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Archive of the Product Applications Category

New RH Series from Renkus-Heinz Opens at Merriam School Of Music

Oakville, ON – July 2014… When Allan Merriam committed to building an auditorium for the students of Merriam School of Music, he took the same approach he’s taken over his lengthy career – no compromise. Long heralded as a visionary in music education, Merriam’s eponymous school is renowned for its educational integrity across all disciplines, ages, skill levels, and instruments.

Merriam’s vision for the school’s new production and performance facilities led him to acclaimed recording studio designer Martin Pilchner of Toronto-based Pilchner-Schoustal International Inc. PSII was commissioned to design a fully integrated live performance hall coupled with a professional level recording studio. The 100-seat,1400 SF auditorium is located directly above the recording studio space in the basement.

Audio for the room was provided by Contact Distribution, the Canadian distributor for Renkus-Heinz. ”Martin and I have worked on a number of projects in the past, and he’s become a fan of the tight, consistent coverage patterns of Renkus-Heinz systems,” explains Contact Distribution’s Bill Coons. The facility became one of the first to install the new RH Series, a new custom designed two-way point source system featuring a dual wedge angle design and a range of highly versatile rigging options.

“Bill suggested the signature series RH123, and they turned out to be exactly what we needed in the way of coverage, physical size and price point,” states Martin Pilchner. “They offer great dynamic range, and they’re self-powered so they were easy to integrate.” A pair of PN212-SUB dual 12-inch subwoofers covers low frequency content. “The PN212 subs were also a perfect match for the room — small enough to fit under a low profile stage, but plenty of headroom.”

Pilchner reports the system exceeded expectations. “We knew they would sound good but we were somewhat surprised by just how good,” he says. “The co-entrant HF/MF drivers delivered full range sound and consistent coverage all the way to the very back of the room.” Onstage monitoring is handled by CF121M-2 powered monitor wedges.

Allan Merriam adds, “When you put a focused and committed performer thru quality product, the talent and passion don’t get lost in the technology. The Renkus-Heinz system gives us the clarity and audiophile experience we were looking for. We really have the best sounding small scale performance space in the city.”

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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.

Bittree Audio and Video Patching Solutions Used in Major A/V Upgrade for Confederation Centre of the Arts’ Homburg Theatre

Landmark Theatre in Charlottetown, Prince Edward Island, Receives First Major Renovation in Its 50-Year History

GLENDALE, Calif. — July 9, 2014 — Bittree today announced that its high-bandwidth video and programmable audio patchbays were chosen for a major A/V upgrade for the Homburg Theatre, a 1,102 seat performing arts venue in Charlottetown, Prince Edward Island, Canada. Bittree’s Canadian reseller, Solotech, provided systems integration and installation for the project, which wrapped up in April. Trizart Alliance were the consultants on the project. more

Riedel and German Broadcaster RTL Celebrate Six-Year Partnership That Brings Formula One to the World

WUPPERTAL, Germany — July 9, 2014 — Riedel Communications, provider of pioneering real-time video, audio, data, and communications networks, announced that Formula One host broadcaster RTL has, for the past six years, leveraged the Riedel RiLink Global Fiber Service to provide bidirectional links between the race circuits and the broadcast station in Cologne, Germany. In addition, Riedel’s Artist and MediorNet platforms are used for communications and signal acquisition and distribution at the various race venues around the world. more

FOR THE LAST TWO YEARS ED CHERNEY HAS USED HIS ATC SCM25As TO MIX EVERYTHING

LAS VEGAS, NEVADA – JULY 2014: Ed Cherney needs no padding on his resume. A veteran producer and engineer with 35 years logged in the control room, Cherney has worked with the top talent in the industry, including Iggy Pop, Bob Seger, Bette Midler, Bonnie Raitt, Eric Clapton, Jann Arden, Jackson Browne, Keb’ Mo, Bob Dylan, and the Rolling Stones, to name just a few. His work has earned him six Grammy nominations and three wins, along with seven TEC nominations and five wins. He is a founding member of Producers and Engineers Wing of The Recording Academy and served as the Governor of the L.A. Chapter of The Recording Academy. Until last year, Cherney was also an avid, collector of studio reference monitors, learning to work around the faults of each model before relegating it to the closet when a newer model came through the door. That cycle ended with the arrival of a pair of ATC SCM25A 3-way nearfield monitors. Cherney now uses his ATC SCM25As for almost everything he does because they’re exciting to listen to and because the work he does on them translates flawlessly on any other pro or consumer system.

