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Archive of the Product Updates Category

DANLEY EXPANDS LINE OF OS “OUTDOOR SERIES” FULLY-WEATHERIZED LOUDSPEAKERS

GAINESVILLE, GEORGIA: Danley Sound Labs, maker of innovative loudspeakers and subwoofers, announces the expansion of its OS “Outdoor Series” of fully-weatherized loudspeakers, including a new fully-weatherized subwoofer. Although all Danley products are optionally available with level-2 weatherization, which includes fiberglass seams, stainless steel hardware, and protective coatings over all wooden components, the fact remains that those wooden components will have a shorter life span in the elements than they would have had in an indoor installation. In contrast, Danley OS products are constructed of molded plastic with a custom injection molded shell rated to last fifty-years. The cabinet is sealed so the inner components are also protected from harsh outdoor elements. The materials are sourced from within a half-hour of Danley’s Gainesville, Georgia headquarters – a boon for large orders and/or short lead times.

“Like all of our Synergy Horn loudspeakers, the Danley OS-80 sounds fantastic,” said Mike Hedden, president of Danley Sound Labs. “Fidelity is excellent and distortion is remarkably low at all SPLs, and the OS-80 has the same highly-articulated coverage pattern and arrayability for which Danley is known. What sets the OS-80 apart is that its construction and materials make it impervious to the weather, for years and decades to come. Our local sources and molding machinery make it easy for us to turn over large Outdoor Series orders on short notice. Moreover, the molding process itself is very efficient, which allows us to sell the OS products at fiercely competitive prices.”

Soon, the OS-80′s versatile 80-degree conical coverage pattern will be joined by other OS models with a diversity of coverage patterns that will give designers greater flexibility to meet the needs of a range of outdoor situations. These will include the OS-90 and OS-100. In addition, the new Danley OS-115LF subwoofer will extend the bottom end of the OS line and the OS Nano will be the power of Danley in the palm of your hand.

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.

www.danleysoundlabs.com

Yamaha YCATS Training Moves Toward Future In Networking

BUENA PARK, Calif.—Yamaha Commercial Audio Training Sessions (YCATS) is moving in a new direction with their console training programs. This year, YCATS has created two new console classes in order to eliminate the repetition between the CL, QL, M7CL and LS9 seminars as these consoles share many of the same software features. The new classes will initially be held at HB Live during the first week of August, HB Live is sponsoring a CL/QL Series Essentials Class in North Haven, CT and ATR/Treehouse is sponsoring the same class in Warwick, RI.

HB Live, a division of HB Communications will host new sessions Tuesday, August 5th between 8:30 – 5:00 pm at 60 Dodge Avenue, North Haven, CT. For more information, call 800-331-1804. Registration details below.

ATR/Treehouse sessions will be held Thursday, August 7th between 8:30 am – 5:00 pm at the Ocean State Theater, 1245 Jefferson Blvd, Warwick, RI. Complementary breakfast and lunch will be served. For more info, contact ATR/Treehouse at 401-751-3121. Registration details below.

“The new YCATS training direction will be much for efficient and streamlined for our customers,” states Marc Lopez, Marketing Manager, Yamaha Commercial Audio Systems, Inc. “We are improving the YCATS programs for networking and acknowledge that our end user customers operate different Yamaha digital consoles from time to time with many common paradigms between the various models that enables us to improve the efficiency and effectiveness of our training programs.”

Console Operation – Level 1 is for those with little or no familiarity with Yamaha live sound consoles. Console Operation – Level 2, is more of an intermediate to advanced class designed for those familiar with the basic functions of Yamaha digital consoles. This new training format will allow YCATS more efficiency in terms of customer time. It will also reinforce that the software of Yamaha digital consoles is the same, and a user familiar with one should have no problem operating another. Right now, the largest demand is for training on CL, QL, M7CL and LS9; all sharing similar software.

