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Archive of the Product Applications Category

White Mark Designs A New Foley Studio At Moscow’s CineLab

Studio design consultancy White Mark Ltd played an important role in creating a new Foley studio for Russia’s state of the art film sound facility CineLab Ltd. Unashamedly designed to be the best in the world, CineLab’s Foley studio is already attracting projects from both local and international clients.

Based in Moscow and housed in a completely renovated former cold store building on the banks of the Moskva River, CineLab already has 14 studios including three dubbing theatres, a 5.1 mixing room for pre-mixes and TV/DVD work, multiple edit and pre-production suites and sound design rooms. Three of CineLab’s dubbing theatres have Dolby Premier Licenses, and one of these was recently upgraded by White Mark to Dolby Atmos 3D spec.

The facility’s new Foley studio was designed to cater for two very distinctive approaches to Foley recording, says CineLab’s Managing Director Vadim Nerukov.

“Some Foley artists want to close mic everything and then add effects, compression, reverb, etc. afterwards in the control room,” he explains. “Others prefer a more ‘naturalistic’ approach where they use the space and air in the room and real reflections from the walls. In our opinion neither approach is the best – they are simply different. We wanted a room that could cope with both.”

To achieve this result, White Mark worked closely with internationally acclaimed and award-winning Foley artist and sound designer Nicolas Becker, whose credits include Harry Potter and the Goblet of Fire, The Ninth Gate, The Pianist, Oliver Twist, The Ghost and Venus In Furs, all directed by Roman Polanski.

White Mark’s managing director, David Bell says: “We designed and built the room from scratch, including every conceivable kind of indoor and outdoor surface. We also incorporated motorized ceiling panels and wall curtains that can be used to modify the room acoustics, and a special floor mounted on acoustic pads that can be tuned to different frequencies by tightening or loosening screws.

Bell adds that White Mark obviously included a conventional control room in its design but after speaking to Becker and watching him work, the company also positioned an additional mixing and recording area in the centre of the live room with a line of sight into each of the studio’s four working zones.

“This dedicated space allows the artists like Nicolas who prefer to work naturally to move around the studio and create sounds to the picture in real time,” David Bell says. “The picture is projected onto screens and the engineer working with him has five microphone positions at his disposal and can literally mix live, building up each scene, sound by sound.”

White Mark installed a 5.1 surround sound system in the Control Room, while the live room, which has four screens in different positions, has a theatrical-style loudspeaker system (Left-centre-Right) behind the main screen. This allows the Foley artist to work to picture and hear exactly what a cinema audience will ultimately hear.

Naturally the studio is filled with props and devices to create new sounds – and there is a dedicated large storage room with a car access dock so that bigger props can be brought in.

“This is, without doubt, the most impressive Foley room I’ve ever seen – and certainly the most impressive we’ve ever built,” David Bell adds. “Of course, having carte blanche to create something special did help – as did the fact that CineLab was effectively built from the ground up so we could incorporate features like the very thick cast concrete floor, incorporating deep pits and water pools of different depths, and the loading dock very early on in the design process.”

Vadim Nerukov says that completing CineLab’s Foley studio involved the most innovation in terms of ideas, design and workflow.

“As our design partner, White Mark has achieved great results with all of the rooms in the facility,” Nerukov says. “In our view they are the best acoustic design company on the market and we’re thrilled with the Foley room – it is quite simply magnificent.”

Recent projects undertaken at CineLab include the mix for the feature film Stalingrad, carried out by Vincent Arnardi, and the mix for Viy, carried out by four times Oscar winning sound engineer Bob Beemer. CineLab has also recently completed the Russian dub of The Amazing Spiderman 2, one of the first projects to take place in its newly accredited Dolby Atmos theatre.