“I am always looking for speakers because they’re my eyes in the studio, my window to the world,” said Cherney. “I get a lot of inquiries from younger engineers, asking me if I can recommend a good pair of monitors for five-hundred bucks. I can’t. And it’s crazy that they’ll spend thousands on microphones and outboard gear without first giving themselves the one tool they need to actually hear what they’re doing. It’s like an artist buying expensive paints and then turning out the lights. That said I’ve had a hard time finding the ideal speaker at any price. I guess I’m something of a collector now.”

Cherney first heard a pair of ATC SCM25As at a studio in New York, and he liked what he heard. Shortly thereafter, he was working at a studio in his hometown of Chicago that had no good options for monitors. “I spoke to Brad [Lunde] at TransAudio Group [ATC’s U.S. distributor] and he sent out a pair of ATC SCM50ASLs for us to try. They were spectacular as well! We could turn them up loud, and the low end was defined, the midrange was smooth and silky, and the high end was sweet. The sound was thrilling; it could wash over me and punch me in the chest. These were the first mid-size speakers that could give me the experience of the soffit-mounted loudspeakers that the big studios have.”

He continued, “I’ve been dissatisfied with 2-way speakers in the past. The challenge is always to get the right vocal tone and volume, and it often depends on which side of the crossover the vocal is sitting. Sometimes the same singer can be below the crossover in the verse and above it in the chorus. In the past, I always took my mixes around to different systems – different speakers, my house, my car – to make sure the vocals were sitting in the mix correctly. Now that I have the ATC SCM25As, I rarely have to do that anymore. The vocals sit nicely in the midrange driver, and I’m always within a half dB. Every song. For the first time, I really trust the quality of the mixes in the studio. I don’t have to take them out and check them. I nail it and they translate to the rest of the world. That’s a huge improvement.”

Cherney has already used the ATC SCM25As on a number of projects. He produced, recorded, and mixed the main title for the Disney film Planes called “Nothing Can Stop Me Now,” as well as Robben Ford’s Bringing It Back Home and Eric Burdon’s Till Your River Runs Dry. He mixed Love for Levon on DVD, CD, and broadcast using the SCM25As, and he mixed Road to Forever by Don Felder of the Eagles. Currently, he’s working on a debut album from Athena Perez, a rising country artist from Chicago, and a new Bette Midler album.

In addition to how well his mixes translate on the ATC SCM25As, Cherney is also inspired by their clean, fatigue-free volume. “If I’m recording drums, I like to turn it up!” he said. “If the band’s in the control room, I have to turn it up! When I’m doing the final balances, I may be down around 75dB, but getting there, I want to feel it pop, physically! I want to move air in the room! With the 25s, I can. And I can do it all day long and still be as clear-headed and energized at the end of the day as I was at the beginning. My ATC’s make recording and mixing music much more fun.

ABOUT TRANSAUDIO GROUP TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.

www.transaudiogroup.com

(Photo Credit: © 2014 Lynn Fuston)

Third Eye Blind Rocks with Clay Paky and grandMA2 on Festival Tour

American alternative rock band Third Eye Blind (3eb) is taking its Festival Tour to venues across America, and Clay Paky’s A.leda B-EYE K20 LED-based moving lights and a grandMA2 light console are hitting the road with them. A.C.T Lighting, Inc. is the exclusive distributor of both brands in North America.