In addition to the new Console Operation Levels, YCATS is adding “Digital Sound Reinforcement – Dante” and “CL/QL Series Essentials”. “DSR – Dante” is a one-day class covering design and use of Dante networks with Yamaha products as well as several third party products (i.e. Shure ULX-D and Aviom D800). “CL/QL Series Essentials” is a class for those who have been trained on the M7CL and LS9 and covers all new features with the CL and QL consoles and the set up of Dante networks.

For an end user looking for more in depth information on a particular console, YCATS has produced an online video series that can be used as a reference. New videos and webinars are on the docket for later this year.

Detailed descriptions of the new classes can be found online at:

Console Operation – Level 1: http://www.yamahacommercialaudiosystems.com/training_class_desc.php?courseID=33
Console Operation – Level 2: http://www.yamahacommercialaudiosystems.com/training_class_desc.php?courseID=34
Digital Sound Reinforcement – Dante: http://www.yamahacommercialaudiosystems.com/training_class_desc.php?courseID=35
CL/QL Series Essentials:
http://www.yamahacommercialaudiosystems.com/training_class_desc.php?courseID=32

Look for the new YCATS classes coming in Chicago, IL; Hayward, CA’ Long Island City/Queens, NY; and Nashville, TN. A full list of locations for this year can be found at: http://www.yamahacommercialaudiosystems.com/training.php?catID=11001.

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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.

Martin Audio MLA Continues Hyde Park Sound Evolution At BST

Proving last year that London’s controversial Hyde Park festival site could be uniquely protected from noise leakage into the surrounding neighborhood by deploying Martin Audio’s award-winning MLA technology, promoters AEG Live adopted a similar solution for this year’s Barclaycard presents British Summer Time Hyde Park festival—but with significant enhancements.

While Capital Sound again deployed MLA and MLA Compact to guarantee coherent site coverage, Martin Audio’s R&D Director Jason Baird, was determined that new optimizations would enable them to eke out as much as an additional 3dB at front-of-house without increasing offsite pollution.

As a result, 102dB(A) was achieved for McBusted, with 73dB(A) recorded offsite, comfortably within the maximum allowable of 75dB(A), while both Tom Jones (during his louder numbers) and Black Sabbath nudged 103dB(A).

Baird explained that the journey to accomplish this had begun three months earlier; with the concept tested and proven on the Glastonbury Festival delay rig the week before.

“We conducted the propagation tests based on what we learned last time around,” he said. One of the key offsite measurement points identified by both Westminster Council and acoustics specialists Vanguardia at Hyde Park was on top of flats in Mayfair’s nearby Upper Brook Street. “When I visited the property last year, I was able to look at the complete spectrum of the signal,” says Baird. “You could hear there was only LF and low mid that was contributing to the A-weighted measurements and we realized that if we could reduce that frequency band we could have a better differential.”

And so his R&D team set to work on the optimization routines across the full frequency range to improve the differential between on- and off-site levels without extending latency––and this trial optimization will in time feature in new data firmware. While Baird maintains that testing will remain ongoing he says the success at Glastonbury gave him the confidence to deploy it on additional arrays in Hyde Park including house left side hang and the two delays nearest to Park Lane.

He describes these early tests and the additional increase of around 2-3dB in max FOH levels over the previous year as “encouraging and significant”.

Capital Sound’s Technical Manager and Systems Designer, Ian Colville, confirmed, “It all worked well and there were no issues with the three arrays we used the new optimization algorithm on.”

His site design replicated last year’s when the stage was reoriented through 30° to point it away from sensitive offsite areas, and included 10 delay towers (in two rings of four plus one ring of two). However, there was one exception. “We dropped a delay position [in Ring 3] which didn’t need to be there because the design of the back of the field changed,” he said.

For the main PA, Capital deployed two hangs of 16 x MLA and 1 x MLD Downfill per side, with 12 x MLA and 1 x MLD Downfill for the sidefills. The sub array consisted of 21 x MLX in a broadside cardioid array, with a further 11 enclosures back facing.