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About White Mark:

Established in 1997 by David Bell, John Dunnill, Derek Buckingham and Alan Cundell, White Mark Ltd specialises in production facilities for music recording and the film and television industries. Over the last fifteen years it has designed and supervised the construction of over 500 production suites worldwide. The company’s impressive client list encompasses some of the world’s most famous music recording facilities including Peter Gabriel’s Real World Studios in the UK, Germano Studios in New York, Hit Factory/Criteria Recording Studios in Miami, Strongroom in London and private studios for producers and musicians such as William Orbit and Damon Albarn. In the area of audio post production, White Mark has completed over 140 audio studios and many broadcast and video editing facilities for more than 60 companies in Soho alone. The list of clients includes Grand Central, Hackenbacker, Envy, De Lane Lea, Scramble, Lipsync, Molinare, DeLuxe, 750mph, NBC/Universal, Wave, Unit and Boom. Advertising agency clients include worldwide facilities for Hogarth International and AMV/BBDO on four continents.
www.whitemark.com

SCOTT PETITO PRODUCTIONS ADDS A 1608 CONSOLE “THE BEST PIECE OF GEAR FROM API”

WOODSTOCK, NEW YORK – JULY 2014: Musician, audio engineer, and studio owner Scott Petito has roots in the jazz and acoustic genres that go back to the early 1980s. His studio, Scott Petito Productions, has worked with major acts including James Taylor, Keith Richards, Pete Seeger, Bela Fleck, and Brian Setzer. In an effort to return to his roots in analog recording, Scott consulted Alto Music in Middletown, New York, who directed him toward an API 1608.

“It’s the best piece of gear I have ever used from API,” said Scott. “I have mixed on the Vision and Legacy consoles, as well as several vintage consoles. This has that same sound, but in a compact, simple and reasonable affordable design. It’s new, reliable, and has a great warranty.” The console has 24 channel inputs and 32 slots, providing over 48 reruns from Pro Tools. “It quickly became clear that it’s the only choice for uncompromising analog sound, and a familiar character and layout.”

With a degree from Berklee College of Music and countless hours in the studio, the sound generated by the 1608 is held to a high standard by Scott. “I already can feel and hear the added depth and dimensionality. It makes it easier to get what I want, I use fewer plug-ins, and being a smaller footprint the short signal path is always pristine and clear. It also has great headroom.”

Also among his favorite features and functions, Scott appreciates the Channel Strip and lunchbox implementation. “It lets me keep a lot of flavors on hand. The routing is wonderful. We have everything coming up on the patchbay.”

Scott and his crew wasted no time in getting to know the capabilities of the 1608. “The first session even before everything was wired to the patchbay or furniture was installed, we recorded a new album with Tony Levin, the bassist for Peter Gabriel and King Crimson among others. It’s turning out great! We are now mixing it.”

Next, the new 1608 will be used to mix the new album from Mercury Rev, whose fourth studio album Deserters Song was voted as one of the top twenty most influential albums of the last twenty years by Mojo Magazine. Scott will also use the new console to mix a new album of his own.

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

Reach Communications Adds NEXO STM Line Array To Arsenal

BUENA PARK, Calif.—Reach Communications of Minneapolis, MN has added a new NEXO STM line array to its already impressive stable of NEXO boxes. “We researched NEXO, L’Acoustics, d&b and others for boxes having a high 145+db peak output per box, to use as a large format line array for our bigger shows, states Dan Brown, Event Services Manager, at Reach. Having had a long history with NEXO and owning 130+ boxes in house before this purchase, we felt with our current inventory and amazing support from NEXO, this was the obvious option.” With the addition of the STM, Reach now owns 192 NEXO boxes, and 34 NXAmp 4×4 and 4 NXAmp 4×1 amplifiers.

So far, the NEXO STM rig has been used on Unite – NDOP 2014 and the KTIS Joyful Noise Family Festival 2014. NDOP included Hillsong United and a local Unite house band. KTIS Joyful Noise acts included Lincoln Brewster, Mercy Me, Tenth Ave North, Steven Curtis Chapman, Audio Adrenaline, Mandisa, and Hawk Nelson.

“The output and sound quality is incredible and very accurate, says Brown. We have had engineers comment that the STM rig has headroom for days and I barely had to do anything to the EQ! We wanted a system that would give engineers a clean canvas to mix on and headroom to handle the largest venues, and STM provides that.”

