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Jünger Audio Launches D*AP8 Codec Edition At IBC 2014

Digital audio specialist Jünger Audio is using the IBC 2014 platform (Hall 10, Stand A49) to launch a new Codec Edition of its D*AP8 Digital Audio Processor.

This unique device has a vital role to play in today’s broadcast environment because it is the only combination of broadcast audio codec and processor on the market that can carry out real-time metadata emulation.

Peter Poers, CEO of Jünger Audio, says: “Following Dolby’s decision in 2013 to discontinue its DP570 Multichannel Audio Tool, we are now the sole company in the world making and supplying a product that fills that gap. Our D*AP8 Codec Edition incorporates a Dolby decoder as standard and with a choice of optional encoders means that broadcast engineers in post-production, DVD and DTV facilities can check the quality of Dolby Digital AC3/E-AC3 encoded audio prior to transmission. Without this product, it is fair to say that broadcast engineers would not be able to carry out precise real-time metadata emulation in recent build production environments and would therefore have no way of checking exactly what television audiences hear at home.”

Mike Babbitt, Senior Manager, Professional Support Dolby Laboratories, Inc., says: “Dolby is happy to partner with Jünger Audio in bringing critical and innovative broadcast-enablement products to the worldwide broadcast community. Through our technical partnerships with valued partners like Jünger Audio, Dolby is continuing to enable current and next-generation broadcast and OTT workflows to provide consumers with the ‘In Dolby’ experience.”

The D*AP8 Codec Edition features a built-in Dolby® Metadata generator and Dolby® decoder that allows users to decode Dolby-E, Dolby-D (AC-3) and Dolby Digital plus (E-AC-3).

“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.” Peter Pörs adds.

By incorporating SDI I/O with 3G/HD/SD auto detection, the D*AP8 Codec gives users the option of dealing with all 16 channels of SDI embedded audio at the same time. 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.

The D*AP8 Codec 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 before encoding in QA suites or control rooms.

“Now that most of the DP products are no longer available, broadcast engineers still need hardware based solutions that can decode and encode Dolby®-E, Dolby®-D (AC-3) and Dolby® Digital plus (E-AC-3), as well as HE-AAC formats, and provide the essential metadata emulation function” Poers explains. “Our D*AP8 Codec Edition is the latest unit on the market that can offer various combinations of this and is effectively the successor of not just the DP570, but also in combination with the DP564/569 and 571/572.”

For more information about Jünger Audio, please visit IBC stand 10.A49 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

Phonophobia Adds HARMAN’s Soundcraft Vi3000 Digital Console to Expanding Hire Fleet

KENT, United Kingdom – After recently investing heavily in HARMAN’s Soundcraft Vi platform, Mark Chant’s Kent-based Phonophobia has now added a next-generation Soundcraft Vi3000 digital console to its inventory. The console was sold through Sound Technology Ltd., HARMAN’s UK and ROI distributor.

“Having MADI and Dante built into this desk gives Soundcraft a massive advantage as does the additional functionality, with the local ins and outs on the board,” Chant observed.

The Vi3000’s first high-profile appearance was at a University of Kent Summer Ball in Canterbury, attended by around 4,000 students and headlining Ella Eyre, supported by several DJs. Phonophobia’s Vi1 was down at the stage and the company also brought its Vi rack, running 60 inputs over 30 outputs.

“Visiting engineers patched in through Dante or MADI, and since we have a lot of riders now showing Vi1 or Vi6, most seemed excited to be using the new desk,” Chant added. “They turned up with their show files and used the Universal Audio plugins.

“Although it was a stressful gig, none of my headaches came from the console—we could leave it and just walk away from it,” Chant said.

Summing up, Chant said, “This feels like a Vi desk—but is vastly superior, and the Vi3000 will be out constantly. Since we have advertised it on our website, we have received a steady flow of inquiries and the interest has been incredible.”

For more information on Phonophobia, please visit www.phonophobia-online.co.uk

For more information on Sound Technology, please visit www.soundtech.co.uk

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

Prism Sound Shows New Audio Products at IBC 2014

Prism Sound will be attending this year’s IBC convention (8.E34) with a range of new audio products aimed at post production and broadcaster engineers.