The three delay rings comprised between seven and nine MLA element hangs (supported by MLD Downfill and MLX subs). Ring 3 featured eight MLA Compacts. These were set at distances from the stage of 295, 524 and 688 ft. (for the MLA Compacts). Distance from FOH to stage was 165 ft.

Capital and Martin Audio deployed a team of technical heavyweights, including Chris Pyne, who handles Martin Audio product support for SE Asia and has worked closely with Capital since piloting Kylie Minogue’s mix in the 1990s; Capital had Dave Roden babysitting consoles and the accomplished Toby Donovan once again acting as system engineer while Martin Connolly was the account manager.

With FOH engineers no longer worrying about trading offsite noise pollution with audience sound levels, it meant they could really focus on the mix they wanted and at the same time appreciate the musicality of the system.

One visiting sound engineer Chris Madden (working with Little Mix), had nothing but positive comments. “I used the Martin MLA system about two years ago with Jessie J and I enjoyed it then,” he said. “But I think it was even better this time. It’s a very interesting and remarkable piece of equipment …I didn’t EQ it at all at BST and it sounded great.”

Matteo Cifelli, FOH engineer for Tom Jones, who performed on the final Sunday, was equally effusive. “I was very happy with the results we achieved, the mix immediately sounded just as it was conceived,” he says. “This is the sign of a good cabinet, and also of a well tuned system.”

“I was very pleased with the purity and musicality of the cabinet. I also appreciated the consistency in frequency response at different levels. The sound image was among the best I have ever heard on a large system. Even mixing off center, I could hear all the reverbs and details of my mix clearly and the presence and sweetness on the vocals was great, in your face and never harsh.”

( left to right): Martin Audio’s Jason Baird and Chris Pyne; Capital Sound’s Ian Colville

Summing up Jason Baird says, “What FOH engineers want at festivals is plenty of headroom and not to worry about offsite restrictions. Having reduced the low mid and LF spectrum this year, we’ve been able to further ensure this, and that means the power, depth and definition of the system can also really shine too.”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

Jünger Audio’s IBC 2014 Line Up Delivers Perfect Voice Recording

At IBC 2014 (10.A49), dynamics processing specialist Jünger Audio will show its D*AP4 VAP Voice Processor – a unique unit that is designed to make life easier for engineers working in radio stations, TV production voice-over studios and feature film ADR facilities.

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

For people working in TV voice over and feature film ADR, this facility is a Godsend because it allows them to deal with any changes in a performer’s voice. For example, if a performer has a sore throat on day three of a recording session and therefore sounds a bit different, this clever unit will look at the tonal characteristics of the actor’s voice on day one and automatically adjusts the frequency until both voices match. This ability to deliver consistent sound means that producers save money and time because they don’t have to cancel voice over or ADR sessions while they wait for an actor’s voice to return to normal.

Jünger Audio’s D*AP4 VAP Voice Processor is equally interesting to radio broadcasters who want to create an aural identity for their radio stations. By using similar spectral sound management principles, the unit measures the running program and uses the station master sound fingerprint as a reference. The Spectral Signature algorithm matches all different program elements to this reference signature, thus creating a dedicated ‘station sound’.

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

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

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

For more information about Jünger Audio’s D*AP4 VAP, please visit 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

AGCO Corp. Chooses Christie 4K Projectors for 3D Virtual Reality Powerwall

Agricultural machinery leader AGCO Corporation is using Christie® 4K high frame rate (HFR) projection to light up its 3D virtual reality powerwall at its engineering facilities in Jackson, Minnesota. AGCO installed a Christie-powered virtual reality system at its FENDT Research and Development facility in Germany and, impressed with the system’s results and utility, decided to expand its program to North America. The new powerwall in Jackson utilizes two Christie D4K3560 3-Chip DLP® 4K projectors

The Christie D4K3560 3-Chip DLP® projector features full 4K resolution and 35,000 center lumens running at a high frame rate of 60Hz.

running at 60Hz, with TechViz’ 3D visualization software technology and ART tracking system, to display images of agricultural machine models in stereoscopic 3D onto an 8-feet by 16-feet glass screen. Christie performed the site survey and full design, as well as the integration and installation, providing a “one-stop shopping” solution.