3eb’s production and lighting designer Mitchell Schellenger, of I Like Lights in Denver, created a look for the band that echoes the sunset set times of some of their gigs. “The band doesn’t always have a headline slot, and when that happens they don’t have the luxury of performing in complete darkness,” Schellenger explains. “So we decided to mimic the look of sunset with warm pretty light on stage. To do that we needed really bright fixtures.”

Enter Clay Paky B-EYEs, which Schellenger had read about and seen in video clips. “I wanted to get my hands on them – they looked really awesome,” he recalls. 4Wall Entertainment Lighting’s Nashville office supplied five fixtures, and Schellenger proceeded to design a rig that would be “universally speedy” getting on stage and off, a critical factor when the band wasn’t headlining.

His solution was to build carts comprised of Chauvet Nexus 4×4 LED panels with four B-EYEs arched above them. The fifth was positioned on a center line upstage to pop behind the lead singer.

“The B-EYEs have a nice big head so their look is perfect for our sunset theme,” Schellenger says. “The show color scheme starts more bright CTO Amber and works its way toward a deeper orange. The B-EYEs’ awesome effects give the show the ability to progress visually through that minimal color scheme.”

Schellenger, who also programs the band’s lighting, uses a grandMA2 light for lighting control and has an onPC command wing for back up and two NPUs in the racks. He migrated to grandMA2 about 18 months ago.

“Now I can’t stand going back to anything else!” he declares. “grandMA2′s too powerful. It does everything I want to do and easily achieves the looks I’m going for. Although I’ve used the full-size grandMA2 many times, the grandMA2 light is the perfect size for touring.”

On the Festival Tour he’s doing quite a lot of bit mapping across the Nexus panels, the B-EYEs and a complement of Martin MAC Auras. He also deploys a number of macros, which enable 3eb to get on and off the stage quickly. “A start show macro makes us immediately ready for quick focuses,” Schellenger explains. “We have song macros, too, and an end show macro for a speedy finish.”

The lighting designer says that he and his assistant and crew chief, Cort Lawrence, have been pleased with the “stunning results” produced by the B-EYEs. “We’ve had a ton of feedback from the promoters, the band and fans on social media. Everybody has responded really well to them!”

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Vista Phoenix Management System Installed at Traffic Management Center of Mississippi Department of Transportation

The Mississippi Department of Transportation’s Intelligent Transportation Systems Program has installed a Vista Phoenix for its traffic management center. Vista Phoenix’s network-distributed open content management system for the simultaneous encoding, decoding and display of audio-visual data is deployed on the Christie MicroTile wall that monitors traffic cameras.

‘We converted from analog to digital a while back, and our previous equipment was not compatible with an end-to-end digital solution,” says John Gilligan with the Mississippi Department of Transportation. “Vista Phoenix looked to be a very efficient addition for us.”

Vista Phoenix provides seamless access and control of AV data, regardless of the user’s location. Whether used by multiple parallel participants, single offices or in the field through mobile technology, Vista Phoenix connects them all. AV distribution and monitoring are no longer contained to a single location – Vista Phoenix breaks through physical walls to encompass a global workplace.

The simple but powerful system consists of one or many Vista Phoenix hardware nodes as well as web-based management software connected through an Ethernet network. It’s scalable with one or hundreds of nodes, multiple display walls comprising up to 128 screens, multiple desktops and users. Comprehensive tools allow one or thousands of users to simultaneously view, listen to and interact with any source of information found in a multimedia environment from virtually anywhere through a single, robust system.

Vista Phoenix offers support for HDCP, H.264 encryption throughout with drag-and-drop simplicity. The system permits users in public utilities, government, security and surveillance, transportation and telecommunications to confidently make faster and more accurate life critical decisions, even in the most challenging environments.

“Vista Phoenix distributes media to the Christie MicroTile wall, which has a 10×4 configuration,” says Gilligan. “Vista Phoenix handles all the switching, most of which is automated. We’ve programmed the system to have some preset modes. And we broke it down regionally so we can view different regions of the state.”

While Vista Phoenix is already working “great – very efficiently,” Gilligan is looking forward to exploring more of the system’s offerings. “We plan to capitalize on some future capabilities, such as monitoring via the Internet.”