The company’s family of audio interfaces has been extended to include Titan and Atlas, both of which will be on show for the first time in Europe.

Titan and Atlas are multi-channel audio interfaces offering recording professionals ultimate quality analogue and digital I/O for Mac or Windows PC at sample rates up to 192kHz via a simple USB interface. In addition to a USB host interface, both units feature the new MDIO interface expansion slot, which can be used to expand its connectivity, for example by adding a direct connection to Pro Tools|HDX systems.

Titan has four microphone inputs, while Atlas has eight and is aimed at multitrack recording applications. Both are designed with Prism Sound’s latest and award-winning CleverClox clocking technology.

At IBC 2014, Prism Sound will also be showing the latest upgrade to its acclaimed SADiE 6 software, the audio recorder and editor of choice by countless national broadcasters. This new version delivers even greater benefits to the mastering community thanks to the inclusion of a brand new toolset for today’s ‘digital download’ age.

New features include WAV Master, which allows users to create WAV files for an entire album using PQ marks to define the start and end of the WAV file for each album track. Track Titles, Artist Name and other information is automatically incorporated into these files. Prism Sound has also introduced a new high quality Sample Rate conversion algorithm and ensured that resolution changes can be applied during the bounce process used to create WAV files.

The new version of SADiE 6 now caters for engineers who want to work with Broadcast WAV (BWF) files, which incorporate ISRC data. An ISRC in BWF feature is included in SADiE’s WAV Master option and is in the SADIE version 6.1 update as part of the ‘Mastering Suite’ and ‘Sound Suite’ packs.

Finally, SADiE has enhanced video support for BlackMagic Design Decklink cards, as well as timecode support on SADiE Native systems where the ASIO audio hardware used supports timecode functionality.

Finally, Prism Sound is showing its full range of Test & Measurement solutions, including the versatile dScope Series III Audio Analyzer. This award-winning unit features a freely-available test suite that can be used to evaluate the performance and compliance of any loudness meter on the market and ensure that a chosen product can deliver both ATSC and ITU BS.1770 compliance.


To find out more about the Prism Sound/SADiE range and to demo the new Titan and Atlas interfaces, please visit stand 8.E34.

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the award-winning dScope Series III audio analyser system.

For more information: www.prismsound.com

HUD’s Brooke-Mondale Auditorium Chooses Vista Systems’ Spyder

The U.S. Department of Housing & Urban Development (HUD) in Washington, D.C. has upgraded its Brooke-Mondale Auditorium with a Vista Systems Spyder image processor supporting a Christie MicroTiles videowall.

The Brooke-Mondale Auditorium holds about 300 people for webcasts, large training sessions, town halls and meetings with HUD Secretary Shaun Donovan. It previously featured a video projection system for speaker support.

“We needed to improve our visuals,” says Bill Amos, operations manager in HUD’s office of broadcast operations. “Everything in the auditorium requires visual support and what we had looked old. It was time for an update.” So Amos tasked OMNITEC Solutions, Inc. in Bethesda, Maryland with finding a “reasonably priced display solution that delivered the quality we were looking for.”

A technology solutions company with many customers in the government and military sectors, OMNITEC provides managed services for HUD. The company maintains a 14-person team to run the day-to-day audiovisual, event and video production operations for the agency. OMNITEC also converted the entire HUD broadcast and audiovisual facilities from standard definition to full 1080i HD/SDI processing.

While OMNITEC explored several technology solutions for the auditorium Amos says, “There was never any doubt that we’d use Spyder – it’s unmatched for what it can do and its price.”

Paul Royston, program manager at OMNITEC, reports that, “the scalability of the Spyder was overpowering. For that we needed to use if for – PowerPoints, multiple video roll- ins, graphic elements – to be able to manipulate multiple streams off one box was a big point in Spyder’s favor. The other solutions we considered needed multiple devices to do that.”

The next issue was what display to combine with the Spyder for maximum impact. HUD opted for a 16×9-foot Christie MicroTiles wall constructed on a permanent riser stage. Sources are a Ross switcher, several computers to display Internet media and PowerPoint presentations, and Harmonic’s Omneon video server. “Our Spyder has eight inputs, and we use six of them continually,” Amos explains. “Spyder is very versatile in handling these and additional sources.”