One of the largest manufacturers of agricultural machinery in the world, AGCO is committed to investing in state-of-the-art visualization technology to aid in design and development of farming equipment at its facilities. Using TechViz visualization software brought to life by Christie’s high performance projectors, AGCO engineers can view virtual prototypes of the machines on the wall during the design and development process. This allows them to visualize site lines inside and outside the cabs, take off the hood, analyze HVAC airflow, and carry out overall reviews of the machines. Eventually, they’ll use full automations of running machines to see how they respond to different surfaces and textures.

Improving Product Quality, Reducing Costs, and Encouraging Collaboration
The core functions of the system are to achieve optimal product quality and reduce costs by streamlining product development. AGCO also plans to use the powerwall for manufacturing and assembly training purposes, as well as servicing and marketing, attesting to the versatility and value of the solution.

“The powerwall has become an incredibly instrumental and useful part of our engineering process,” said Joseph Black, senior business analyst, AGCO Corporation. “By reviewing the models virtually we are able to catch interferences, perform clearance checks and fix engineering designs ahead of prototyping, allowing us to create fewer prototypes before the final product is ready. Ultimately, we hope the powerwall will not only help us reduce costs, but build the best farming equipment possible.” The TechViz XL software enables the display of virtual prototypes in real time without data conversion, and the use of a wide range of applications.

AGCO’s new powerwall has also succeeded in encouraging collaboration among employees and divisions by supporting communication through visual presentation. In addition to the individual operating the wall, 3D glasses are available for all of the observers in the room. This allows teams to gather and perform group analysis and work together on innovative new ideas. The powerwall screen, made up of a single sheet of durable glass, provides a much clearer image as compared to soft white screens.

Christie Technology and Service Get the Job Done
“3D visualization technology has proven to be an instrumental tool for engineers and developers, as it allows concepts and designs to be viewed and analyzed like never before. For AGCO, it’s critical for the virtual image to be as representative as possible, optimizing their ability to detect and correct any potential design concerns long before production release,” said Jennifer Smith, executive vice president, Global Market Solutions, Christie. “Offering the highest resolution, highest brightness and highest quality image and video displays available today, the Christie D4K3560 projector is the perfect solution. AGCO can be confident that the powerwall is delivering ultra-realistic images to ensure every detail of the object being displayed can be viewed clearly.”

The Christie D4K3560 3-Chip DLP® projector features full 4K resolution and 35,000 center lumens running at a high frame rate of 60Hz. Built on the Christie TruLife™ electronics platform, it delivers superior brightness, smoother video, and vibrant, life-like images.

“We were so impressed with the Christie D4K35 projectors, running at 30Hz used for the FENDT powerwall in Germany, that when it came time to install the system in Jackson, Christie was once again the clear choice. But with the projectors running at the higher frame rate of 60Hz, we can produce an even better image — a feat that we didn’t think was possible. The visuals look absolutely stunning,” added Black. “The Christie service team did it all for us – not just the overall design, floor plan, and configuration of the powerwall, but also the complete installation.”

Artspace Studio Buys a Prism Sound Titan Audio Interface

Artspace Studio, one of London’s premier boutique recording, has recently invested in a Prism Sound Titan USB multi-track audio interface for its Brixton-based facility.

“Titan was recommended to me by quite a few people, including mastering engineer Mandy Parnell at Black Saloon Studios and Kirk DeGiorgio (aka As One),” explains mixing and mastering engineer/producer, Tom Gillieron. “We thought we’d test one out, and we were amazed! I do a lot of mixdown work for people and they send me tracks that they’ve mixed down ‘in the box’ in Pro Tools, Ableton or Logic. When I compare the mixes I have done through the Titan and then summed on the SSL Matrix, the clarity in the high end is amazing and the stereo image is far clearer and more impressive.”

Studio owner Olsi Rama agrees that the Prism Sound Titan has been the best purchase Artspace has made this year.