About Vista Systems
Vista Systems’ switchers have become the industry standard for live multiple-destination video and data mixed signal switching with real-time windowing and composition. For more information on Vista Systems, visit their website at www.vistasystems.net.

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DPA Microphones Gets a Dose of Reality on Rising Star

New live results TV singing competition relies on company’s d:dicate™ 4017 Shotgun and system of d:screet™ 4061 Miniatures with Wisycom transmitters and receivers

LOS ANGELES, JULY 8, 2014 – When Daniel S. McCoy, CAS, scored the sound supervisor role for ABC’s new live results singing show, Rising Star, he knew he would need an innovative miking solution to support the performances. In addition to his tried-and-trusted d:dicate™ 4017 Shotgun Mic from DPA Microphones, McCoy also relies on his new DPA d:screet™ 4061 Omnidirectional Miniature Mics with Wisycom wideband transmitters and receivers.

With behind-the-scenes competitor interviews, commentary from host Josh Groban and mentoring from the likes of Ludacris, Kesha and Brad Paisley, Rising Star incorporates significant moments of dialogue in addition to the performances. In order to account for the show’s various ENG and reality needs, McCoy simultaneously uses the d:dicate 4017 and d:screet 4061s to give the post production team the ultimate choice in audio dynamics.

Using the d:screet 4061s with the Wisycom transmitters is a first for McCoy, a long-time enthusiast of DPA Microphones. New York-based Gotham Sound supplied the one dozen d:screets and beltpacks for Rising Star. McCoy chose the d:screet 4061 because it has a lower sensitivity and can handle 144dB SPL, which allows him to avoid distortion on the powerful singing voices. In addition, post requires vibrant-sounding mics that can be concealed, and DPA was the perfect solution.

“Wisycom’s transmitters are essentially the Ferrari of wireless,” adds McCoy. “I’ve been using DPA d:screets for years, and now I’m hearing them with new parameters. Since the transmitter is equipped with an AF input mic powering at 5.5 V, as opposed to the standard three or four, we can get an enhanced dynamic range and improved frequency response from the microphones. It’s been a real ‘ear opener,’ if you will. Using the d:screet 4061s and transmitter with a 24-bit 96 KHz A/D and D/A converters gives me a sound that makes me feel like I’m back in a recording studio while I’m in the field. It’s really interesting to me to find that, with proper amplification, DPA mics can give you so much more.”

The d:screet 4061 also makes it quick and easy for McCoy to swap users between a dialogue setup and a vocal arrangement. “The fact that I can use this mic for both styles is super effective,” he says. “I don’t need more gain and additional compressors, and I don’t have to slam on another limiter; I just need fade up and fade down. It’s freeing to be able to have a mic and transmitter combo that works so well together. I’ve been wondering for years how it is that European broadcasts sound so much better than here in the states, and I think I found the secret.”

Rising Star is based on a new format in which the audience judges the contestants in real-time through social media across three time zones. Voting is conducted through Facebook and Twitter to decide if a competitor moves ahead in the show, right in that moment.

Currently the owner and operator of ToneMesa, Inc., a location and post audio company based in Los Angeles, McCoy has received two Daytime Emmy Awards for “Best Live Audio Mix to Tape” for his work on the Ellen Degeneres Show and a Grammy® Award nomination for “Best Engineered Album” for Brian Wilson’s first self-titled solo project. In early 2008, McCoy became one of the youngest members to join the Cinema Audio Society.

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

SSL Live on Tour with Michael McDonald

“Because of the separation you get with the summing in the mix bus, it’s easier to place things in the mix”

NASHVILLE – Blue-eyed soul singer Michael McDonald joins 1980s super-group Toto this summer for a North American co-bill that stops at The Greek in Los Angeles and The Fox in Atlanta. McDonald’s front-of-house engineer Curtis Flatt was first introduced to Spectrum Sound of Nashville while in college and went to work for the company in 1986. Through the long association, Flatt’s career has spanned the best consoles and musicians of the last three decades, including Wynona Judd and the Judds, Donny Osmond and Michael W. Smith. He also filled in for a short time for Robert Collins on Eric Clapton. Today, he can be found at McDonald’s helm with an SSL Live console.

