. “The show has some big visual moments, so I had to come up with a design to meet that need,” he says. “The band likes cutting edge, so using the latest technology is important to us.”

Programmer Scott Chmielewski notes that, “Chris always designs his projects with the artist in mind and tries to keep the focus on the music. It’s important for him to make sure that the technology doesn’t overshadow the talent but still has the capabilities he needs. This has been a very technology-heavy show, but it was used tastefully and was well in control.”

Lisle was introduced to the B-EYEs at LDI and “knowing the feel that the band wants in their show, it was a no-brainer to use them,” he reports. “We used all 12 upstage on the diamond pods, both floor and flown, and facing directly out toward the audience. They have so many tricks up their sleeves that I think we used them at just 50 percent of their capacity.”

He notes that the band was “amazed” to see the new B-EYE fixtures during rehearsals and immediately asked what they were. Chmielewski says, “these guys have been around the world over and over again on countless shows and stages so you’d expect them to look past new toys like this. But not this time!”

Lisle explains that he let “the fixture show itself off gradually throughout the show. First it was just a wash light, then we added a couple of ‘inner/outer’ ring tricks, then a couple of ring chases, and ultimately the lens spin tricks toward the end of the show.”

Chmielewski likens the B-EYEs to a “firecracker – knowing that the fuse is always lit and about to go off. For a portion of the show they were used as typical wash lights, but we were able to mimic the effect of every kind of traditional fixture from big to small and use the entire bag of tricks a programmer has with color, dimming and pan/tilt effects. Plus, they added an entirely new set of looks that were quite literally the first of their kind. As a programmer, I spent hours just exploring these new abilities and looks, and when we finally used them in the show they became the centerpiece of the design.”

Lisle says that two weeks into the final dates for the tour the B-EYEs were working “amazingly well” and proving to be “a very solid fixture.”

“Through marathon programming sessions they didn’t have a single issue, and we were really putting them through their paces,” Chmielewski adds. “I was surprised to see just how few moving parts were involved in creating whirlwinds of amazing effects.”

In addition to the B-EYES 30 Sharpys were an integral part of the lighting design since Day One, Lisle says. “I love the fact that they can punch through video intensity when needed. They also gave us some great beam/aerial effects. You can’t beat them for speed: They were super-fast for the ‘techno’ moments of the show.”

“The Sharpys were a perfect complement to the B-EYEs in the rig,” agrees Chmielewski. “It takes a lot of power to compete with the look and brightness of a Sharpy, but the B-EYEs held their own.”

Chmielewski programmed the tour on a grandMA2 light with three active NPUs. A back up grandMA2 light was also available on the road.

The equipment was supplied by Neg Earth, UK.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “This is a very interesting tour visually and we’re proud to be a part of it. The B-EYEs have been a big hit since they were introduced and the One Republic tour is a great example of what the fixtures can achieve.”

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