“We have used the pre amps a lot because they are great, and we have also used it to clock from our Digidesign 192s,” Rama says. “We have an 8-track 3M tape machine at the studio and sometimes we like to record drums onto that. With the Titan’s fantastic conversion we can get back into the computer really easily without losing the warm analogue sound.”

Artspace is developing a strong reputation as the place to record in London. Artists who have recently worked in the facility include Jamie T, Marmozets, The Severed Limb and Martyn Ware (Human League). It is a mixed digital and analogue recording facility that offers three rooms, including a large live room, the Octagon, billed as a distinctive space ideal for laying down drums and group recordings.

Rama adds that another feature both he and Gillieron like is Titan’s versatile USB connection.

“This is great because it allows visiting engineers to just plug in their laptop with their preferred software and make an immediate connection to our vintage outboard processors without losing any of the detail,” he says.

Gillieron adds: “I have mixed down some tracks that I started elsewhere, on different speakers and on headphones and so on. The Prism Sound unit gave all the projects a bit of a boost – to my ears – which was exciting but also made me listen to them more carefully and mistakes became more obvious.”

For the future Gillieron is looking forward to using the Titan on multitrack field recordings of live musicians, but he’s already impressed with what it has revealed through his current and long-standing audio set-up.

“I have mastered a few tracks using the Titan and I find it’s easier for me to pinpoint unnecessary resonance than it was with what we were using before,” he says. “And I’ve been using the same speakers and amp for about 18 years.”

Gillieron has recently remixed PHORIA and his re-mix can be heard at this link: https://soundcloud.com/phoriamusic/emanate-tom-gillieron-remix

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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 de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

Yamaha CL V2.0 Now Available

BUENA PARK, Calif.—Yamaha Commercial Audio Systems, Inc. has announced the availability of Version 2.0 for Yamaha CL Series Digital Audio Consoles. This most recent update includes enhancements for sound reinforcement applications as well as mix-minus capabilities for the broadcast market, broadening the range of applications where CL Series performance can be advantageous. One significant enhancement in V2.0 is discovery and head amp control for the new, compact QL Series that also inherits CL Series features and performance. A QL console can function as both monitor mixer and I/O rack, for example, while a front-of-house CL console can remotely control the head amp gain of the QL console’s I/O.

Other new features in CL V2.0 include DCA Roll-Out: Channels assigned to DCA groups can be instantly called up to the console faders for enhanced operational flexibility; output DCA enables the Stereo/Mono bus masters, Mix bus masters, and Matrix bus masters to be assigned to DCA groups. Mix Minus, an important feature in broadcast applications is now provided; with one simple operation the signal from a particular channel can be removed from a specified bus.

With Read Only Scene Memory, it is now possible to create read-only scene memories. A new Daisy Chain Insert feature allows two devices to be inserted into one channel or bus for enhanced processing freedom. A GR Meter (dynamics meter) Option within the Channel Name Display will show the Dynamics 1 and Dynamics 2 gain reduction meters in the channel name display.

Future CL updates include built-in Dugan automatic mixing similar to the new QL Series and additional support for broadcast applications.

The CL V2.0 update is available via download from the Yamaha Commercial Audio Systems web site free of charge. For more information on the Yamaha V2.0, 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.

Rui Da Silva invests in a Prism Sound Lyra 2 Audio Interface

Rui Da Silva, writer of international number one single Touch Me amongst many other diverse projects, describes himself as a Producer, Engineer, Beatmaker, Remixer, Writer, DJ and Programmer. He can now add Lyra 2 owner to the list as well, having recently bought one of the audio interface units from Prism Sound.

“I first heard about Prism Sound’s Lyra 2 through a magazine article,” he says. “I’ve been a longtime user of the company’s Orpheus audio interface and have also used the Dream AD-2 converter in the past. The Lyra 2 integrates perfectly in my new setup. Studio space is at a premium and while I still use the Orpheus in my studio in Windsor, Lyra 2 is the right fit for my central London studio and for travelling work. It has sufficient inputs and outputs to be able to run most of my sessions and has a small enough footprint for me to just put it in my backpack.”