The Brooke-Mondale Auditorium is a “workhorse” venue operating approximately six hours a day, Amos notes. “We do a lot of webcasting, often with PowerPoint. Now that we have the MicroTiles wall we can use it as a scenic element behind presenters. We like to use the Spyder to put up colors to accent the presenter without distracting from their presentation; we get a nice separation between the speaker and the background – it’s a really nice effect.”

Spyder also provides more complex visuals. “Our public affairs department commented on the ‘wow factor’ that the Spyder brings to presentations,” Amos says. “It manipulates video, graphics and PowerPoints. It splits the screens and shows different resolutions. The Spyder can provide a subtle background when needed or really catch the eye.”

The upgraded auditorium has already hosted several town halls, the Secretary’s Awards for Exceptional Service ceremony, and an 80th anniversary celebration for HUD’s FHA division. For the latter event the Spyder showcased an anniversary video and the FHA’s new logo – “Spyder really made it pop on the MicroTiles,” Amos recalls.

“Spyder came out of the box, went into the rack and is delivering as advertised,” says Amos. “Spyder is also much more user-friendly than its competitors led us to believe.”

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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RSG Media and Xytech Join Forces to Streamline the Digital Supply Chain

Joint Solution Implemented at One of America’s Largest Spanish-Language Broadcast Networks

(NEW YORK, NY/MISSION HILLS, CA) – RSG Media, purveyor of the dominant media business rights management system and Xytech, the leader in facility management software for the broadcast and media industries, today announced a technology partnership integrating the companies’ flagship products. For content owners taking on the complex task of automating the digital supply chain to maximize the monetization of their content, the joint solution will simplify and streamline their efforts.

As content programmers seek to grow digital revenues by taking advantage of the increasing number of new platforms available to them, they are faced with a time consuming and expensive process, filled with an ever changing variety of requirements, formats and standards. Xytech and RSG’s solution successfully combines rights and order management functions in one system, effectively closing gaps previously found in the digital supply chain.

RightsLogic(r), RSG’s rights management product, helps programmers determine which media assets programmers can use, when, and how (e.g. territories, platforms, languages, formats) it lets them window and schedule the content for maximum profitability. The system handles the financials, from amortization through royalty payments, and it presents usage, revenue and royalty information from every platform in at-a-glance dashboards and custom reports.

Xytech’s MediaPulse platform is a scalable solution automating workflows, managing assets, scheduling resources and offering an end-to-end order and billing system. The platform-independent, browser-based application tracks and manages workflow, resources, and costs from the moment a programmer publishes a schedule through media asset delivery for distribution or play-out.

As the companies have pre-integrated their two systems, programmers can implement a joint solution, gaining the benefits of digital supply chain automation quickly and easily. Xytech and RSG Media have already implemented their solution at one of the U.S.’s largest, Spanish-language broadcast networks.

“Automating the digital supply chain is absolutely vital to our clients looking to leverage the array of distribution platforms available,” said Greg Dolan, COO of Xytech. “Rights management is a key element in the chain, and RSG is the industry leader in this area. Integrating our two systems has already brought us success with a major broadcast client, and it is a win for all of our clients moving forward.”

Thomas Siegman of RSG Media


“Managing and optimizing the digital supply chain can be daunting and costly for organizations,” said Thomas Siegman of RSG. “By pre-integrating RightsLogic(r) with MediaPulse, we’ve taken the burden off of our customers while lowering their costs. Our joint solution already has a proven track record, therefore potential clients know it will work seamlessly for them as well.”

About RSG Media
The world’s leading media & entertainment companies use RSG Media’s expertise and software to maximize revenues from their content and advertising inventories. RSG Media’s RightsLogic is the dominant media business rights management system; it lets content owners & distributors, gaming companies, IP licensors, and sports leagues manage and report on the content lifecycle, including acquisitions, sales, planning & scheduling, and associated financials. RSG Media’s order-to-cash ad sales systems help clients plan and manage deals across all platforms quickly and easily. Their AdVant yield optimization suite uses advanced mathematics to optimize proposals, flighting, logs, and promos, significantly lowering liabilities while generating new revenues. They are headquartered in New York, with offices in London, Delhi, and Mumbai.