For NDOP 2014, the NEXO layout consisted of 12 STM M46 boxes and 12 B112 bass per side, 8 GEO S12s per side for outfill and 9 GEO S12s per side for rear fill. 8 STM S118 subs were used left and right with 8 RS18 spread across the center, and 8 PS10-R2s provided front fill. For Joyful Noise, the NEXO layout consisted of 12 STM M46 boxes and B112 bass per side, 12 GEO S12s HL used for outfill, 5 GEO S12s HR for outfill, 16 GEO S12 used for delays – 8 left and 8 right, 16 NEXO STM S118 subs – 8 per side in Cardioid configuration, 18 RS18 ray subs spread across the center in stacks of 3, and 8 PS10-R2 for front fill. The monitor rig for Joyful Noise included 10 PS15-R2 wedges, 2 PS15-R2 and 2 RS18s for side fills, and 2 RS15 used for drum subs. 14 NEXO NUAR racks powered the system.

“Reach Communications rig was my first experience with the NEXO STM, and it was incredible! states Lee Fields, front of house engineer for Lincoln Brewster. The horsepower of this PA is remarkable. From the second I started mixing until the last note, I was blown away by the punch of the LF and smoothness of the HF. This is Seriously the muscle-car of PA’s.”

For Unite NDOP, Reach provided two Yamaha CL5 digital audio consoles, one at front of house and one for monitors and a PM5D-RH for the house band monitors. A Yamaha CL5 was used at FOH and PM5D-RH at monitors for Joyful Noise. Reach also used the new Yamaha QL1 digital audio console for playback and announcements.

Additional audio gear supplied by Reach included Sennheiser 2000 IEM, Shure UHF-R, Shure, Sennheiser, Beyer, AT mics and Radial, Countryman DI’s. Lighting included Vari-Lite VL3000 spot, VL3500 spot, Martin MAC Aura, MAC 101 – Atomic 3000, ChromaQ colorforce 48, Chauvet 230SR Beam, GrandMA2 light. Video consisted of Hitachi HD1000 camera, Ross Carbonite 2ME switcher, Ross Router, AJA KiPro recorders.

For more information on Reach Communications, visit www.reachcomm.net.

For more information on the NEXO STM line array, visit www.yamahaca.com.

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About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

Mitsubishi Electric’s Diamond Vision Division Depends on Reliable Lightware Routers for Failure Control of Stadiums’ LED Screens

The Diamond Vision Systems of Mitsubishi Electric Power Products Inc. (MEPPI) has a big picture perspective of what Lightware Visual Engineering’s matrix routers offer the company’s stadium clients from coast to coast. Lightware USA is the US distributor for Budapest-based Lightware Visual Engineering products.

“Our primary application for Lightware is failover control” for the 15×58-foot LED “hustle boards” at the corners of stadiums, says engineering manager David Corathers. “We’ll put a big switcher on the front end [of our LED screens] with outputs for primary sources. But we also have to be able to patch different sources and need the routers in there for back up.”

Corathers has deployed an array of Lightware routers for the large LED screens at the homes of the Seattle Seahawks and Buffalo Bills. “The stadiums are installing new screens and upgrading all their systems,” he explains. “It’s often a case of having to support old and new screens, although Buffalo has all new stuff. We have a Lightware MX8x8DVI-Pro in there; another phase of the upgrade will require another 8×8. We’ve also been using 16x16s and the 4x4s and 4x8s for smaller projects.”

Lightware MX8x4DVI-Pro and MX8x8DVI-Pro is an 8 input 4 output or an 8 input 8 output DVI matrix router, switching all DVI-D resolutions from 640×480 @ 60Hz to 1920 x 1200 including all HDTV resolutions: 720p, 1080i, 1080p, 2048 x1080. All inputs have a unique cable equalization circuit which allows using up to 50 meter cable. All outputs drive 500 mA power on DVI +5V pin to power fiber optical DVI cables.

MX8x4DVI-Pro and MX8x8DVI-Pro contain an Advanced EDID Management system; EDID monitor identification data determines the native pixel resolution and refresh rates for connected computers. The user can emulate any EDID on the switcher’s inputs independently, read out and store any attached monitor’s EDID in 100 internal memory locations, and upload and download EDID files using the Lightware Matrix Control Software.