For Da Silva, this makes Lyra 2 a ubiquitous tool in his kitbag. He not only used the unit to write, record and mix all of the debut album from Lisbon Kid, but also to record Chloe Howl and much of his latest solo productions and remixes.

“In fact, you can hear it on every single release I have put out in this past year,” he says.

The Lyra family of audio interfaces is proving to be an extremely popular one for Prism Sound. Built from a design brief that demanded Prism Sound quality at an even more accessible price point, Lyra has the same no-compromise analogue front and back ends as its bigger brother Orpheus, with the same fully-balanced-throughout architecture and the same isolation barriers protecting the analogue from digital and computer interference. And it achieves all this in a 2.1kg, 2/3 width, 1U 19in rack mountable unit.

“It has also allowed me to not have a mixer in the studio as I use the Lyra Control Panel instead,” comments Da Silva. “And it allows me to give a separate headphone feed to the singers when we are doing vocals. The latency — even if it is not an absolute zero — is very workable for almost every scenario.”

Da Silva adds that Prism Sound support has been brilliant and staff are ‘a pleasure to deal with’. But it’s the Lyra 2′s portability along with that ‘Prism Sound’ that is the real advantage for him.

“I have to make a long trip to Portugal this year to record some new material for Lisbon Kid and, of course, the Lyra 2 will be in the bag with me,” he says.

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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 de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

Visual Unity Confirms its Worldwide Ambitions at IBC 2014

Leading OTT solutions provider Visual Unity will use the IBC 2014 platform (14.F34) to unveil the latest versions of its Award-winning vuMedia™ multiscreen platform and vuEasy™ Online Video Platform.

One of the most important changes will be the introduction of a raft of new languages to vuEasy™’s administrator user interface, including Chinese, Arabic, Spanish and Russian. This significant upgrade broadens vuEasy™’s international appeal and reinforces Visual Unity’s plans to expand sales into new geographic territories.

“Having recently secured an investment of 7.2 million US$ (5.2 million Euros) from 3TS Capital Partners, we are now able to support the growth of an international customer base for both vuMedia™ and vuEasy™,” says Visual Unity’s CEO Tomas Petru. “Our goal is to be the leading provider of OTT and multiscreen solutions and 3TS’s investment is already helping us to achieve this ambition by enabling us focus on product development and reach previously untapped markets.”

Introduced in 2011 and the winner of the 2012 ConnectedWorld.TV Award for the Best Use of Online Video by a Non-Broadcaster, Visual Unity’s flagship vuMedia™ is an end-to-end OTT platform that allows broadcasters and content owners to control how their brand and assets are managed, delivered and monetized in the multiscreen environment. Highly scalable and flexible, vuMedia™ delivers a cutting-edge live viewing experience on the web or any mobile or connected device. vuMedia™ also enables comprehensive Video on Demand services, social network integration and secures the distribution of content – all of which can be deployed into existing workflows and business processes.

In recent months, Visual Unity has upgraded vuMedia™ so that it now features an improved modular architecture and enhanced API integration for faster OTT integration into existing infrastructures. There is also support for Live Time-Shifting so that subscribers can rewind while watching live broadcasts. This user experience is enhanced with the inclusion of a Timeline Thumbnail Preview (vuMedia™ TTP), which makes it faster and easier for consumers to navigate within streamed content.

vuMedia™ is now fully integrated with Visual Unity’s vuEasy™Cloud-based service that allows Enterprise and Media companies to manage and monetize their audio, video and image libraries. vuEasy™ supports live streaming of up to 4K video and allows graphics and other audio and visual material to be associated with video or audio files, for brand promotion or to generate advertising revenue. Quick and easy to use, vuEasy™ alleviates the need for businesses to build an expensive, in-house and resource-intensive media library, by allowing them to publish their content online.