About Xytech
Xytech is the leading global provider of facility management software for the media and broadcast industries. For over 25 years, the world’s best media services companies, broadcasters, and transmission facilities have depended on Xytech to run their businesses. Xytech’s collaborative MediaPulse platform is the only end-to-end solution for the complete content lifecycle, providing scheduling, automation, asset management, billing, and cost recovery in a scalable, platform-independent application. Xytech has over 450 software deployments in more than 20 countries around the world, and the company is headquartered in Mission Hills, California, with regional offices in New York and London.

For more information, please visit www.XytechSystems.com or call +1.818.698.4900 (US) or +44 (0)20.7903.5170 (UK).

# # #

Media Contact:
Chris Purse, 818.908.3473
ignite strategic communications
chris@ignite.bz or mimi@ignite.bz

API’s BOX FILLS IN THE “MISSING PIECE” AT THE CASINO IN NASHVILLE

NASHVILLE, TENNESSEE – AUGUST 2014: The BOX has settled into a new home in a Nashville studio – The Casino. Owned and operated by Eric Masse, The Casino records LPs and EPs for signed artists and bands within the city. Masse consulted Chad Evans at Vintage King while he upgraded his studio, and now admits that the “feels like the missing piece” to his former setup.

“I had been craving the next step up for my sixteen I/O studio for a while,” said Masse. “When I heard about the BOX last year, I started gearing up for it.” The Casino, which also houses two lunchboxes®, six 512c mic pres, a 5500 dual equalizer, and a 2500 stereo compressor, stayed in the API family when looking to gain control over pans and add inserts.

“Enter stage right – the BOX,” jokes Masse, who is amazed by the capabilities The Casino is now able to fulfill. “I can hardly contain my head from exploding from all the options. It’s the center of my studio. I can route things in the mix like never before, and parallel compress things all analog. I can add outboard effects post-conversion to individual tracks, and I don’t have to use my converters to feed the hear-back headphone hub. I can instead build a mix with the sends, and use the inserts for direct ‘more me’s’ and use all sixteen converters for audio. I’m digging it.”

Apart from the functions, the customizable 500 Series inputs allow The Casino to create its own unique sound. “I like that I can utilize the 500 Series slots on the program bus, while still using the input channels. So far, to be honest, I like everything about it.”

Since installing the BOX, Masse has put the final touches on singer/songwriter Rayland Baxter’s second album, and is currently mixing alternative artist Mikky Ekko’s record. He is also ready to record the second country music album Charlie Worsham. The versatility of the BOX helps meet the needs for each unique artist, and allows Masse to utilize the space he needs to record and grow. “I like that it’s a console, and not a console.”

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

Symetrix Jumps Into Space-Age Sound and Control at Manhattan’s Intrepid Sea, Air & Space Museum

NEW YORK, NEW YORK – AUGUST 2014: Space Shuttle Enterprise was the first reusable spacecraft ever built in the United States, and the extensive prototyping and experiments that it underwent led directly to the construction of space shuttle Columbia and the rest of NASA’s fleet. After the retirement of the space shuttle program, NASA awarded Space Shuttle Enterprise to Manhattan’s Intrepid Sea, Air & Space Museum, where it was installed after a much-publicized NYC flyby and Hudson River barge ride. Leo Garrison, senior integration specialist at Metro Sound Pros, designed and installed a flexible sound reinforcement system for the museum’s purpose-built Space Shuttle Pavilion using the cost-effective Symetrix Jupiter 8 DSP with smartphone-based control provided by Symetrix ARC-WEB. Unfortunately, Hurricane Sandy badly damaged the pavilion a few short months after it had opened to the public, but the Intrepid Museum rebuilt the exhibit with several improvements, including a second Symetrix Jupiter 8 DSP for expanded functionality.

Garrison used the Symetrix Jupiter 8 hardware, which has eight inputs and eight outputs, together with the Priority Zone Mixer #1 App, which automatically configured the Jupiter hardware for routing and processing needs of such a system. “The Symetrix Jupiter DSP delivered a lot of processing power at an affordable price,” said Garrison. “The budget was very tight, and the client selected powered loudspeakers that required a lot of the Jupiter’s processing capabilities in order to sound properly tuned.” The museum’s AVP of technology opted to rely on Symetrix’ robust ARC-WEB Internet-based control, with one Symetrix ARC-2e wall panel remote for backup. Garrison custom designed the ARC-WEB interface just as he would a hardware ARC interface and gave the museum the ability to select different input sources in the Pavilion’s entryway and in the Pavilion itself.