Flatt first took SSL Live out on McDonald’s Christmas Tour last winter. “Spectrum was going to order a pair for Jason Aldean and asked if I wanted to be the first to take one out,” he says. “I programmed it in my office and, without a production rehearsal, dove in at the first sound check. Michael’s musicians’ sounds are really good to start with. They play really well together and it’s a straightforward show. If you start with a good sounding product, mic it with quality microphones and run it through a console that has an excellent quality, you’re pretty much there. SSL Live brings me to that point and gives me the freedom to just mix and not have to think about a lot of external processes.”

The transparency of SSL Live’s mix bus, especially since it is a digital console, was one of the first things Flatt noticed. “There are a handful of consoles out there that sound good or really good, but as everybody who mixes knows, as you start to sum all those good sounding parts together, a lot of times you’re either working with or around the console to create that final sound, that final mix,” he explains. “On a warm console, you may have to figure out which inputs could lose a little warmth to fit in with everything so that it doesn’t get muddy. Live has such a separation that as you add all of the inputs, you don’t have this muddle going on, which happens so often on other live consoles. There’s definition to everything in the mix.”

Flatt credits the fidelity both in the highs and the lows of the console. “There’s a nice top-end on it and it’s really smooth; there isn’t an overabundance of hype on it,” he says, adding, “The low-end on the console is nice and round without being overbearing.”

He also notes an improvement in mixing and panning compared to other consoles. “Because of the separation you get with the summing in the mix bus, it’s easier to place things in the mix,” he says. “The palette is more open, so placement in the mix becomes really noticeable. Slight pans and movements here and there present a better picture. You hear subtle differences. For example, our drummer had two hi-hats; one was panned slightly left and one was barely right – and I mean barely, but you always knew which one he was playing, even with your eyes closed.

“I run a couple of parallel-compression bus groups because we try to maintain a certain level in the show and want to add a little bit of punch back into that in some areas without overly compressing the entire mix,” he continues. “So, I have a parallel drum group and a parallel background vocal group to level them out a little bit and add them in as needed. If the show really starts to push a little bit, there may be a dB or two of compression with the bus compressor, but the show is very dynamic so I don’t want to take the dynamics out, since the music lends itself to dynamics. It’s got pop, rock and R&B.”

The difference the SSL Live console makes during a performance is starting to gain recognition from the entire McDonald camp. “It’s not only been noticed by Michael and the band, but also management, other members of the crew and even some diehard fans noticed that something was different,” Flatt says. “When we did our first fly date after coming back from being on tour, I was using a different console because we flew in for a one-off show. Michael walked past FOH to say ‘hi,’ and when he looked over at the console and saw it wasn’t the SSL Live, he said, ‘Oh, it’s one of those.’ So it’s definitely something that he and the band have noticed; that management and production management have said ‘Yeah, we’re going to carry the SSL console, you don’t have to fight for it.’ ”

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

Alcorn McBride Supports Three New Powerhouse Exhibits at The Children’s Museum of Indianapolis

Three large, new headline-making exhibits at The Children’s Museum of Indianapolis are using an array of Alcorn McBride equipment for show control, lighting control, and audio and video playback.

Known as the world’s biggest and best museum for children and families, the venue’s mission is to create extraordinary learning experiences across the arts, sciences and humanities that have the power to transform the lives of children and families. The nearly 500,000-square-foot museum boasts almost 120,000 artifacts and draws 1.25 million visitors annually.

“It’s important to understand that this is a place for children and families where they can learn together and share interactive experiences brought to life through sound and light shows that are made more authentic utilizing tools such as the Alcorn McBride equipment. We find those kinds of details make our visitors feel as if they’re in the actual place depicted in the exhibit,” says Kimberly Harms, Director of Media and Public Relations.