Corathers says Lightware products score high in reliability, ease of use and cost-effective pricing. “They offer good reliability at a reasonable price. We’re always looking for the best value for our customers, and the Lightware products do just that.”

About Lightware USA

With the flexibility of the Lightware product line, the Lightware USA team is able to assist with the design for some of the highest performance systems in the world. Router sizes ranging in size from the robust UMX4x4-Pro up to the impressive 160×1602 5G give Lightware USA the edge over the competition when it comes to routing multiple video sources to the ever changing variety of displays in the industry. Their array of solutions for extending the highest of resolution video formats including 4K and 3D over Cat or Fiber also set the product line apart from that of other manufacturers.

For more information on these products, visit www.LightwareUSA.com.

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Setla Film Productions Improves Location Shoots with Zylight F8

LOS ANGELES – A trained paramedic, Thaddeus Setla stumbled into a career in video production about 13 years ago, when he started producing short training videos with a consumer camcorder. These days, his San Francisco-based company, Setla Film Productions, is focused on high-end productions for the Web.

“I saw a need,” he recalled. “I realized I could impact more lives through video production than one patient at a time in the back of an ambulance. As technology and editing software improved, it allowed me to create more professional products.”

Setla travels the world visiting healthcare providers to produce Code STEMI, an online documentary series on http://CodeSTEMI.tv. “That’s where our audience is,” he explained. “They don’t have the money to travel and visit other EMS systems, so it is my goal to share that knowledge and experience with our audience.”

With his industry knowledge, Setla can ask pertinent questions to help EMS professionals share stories and procedures in an effort to improve patient care. It is his dream job, but Setla does face challenges on location, particularly with equipment. He shoots with two Sony F5 CineAlta 4K cameras, but has limited crew (when he’s not working as a one-man-band) and does not have the manpower to transport excessive gear and accessories.

Late last year, he completed shoots in Raleigh, N.C., and Phoenix using his new Zylight F8 LED Fresnels. The lightweight F8 means he can leave heavier C-stands at the office, and the light collapses to less than four inches thick for easy airline transport. “The whole goal is to have compact, dependable equipment,” Setla said.

While less bulk in the travel kit is a plus, performance and flexibility are Setla’s most important factors in the field. With little or no location scouting, Setla has to be prepared to light a huge firehouse or a small office. Interview setups on location tend to be quick, about 10 minutes or so, and very little of that time is devoted to setup for the F8. He says the light has worked better for him than 1×1 LED lights he’s used in the past, and appreciates the F8’s integrated battery connection and AC power options.

The 5600K lights have been particularly effective while shooting scenes in the ER, where the installed fluorescent lighting adds a green tint to skin tones. Setla is able to bounce light from the F8 and get “beautiful” skin tones. He has been using his F8s since October, and the results from his recent shoots prompted him to purchase Zylight’s IS3c, a large panel cyclorama and beauty light that can serve as a background color wash light or as a wide soft light.

“The output of the F8 is invaluable,” he added. “It handles better than anything else I’ve ever had. My Zylights are now an essential part of my production kit.”

Available in daylight (5600K) or tungsten (3200K), the F8 has a high CRI (color rendering index) and maintains single shadow traditional Fresnel beam shaping through an eight-inch SCHOTT glass lens. The fully dimmable F8 offers an adjustable beam spread (16-70 degrees), with a patented focusing system for spot and flood operations. Its LED engine with quantum dot technology draws only 100 watts, but has close to the light output of a traditional 1000-watt Fresnel.

ABOUT ZYLIGHT LLC

Founded in 2003, Zylight LLC is the leading manufacturer of intelligent LED lighting instruments for the film and video production industry. Every model in its easy-to-use lighting system produces fully calibrated bright white light, while some also provide a spectrum of adjustable colors without gels. Full wireless control and DMX integration are included, and AC or DC power options are available. The Zylight state-of-the-art LED system is truly the most unique and flexible lighting system on the market today. With more than 50 dealers worldwide, Zylight continues to develop innovative LED lighting solutions to help make your job easier. More Than Bright – Zylight. Find out more at www.zylight.com.