The original Symetrix Jupiter 8 hardware survived Hurricane Sandy, which collapsed the inflatable dome due to loss of power. Because the museum had to start over again, they had the opportunity – unwelcomed as it was – to redesign the exhibit with knowledge of what worked and what could have worked better,” said Garrison. The second Symetrix Jupiter 8 was added to the system and also uses the Priority Zone Mixer #1 App. One analog output was dedicated to feed into the first unit’s priority input 1. That allows single source material from the second Jupiter to feed the entire exhibit, when desired. Together, the two units possess sixteen outputs, with roughly half feeding audio induction loops for assisting the hearing impaired. For day-to-day use, different zones loop zone-specific audio, such as recordings of radio transmissions between NASA ground control and Enterprise during test flights or educational movie content.

ABOUT SYMETRIX Symetrix is dedicated to making life sound better. As a world leader in the development and manufacturing of digital audio signal processing (DSP) systems and accessories, Symetrix provides best in class audio management solutions to businesses, schools, non-profits and government organizations.

For more information on Symetrix products visit www.symetrix.co

SSE Audio Group Adds HARMAN Soundcraft Vi3000 to Extensive Inventory

Chris Courtney mixing monitors for Travis at the Isle of Wight Festival with SSE’s new Soundcraft Vi3000.

POTTERS BAR, United Kingdom – HARMAN Professional has announced that SSE Audio Group has been appointed a Soundcraft Vi Select Dealer, and immediately purchased one of the first Soundcraft Vi3000 digital consoles off the production line, sold through HARMAN’s UK distributor Sound Technology.

SSE Sales Director, Alex Penn, confirmed, “We have a long history with Soundcraft’s Vi Series. We saw the Vi3000 for the first time at Frankfurt Prolight & Sound; it sits neatly between the Vi1 and Vi4 and offers many new features, which will secure the longevity of this series, which has always been popular with engineers.”

Marking a massive technological upgrade to the groundbreaking Vi Series, the Vi3000 offers many advantages, including the much-requested access to Universal Audio’s plug-ins via Soundcraft’s Realtime Rack plug-in engine—both points picked up on by Penn.

“The Realtime Rack can also be used with our existing Vi6 inventory,” Penn continued. “We have a pool of sound engineers who are existing Vi users and it will be useful to let these guys know about the new facilities on offer with Realtime Rack.”

“We also see a lot of potential in SSE sales and installations for the Vi3000, with its very competitive price point and new facilities,” Penn added. “This is the first time a large-format Vi control surface has been available to the market at this level and the Vi3000 will integrate very neatly and cost-effectively into venues with existing analogue infrastructure via the I/O on the back of the surface. Onboard MADI and Dante interfaces as standard are also a huge bonus as well as upgraded DSP and new graphics.”

SSE’s Vi3000 had had its first major outing at the recent Isle of Wight Festival where it was used by SSE regular Chris Courtney to mix monitors for Travis. Courtney had previously used a Vi6 for the band, but for this festival run, the reduced size and lack of rack requirements made the Vi3000 a more attractive proposition.

For more information on SSE, please visit www.sseaudiogroup.com

For more information on Sound Technology, please visit www.soundtech.co.uk

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

DPA Microphones Capture The Kyteman Orchestra

Front of House engineer Sjoerd Terpstra used a selection of DPA microphones to capture the unique sound of the Kyteman Orchestra when they played six concerts at the Utrecht Tivoli in Holland recently.

The concerts, which took the form of elaborate jam sessions, were all multitrack recorded for subsequent mixing and broadcast on the internet.

“Our aim was to create a library of completely original Kyteman material,” Sjoerd Terpstra says. “None of the songs were written in advance – they were all improvised on the spot.”