Chief Technical Officer David Donaldson notes that, The Children’s Museum of Indianapolis’ exhibits are strategically designed to encourage family interaction and intergenerational learning vis-à-vis a number of touch points. “High-quality sound and light shows stimulate the senses and help create a feeling in which children and families experience what it would be like to wander around another time or place via high definition video and sound recreations,” he explains. “These immersive experiences make it seem as though you really are in China or traveling the earth 77 million years ago.”

“Leonardo: The Mummified Dinosaur” opened at the museum in March. “We have a permanent exhibit called Dinosphere that is housed in a former CineDome, a large-format theater. It has about 150 programmable lights and artifacts,” says Donaldson. “In part of Dinosphere is Leonardo, the largest intact dinosaur ever discovered and one of only four mummified dinosaurs in the world. He’s about 20 feet long and 77 million years old.” Leonardo is a juvenile Hadrosaur, or plant-eating “duckbill” dinosaur. He was unearthed in Montana in 2001.

“Leonardo is in a special glass case with a sound and light show that tells his story,” Donaldson explains. “He’s already one of our most popular exhibits.”

Alcorn McBride equipment plays a key role in the Dinosphere and the Leonardo exhibits. At the heart of the Dinosphere is a V16 Pro show controller. An A/V Binloop HD handles video playback on monitors throughout Dinosphere. Two Lightcue DMX recorder/players are on hand, one for Dinosphere and one that manages 15 separate lights above the Leonardo exhibit. A single-channel AM4 MP3 and WAV player runs Leonardo’s soundtrack in synch with his lighting. When Leonardo’s seven-minute show is not running a Digital Video Machine HD 8400 plays back animated loops on a 90-inch flat panel display.

“Everything works very well,” Donaldson says. “We have been very happy with the Alcorn McBride gear we use as it has been very reliable and is solid state.”

Two new exhibits opened in May. “Take Me There:(r) China” is the second exhibition to explore modern life in a single culture. Take Me There:(r) Egypt was the first. To get visitors in the mood to travel, they board an airplane fuselage where two video monitors are mounted on the front wall of the cabin and two overhead. Five rows of seats are offered, and windows line the sides. Three slots in an AV Binloop HD play back trip content: a video of flight attendants talking about the journey and views outside the windows. The Binloop triggers buttkickers underneath the seats, which simulate air turbulence.

Elsewhere in “Take Me There:(r) China” an AM4 plays ambient music and street noise in the market place, calligraphy shop, medicine shop and tea house. In a bullet train experience, visitors sit in two rows of seats facing each other with a window in between on which a Digital Video Machine HD 8400 plays back footage shot on the super-speedy bullet train. An additional AM4 is available in a performance space. Staff can press wall buttons to access a series of audio clips programmed directly into the system.

Also in the China gallery is “Terra Cotta Warriors: The Emperor’s Painted Army,” the first children’s museum appearance by the famed tomb statuary since they were excavated near Xian, China in 1974. Fifty visitors at a time are brought into the entry theater’s cue line where they watch a video run off a Digital Video Machine HD 8400. Then they walk into the dimly lit gallery where all of the sound in the 15,000-square-foot space emanates from an AM4. A concluding theater experience features two video walls running a loop from an Alcorn McBride Binloop.

The museum’s Playscape permanent exhibit also features an A/V Binloop HD for its cue line. Playscape incorporates new brain research to create an authentic, physical space to help young families explore some of the most important developmental touchstones of children’s lives. The Binloop runs video in synch for families waiting to enter the space.

“Alcorn McBride equipment has become a standard for us and a very good investment,” says Donaldson. “It’s very reliable, all solid state. When you have families involved, reliability is of the essence. We have a very low threshold for things that don’t work!”

Donaldson also gives kudos to Alcorn McBride’s staff, whom he calls “very responsive. I can always reach someone if I need something – it’s like they’re working right along with us.”