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Christian Worship Center Upgrades with HARMAN’s Soundcraft Vi6 Digital Console

MANTECA, California – The Christian Worship Center in Manteca, California recently purchased a HARMAN Soundcraft Vi6 digital console to better accommodate the Sunday and Wednesday services at its 2,000-seat venue. While most of the Center’s previous equipment was analog, current Lead Sound Engineer Bill Clark relayed how the construction goal was to implement state of the art sound reinforcement gear through digital technology. Hence, the church set stringent design requirements for the new console and with the assistance of San Francisco’s Novo Group and consultant Art Yeap, it was determined only the Vi6 could satisfy.

As a serviceman with 35 years in the U.S. Army, the last 18 in the Army Music Program, Clark is also responsible for the sound reinforcement of his Army unit, the 191st Army Band in Dublin, California. Having experienced Soundcraft as one of his first digital consoles in the past, he appreciates the brand and recommends Vi Series consoles for their channel capacity, rich feature set and cost-to-performance ratio.

Additionally, the Christian Worship Center plans to create a production company utilizing its current platform for theater and music. In order to suit the audio needs of artists and actors, the owners required a well-polished MADI implementation of the new console. The Vi6 can more than provide for this need, as Clark recently demonstrated with the recording of two albums so far.

“We wanted to do a lot of things with our new console, and we went with the Vi6 because it’s superior in many ways,” said Clark. “Whether used for touring or fixed installation, from a safety and logistics standpoint, it cuts the weight and equipment count by so much, allowing us to replace all those equipment racks with onboard features. With regards to capacity, we never reach the limit with our 64×32 mono-outs, despite having a big worship team of eight vocalists, a full-sized band with a horn section and 18 channels of wireless handhelds and body-packs.”

All the feeds are routed into a PC, which gives Clark the ability to come back later and audit the mixes. As an additional benefit, this allows him to train new volunteers more efficiently, leading to more consistent operations of the intuitively designed console. For example, training a student who is obtaining a Bachelor’s degree in music production was as easy for Clark as training his own son, who has had limited sound engineering experience.

“Not only does the console run continuously with no problems [I’ve tested it multiple times on 16 hour runs non-stop], it sounds great!” said Clark. “There are a lot of subtle things that my ears don’t hear anymore, but with a digital signal path, the marvelous compressors and the onboard effects, I can definitely hear the improved clarity. Frankly, it all sounds nothing short of astounding.”

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

HARMAN Distributor Audiopole Brings Studer Vista X to French Market with Paris Launch Event

PARIS, France – In an event dedicated to educating loyalists and potential customers alike, French distributor Audiopole recently showcased the revolutionary new HARMAN’s Studer Vista X and its Infinity Core technology in Paris. Held at the restaurant Archibald in Paris, Jean-Philippe Blanchard of Audiopole presented the Vista X and Infinity Core to more than 50 end-users and journalists in attendance.

The Studer Vista X console is truly the first of its class in broadcast sound mixing. By using aviation-standard system redundancy that takes advantage of four processors and two independent DSP cores with instant change-overs, this console is able to overcome failures evident in conventional TDM-based systems. While it borrows previous Soundcraft/Studer technologies such as VistonicsTM touchscreen and FaderGlowTM channel illumination, it also delivers a mind-blowing 800+ audio channels and 5,000 inputs and outputs, all with superb sonic quality.

“As this is the first public presentation of the Studer console and the Infinity Core in France, we are proud to officially present this new technology to the thriving French broadcast market. France is really one of the main European markets for Studer, we have already sold over 100 Vista consoles in France and we hope to sell many more,” said Blanchard. “At this event, the end-users and network broadcasters in France were able to get their hands on the console they have been waiting for. By offering huge capacity and processing power that integrates well with existing infrastructures, the Studer Vista X is engineered to the highest standards of the industry and is a true reflection of the services that we provide. Our customers were also able to check the new software version for Vista 1, which now includes Lexicon effects as well as the features of the Vista Remote Bay.”