Founded by Colin Benders (aka Kyteman), the Kyteman Orchestra plays a mixture of hip-hop, opera and jazz laced with melodies and raw beats. Its first album, The Hermit Sessions, was released in 2009 and was a great success in the Netherlands where it reached the top five of the Dutch Album Charts and sold over 75,000 copies.

Sjoerd Terpstra, who has been working with Kyteman for the last five years, says he chose DPA microphones for this project because he knew they were capable of delivering studio quality from the live stage. The microphones were supplied by Amptec, DPA’s distributor in the Netherlands.

“There are approximately 18 musicians in the orchestra,” Terpstra explains. “We used a lot of DPA d:vote 4099™ Instrument Microphones on strings and horns, a d:dicate 2011A on the drums and percussion and a set of d:screet 4061 Miniature Microphones on the upright piano because they sound amazing, especially at low noise levels. One of the snare drums initially gave me a lot of trouble because it was so low pitched and I just couldn’t get it to sound right, but eventually I used another d:vote 4099 and then it sounded great. The d:vote could handle the low pitch well and gave me enough ‘snap’ to make it cut in the mix.”

Terpstra adds that the d:vote 4099 Instrument Microphones were especially useful because they were able to deliver very isolated sound.

“We were recording on an exceptionally cramped stage so this was an important feature,” he says. “The isolation they achieved gave me tons of possibilities in both the FOH and studio mixes.”

With the latest Kyteman Orchestra project now completed, Sjoerd Terpstra is now working with a number of bands from the Middle East.

“I am hoping to use DPA microphones for some of those projects, too,” he says. “I am always happy with the results I get from DPA so have no hesitation in recommending them to all the bands I work with.”

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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 provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all 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, please visit www.dpamicrophones.com

Clay Paky Shotlight Washes Rock at Back-to-Back Outdoor Concerts

Clay Paky Shotlight Wash fixtures really rock. In fact, they took to the stage for two back-to-back concerts in May: the MMR*B*Q, the annual show from Philadelphia rock radio station 93.3 WMMR where Rob Zombie headlined, and the WRFF-FM Seventh Birthday Show where Foster the People headed the bill.

John Duncan of Pinpoint Lighting, the festival lighting designer for both shows, says the same rig stayed in place for MMR*B*Q and WRFF’s Seventh Birthday Show at the outdoor Susquehanna Bank Center in Camden, New Jersey. Ten Shotlight Washes obtained from Main Light Industries in Wilmington, Delaware were mounted on the downstage truss for the shows.

“The rig’s overall design was a standard festival plot,” he says. “It’s just that every year everyone wants it brighter. So the Shotlight was perfect for this application.”

Clay Paky’s Shotlight Wash combines a 1500W discharge lamp wash light and a 3000W Xenon lamp strobe in one device. The two wash/strobe functions are perfectly integrated and can be operator-controlled with either simultaneous or separate operation and special effects. The strobe function is provided by two semicircular Xenon lamps working independently so they can flash together or separately at different frequencies.

The wash light section features an optical unit with extremely high luminous efficiency; an 11º-74º electronic zoom; an array of filters; a hybrid dimmer; and three-phase pan/tilt motor for perfectly silent operation.

Duncan had previously used Shotlights on an indoor show and found that he could “wash the entire stage with just four of them. They were really bright, and I needed something big, bad and bright for the back-to-back festivals.”

John Bailey, the lighting designer for Rob Zombie, was initially supposed to use another light as a “good front light” for the singer. “But when I heard the Shotlights were going to be used, I was happy. I was very glad to see a bigger lamp. Ten on the downstage truss was more than enough.”

For Rob Zombie’s act Bailey ran four 9×12-foot scrims with images on them around the stage. “It took only two Shotlights to wash all that for me,” he reports. “They were really perfect for this type of thing. My color palette for Rob is very saturated, and these lights mixed them really well. I was also very impressed with the strobes.”

Duncan says the Shotlight Washes performed “excellently” for the duration of both rock concerts. “We didn’t have one problem with them.”

Bailey calls the fixtures “really amazing” and says, “I look forward to using them again.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “The Shotlight’s brightness combined with the innovative effects seemed perfect for this application and I’m glad they could function so well for these great lighting designers.”

A.C.T Lighting is the exclusive North American distributor for Clay Paky.

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