At IBC 2014, Visual Unity will show a new, white label version of vuEasy™ that gives partners the opportunity to sell the product under their own brand by changing the colours and logos on the user interface. Also new is Multi-level account administration, which allows Visual Unity customers to collaborate on OTT projects, share resources or limit access to specific parts of vuEasy™ to dedicated groups. It also allows vuEasy™ to support different re-seller and seller models and relationships.

Alongside support of live streams that can easily be added into an OTT trough, vuEasy™ also allows customers to record their own live events, include them in their content management systems and automatically published them on VoD portals.

Since first launching its vuMedia platform, Visual Unity has supported video delivery to iOS and Android devices. At IBC 2014, the comany will show a new, native application for iOS devices that enables delivery of VoDs that are DRM protected. This upgrade, which supports Widevine DRM in iOS applications, will give end users and even better experience.

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About Visual Unity

Visual Unity is a global provider of video and digital media solutions, enabling our clients to deliver premium quality video content. Our clients can measure, analyze and optimize their libraries over time and achieve optimal business success. Our platform capabilities inspire our clients to deploy their assets across multiple devices, screens, and media formats. Visual Unity helps clients manage, deliver and monetize their digital content.

Visual Unity is a Multiscreen Solution Provider, bridging the gap between linear broadcast, IT and IPTV to help clients reach and engage audiences on any screen. Since 1991, the team has been designing and delivering turnkey broadcast and complex multiscreen solutions worldwide – from HD outside Broadcast (OB) vehicles and major playout facilities to live internet streaming and Video on Demand services. Visual Unity’s award-winning vuMediaTM platform helps broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment. vuMediaTM is a highly scalable and a modular architecture, delivering a cutting-edge live viewing experience on the web or any mobile or connected device – all of which can be deployed into existing workflows and business processes.

Visual Unity is based in Prague, London, Cologne, Moscow, Bratislava, Belgrade, Nairobi and Dubai. For further information, please visit www.visualunity.com

DK-Technologies Steps Up The DK T7 Game At IBC 2014

DK-Technologies has once again upped the functionality of its competitively priced DK T7 audio, loudness and logging meter by adding Loudness Automation, a software update that is free of charge to existing and future DK T7 users.

On show at DK-Technologies’ IBC 2014 stand (8.E60), this latest upgrade is based on SMPTE timecode and allows the DK T7 to instantly recalculate the Integrated Loudness value up to four hours back in time. For audio engineers, this exceptionally useful time saving function is a major improvement as it means they no longer have to re-run programme material to hit their Loudness target value.

Uffe Kjems, Product Marketing Director for DK-Technologies, says: “Every engineer working with broadcast audio knows that hitting the Loudness measure Bulls Eye can be a very tedious and time consuming process. For this reason, we know they will really appreciate our new Loudness Automation feature because it will save them so much time. Loudness Automation adds yet another cool and practical feature to the DK T7 – and at no additional cost – making it the strongest, most competitive and most affordable Loudness meter on the market today.”

DK-Technologies has also added USB mouse operation to the Multi touch screen DK T7, allowing for fast and easy on screen access or operation using the HDMI external monitor output. A number of other improvements have also been incorporated, including headphone volume control and more screen setup functions.

The DK T7 allows end-users to adapt to virtually any format including 3G SDI I/O. The unit also offers 8 AES/EBU input/output channels, 2ch Analogue input channels, headphone output and HDMI monitor output.

At just 20 x 135 x 180 mm (depth, height and width), the DK T7’s compact design allows it to be highly portable and easy to position, while its intuitive multi touch interface makes it very straightforward to use.

The meter is currently available in two different models – the DK T7 costing €3495 and the entry level DK T7 Stereo, costing €2895. Both models are available with or without balanced digital AES inputs as well as in 19” rack mountable versions.

For a demo and more information please visit DK-Technologies at IBC 2014 (8:E60) or visit www.dk-technologies.com.

-ends-

About DK-Technologies
DK-Technologies develops and produces audio meters, video sync and test signal generators, as well as video waveform monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany and USA.

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