Studer European Sales Director Karl Chapman also attended the event. “We have had terrific feedback from our customers here in France and elsewhere around the world,” he said. “The Vista X and the Infinity Core is an exciting step forward in technology that offers our customers even greater flexibility and resilience when designing system solutions.”

For more information on Audiopole, please visit www.audiopole.fr

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.

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Positive Reinforcement: CTS Audio Adds More Than 100 HARMAN JBL VTX Series Line Array Loudspeakers to Its Tour Sound Inventory

FRANKLIN, Tennessee — Sound contractor CTS Audio was one of the first adopters of HARMAN JBL’s flagship VTX Series line arrays and it’s safe to say they’ve liked what they heard—the company just purchased more than 100 more of them. CTS Audio added a total of 108 V20 line array loudspeakers to its inventory, plus another eight V25 loudspeakers and a bevy of VTX F Series F12 loudspeakers.

While Franklin, Tennessee-based CTS Audio had used the V25 arrays at a number of high-profile events in the past year, the company put the V20 to the test for the first time at the recent 2014 K-Love Fan Awards, held at Nashville’s Opry Hotel and featuring the biggest names in Christian music including Michael W. Smith, Steven Curtis Chapman, Amy Grant, Scott Stapp, Sidewalk Prophets and more than 40 other artists.

“Based on our experience with the VTX Series V25 and S28 subwoofers, we didn’t think we were going out on too much of a limb with the V20’s, which we were interested in for their smaller size and which would give us a more flexible loudspeaker inventory that would be adaptable to a wider variety of venues,” said Mike Taylor, Vice President at CTS Audio.

Nevertheless, it was definitely a case of “try before you buy”, and Taylor and his team flew out to the JBL headquarters in Northridge, California to give the V20 an audition. Taylor was hoping to hear big sound from a more compact loudspeaker–and was floored. “We listened to six of the boxes from 200 feet away and were amazed at how much clean, powerful sound the V20 put out.”

For the K-Love Fan Awards, CTS flew 10 deep V20 arrays over four S28 subwoofers on each side of the stage, complemented by two F12 speakers per side for outfill. The loudspeakers were driven by 24 Crown I-Tech 12000 HD amplifiers, and CTS used JBL HiQnet Performance Manager™ for system setup and control. “We’ve used the Crown amps with the V25 line arrays and Performance Manager on dozens of events, so the transition to the V20 was pretty close to effortless in terms of setup and calibration,” Taylor said.

“The sound we achieved was stunning, absolutely stunning,” Taylor added. “The headroom with the V20s is really impressive and a marked step up from other loudspeakers that we’ve used in the past.”

Taylor noted that in fact, they never came anywhere close to hitting the limiting for the system, and the V20 exceeded their expectations in its ability to fill the Opry with even coverage from the front to the back of the hall, with a smooth tonal balance and impressive dynamics and presence.

Taylor and his crew also appreciated the V20’s smaller size that makes it easier to fly, load in and load out. “It’s just a really well thought-out design,” he concluded.

For more information on CTS Audio, please visit www.ctsaudio.com

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.

WorldStage Supports TIME 100 Gala with Sound Reinforcement and Video Presentation Technology Services

TIME celebrated the publication of the annual TIME 100: The Most Influential People in the World at a gala at Jazz at Lincoln Center where WorldStage provided sound reinforcement and video presentation technology services for Empire Entertainment, Inc., which produced the glittering event.

Coveted spots on the TIME 100 list this year were filled by Beyonce, Google’s Eric Schmidt, director Alfonso Cuaron, Robert Redford, Amy Adams, transgender actor Laverne Cox and media mogul Rupert Murdoch. Honorees Pharrell Williams, Carrie Underwood and Seth Meyers entertained the guests.

“Our company has a strong history with the team at WorldStage and work closely with them,” says Melissa Gold, Senior Producer at Empire Entertainment. “WorldStage was instrumental in making everything work within the space and within the budget at the TIME 100 gala.”

Visual imagery filled a number of roles during the evening. “We used video content on plasmas to display content throughout the night, like moving wall paper,” Gold says. “During the show two of the monitors did a show feed for overflow guests who were not in the main room.” Video content looped later in the evening when a DJ performed in the atrium.