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

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Video Devices PIX 260i Streamlines Multi-Campus Workflow For Bethlehem Baptist Church

MINNEAPOLIS, JULY 8, 2014 – When Bethlehem Baptist Church was looking for a reliable video/audio solution for recording and playback of weekly services among the house of worship’s multiple campuses, it turned to the PIX 260i Production Video Recorder from Video Devices, a new brand of Sound Devices that is dedicated to the company’s mission critical video products. The church utilizes five PIX 260i’s to ensure the highest quality video and audio when rebroadcasting sermons to the campuses.

Comprised of three campuses (Downtown, North and South), Bethlehem Baptist Church hosts multiple services a week. In order to ensure that all three campuses have a current sermon from the main pastor, Associate Director for Media Ministries Jonathan Davis records the Saturday night service using the PIX 260i. He then sends the recording for playback to the two campuses not being served by the preaching pastor, on a particular Sunday morning. Recorded files can be transferred over Ethernet or delivered on one of the four drives that the 260i is able to simultaneously record to. The Downtown and North campuses feature a full production setup, while the South Campus is a portable campus at a local high school for the Sunday morning services. The Downtown and North campuses each have two PIX 260is, and the South campus has another.

The PIX 260i’s extensive audio capabilities are an essential component for the facility. The facility records both the mono- and stereo-feed of the house, as well as an iso of the pastor’s mic. Using the PIX 260i, the facility is able to send and receive all audio over Dante to and from its Yamaha CL5 mixing system. In order to cater to its ethnically diverse members, Bethlehem Baptist Church also records live Spanish and Russian translations. The multiple track count gives the facility room to grow in terms of having additional isolated audio tracks available, when needed. In addition, with only two full-time media staff members, the facility needed a user-friendly solution to cater to its large volunteer base. The PIX 260i’s large display and easy-to-use controls enable non-professionals to use the equipment with ease on an ongoing basis.

“We found that the PIX 260i met all of our criteria, and most importantly, it was seamlessly incorporated into our existing AV system,” says Davis. “The PIX 260i gives us ultimate flexibility in being able to record content from SDI or HDMI, and to get that content back out just as easily. In addition, the PIX 260i allows us to take whatever we record and deliver it directly into our post-production workflow in order to post services online as well as streamline our other productions.”

Davis and the church are already familiar with the company’s products, as they have used its PIX 240i recorder for on-location productions. “We found the PIX 240i to be very proficient and an improvement to our workflow, so when we heard about the PIX 260i, we knew we had to give it a look. It sounded perfect for what we needed,” says Davis. “We needed something that was rock-solid reliable, because when it comes to church services, it is a timed event. There isn’t a backup and you don’t get a do-over. The Video Devices PIX 260i gives us the reliability and redundancy we need to ensure that we capture the services and are able to play them back at both our fixed and mobile locations.”

The PIX 260i brings the features and tools needed by production companies and other production-based AV environments looking to migrate to file-based recording and playback environments. It records either QuickTime files in either Apple ProRes or Avid DNxHD video formats or WAV format audio files. Files recorded with Apple ProRes or Avid DNxHD are ready for editing in common editing environments, such as Avid, Final Cut Pro and Adobe Premiere, eliminating time-consuming transferring and transcoding. For color-critical applications, the PIX 260i supports Apple ProRes 4444 through its 12-bit, 4:4:4 3G-SDI I/O. Users can also play out files from the PIX 260i for real-time applications.

Continuing the company’s heritage in production sound, the PIX 260i is infused with 32-track audio recording and playback capabilities. In addition to 16 channels of embedded SDI audio and eight channels of HDMI audio, the PIX 260i also accepts eight channels of line-level analog I/O and eight channels of AES digital audio. Using Dante, the PIX 260i can accept and transmit up to 32 channels of audio over Ethernet.

“The customer service that we receive from Sound Devices has been absolutely amazing,” adds Davis. “One of my favorite things about Sound Devices is how proactive they are in sending out firmware updates — not only do they fix any potential bugs, but they add new features, which is rare today. They take such great care of their customers.”

Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production. Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit Video Devices and Sound Devices websites, www.videodevices.com; www.sounddevices.com.

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