WorldStage furnished three Sony HXC-100 video cameras, a FOR-A HVS 300 video production switcher, and AJA Ki Pro digital recorders for ISO and PGM. Four Christie HD 10K-M video projectors displayed onto a pair of 9×16-foot screens on stage. Video playback was facilitated using DT Labs Playback Pro on iMac computers.

The biggest challenges were posed by the performances of Williams and Underwood. “Each act had a significant amount of equipment on a single stage with little TIME or space to facilitate turnover,” says Tony Rossello, director of events and venues at WorldStage. “We liaised with artist management to incorporate their specifications and design an effective sound reinforcement system appropriate to the event space.”

Audio gear included Yamaha CL5 and PM5D consoles and DiGiCo SD7 consoles for FOH and monitors; Shure X and UR band wireless mics; and a Riedel digital intercom system.

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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Riedel Provides A/V, Data, and Communications Solution for 2014 Red Bull Air Race World Championships

WUPPERTAL, Germany — July 1, 2014 — Riedel Communications, a leading provider of real-time video, audio, data, and communications networks, today announced that the company’s equipment is enabling flexible and reliable signal transport and communications for the Red Bull Air Race World Championship season that started Feb. 28 in Abu Dhabi. The series continued on to Rovinj, Croatia on April 12 and then to Putrajaya, Malaysia on May 18, and makes several more stops before finishing in China in November. For the first three races, the state-of-the-art solution supplied by Riedel not only supported wired and wireless communications among the more than 300 people — from pilots to security to referees — involved in the race, but also facilitated distribution of video and audio for production of both the live show and the international broadcast and Web stream.

The Red Bull Air Race World Championship is renowned as the fastest and most exhilarating motorsport series on the planet, and it has become a visual spectacle unlike any other. A combination of high speed, low altitude, and extreme maneuverability make it only accessible to the world’s most exceptional pilots, who this year will compete in eight races across the globe for the title of 2014 Red Bull Air Race World Champion. During each race, pilots navigate an aerial racetrack featuring air-filled pylons in the fastest possible time, incurring as few penalties as possible.

For this remarkable event, Riedel engineers built a signal distribution infrastructure for video, audio, communications, and data with the MediorNet real-time media network comprising seven MediorNet Compact frames and three MediorNet Modular frames. Technicians interfaced audio signals via MADI and Riedel’s RockNet digital audio network solution in combination with MediorNet to integrate the event’s main mixing console, located in the OB van that provided the big-screen mix for the live audience. Riedel also supplied the wireless video links and HD cameras for the racing planes’ onboard cameras, thus enabling stunning pictures to be delivered from the pilots’ perspectives.

Using MediorNet as a backbone, a Riedel Artist digital matrix intercom served as the event communications infrastructure. This intercom system, made up of two Artist frames equipped with MADI cards and 20 control panels, was integrated seamlessly with Riedel’s digital trunked radio (TETRA) installation. Two TETRA base stations supported 300 handheld radios to assure full event coverage, and two of Riedel’s RiFace universal radio interfaces allowed another 24 analog radios to be added to the mix. To bridge the distance between the race airport and the event site, Riedel set up a broadband link connecting the two via trunking over IP.

“Riedel often works at the cutting edge of live sports and entertainment productions, where clear communication and reliable, flexible signal transport are essential to a safe, successful, and exciting event,” said Yungmin Lee, project manager at Riedel Communications. “We’ve been involved in other groundbreaking Red Bull events and look forward to a great season working on the 2014 Red Bull Air Race World Championship.”

Further information about Riedel and the company’s products is available at www.riedel.net. For more information about the Red Bull Air Race visit www.redbullairrace.com

# # #

About Riedel Communications
Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro audio, event, sports, theater, and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fiber backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Founded in 1987, the company now employs more than 400 people at 11 locations in Europe, Asia, Australia, and the Americas.

All trademarks appearing herein are the property of their respective owners.

Photo Link: www.wallstcom.com/Riedel/Riedel-RedBullAirRaces.zip
Photo Credit: Red Bull Content Pool (www.redbullairracenewsroom.com)

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