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DANLEY LOUDSPEAKERS DELIVER AUDIO HORSEPOWER AT CHURCHILL DOWNS

LOUISVILLE, KENTUCKY: Churchill Downs in Louisville, Kentucky held the very first Kentucky Derby and Kentucky Oaks horse races in 1875, the year it opened. The track acquired its now-iconic twin-spires grandstand in 1895 and subsequently added to it on either side in pieces during the last century, bringing the grandstand’s current capacity to 52,000. In anticipation of the 2014 Kentucky Derby, Churchill Downs commenced installation of a 171-ft. by 90-ft. video screen, the largest 4k video board in the world. Because the facility’s low-fi sound reinforcement system had been designed ages ago for only spoken word reproduction, the new screen would require a serious sound system upgrade to realize its full potential and impact. Dallas-based Marsh/PMK International, LLC designed the new sound reinforcement systems for all of the outdoor areas including nearly sixty clusters in the grandstands comprised of Danley Sound Labs SH50, SM96 and SM60F loudspeakers as well as TH212 subwoofers.

Encompass Develop, Design & Construct oversaw the installation of both the new video board and the new sound systems and they hired Marsh/PMK. Dave Stearns and Tim Lindstrom worked with Marsh/PMK to execute the sound system project from conception to completion. “The timeline for such a large-scale project was incredibly short – only six-and-a-half months from start to finish,” said David Marsh, owner of Marsh/PMK. “We were selected as the consultant in early October and delivered the design to Encompass at the end of December with two addenda following in January. Siemens was awarded the installation contract at the beginning of February. They won the bid in part because they have an ongoing contract to operate and maintain the sound systems at Churchill Downs. As such, they were already familiar with the facility and all the relevant operational aspects. Minor installation work and punch list corrections were still going on after the opening of Churchill Downs’ spring meet on April 26. Final testing and adjustments followed to make the system fully ready for the Kentucky Oaks and Kentucky Derby race days on May 2nd and 3rd.”

“I’ve been listening to Danley systems at trade shows for years now,” said Marsh. “I like the company’s philosophy of building large horn systems instead of adding to the already flooded market of line arrays. We see line arrays used in many permanent installations where properly designed horn arrays would work better. People have the idea that line arrays are a panacea, the cure-all for every situation, because they can throw sound long distances and because the main sound lobe can be electronically shaped and steered. True, but there is another side to that story.” Marsh goes on to explain, “Constructive and destructive interference that makes line arrays work also causes noticeable variations in tonal quality. Interference also produces lobes of sound in unintended directions, including behind the array. Lastly, most line arrays have wide horizontal dispersion, the angle of which is usually fixed by the basic building block of the array. In such cases, it is not possible to vary the horizontal dispersion angle along the length of the array to optimally match the intended coverage area.”

Marsh said, “I’ve been looking for the right project for Danley. Churchill Downs became the one. Danley clusters positioned along the front edge of Level 300 serve the largest covered seating tier and all the trackside sections in front of the grandstand building from one end to the other. A tight vertical pattern with sharp cut-offs was critical in our long-throw situation. We had to throw sound all the way down to the edge of the track without ‘sizzling the hair’ of people seated below the clusters where Level 200 protrudes out from the building. The system performs as intended. I was also pleased by the performance of Danley’s TH-212 subwoofers. This is a tapped horn design that delivers an impressive amount of bass in a relatively small package.”

Our original design was based on a different loudspeaker manufacturer, but they couldn’t guarantee that their products would be delivered on time,” said Marsh. “Danley had slightly greater vertical coverage patterns in similar box sizes [to those of the other manufacturer], which allowed us to modify our design to use one less box per cluster. That would ultimately be a cost savings. Danley emphatically stated that the boxes would be delivered on time and that sealed the deal. They made good on their promise.”

Danley Sound Labs, Inc. President and CEO Mike Hedden commented, “One of the things we are very proud of is our U.S.-based manufacturing. From the time we got the order until it was shipped complete was four weeks; 250 fully weatherproofed loudspeakers in four weeks, that’s unheard of in this day of off shore production! During this time the south got hit by two severe snowstorms that wreaked havoc on the region. Even with raw goods being lost in logistics which delayed shipments, we still delivered the products in organized pallets so that each load represented a finished cluster on the job site in four weeks.”

Unlike a typical baseball or football stadium, the grandstand building at Churchill Downs has seating tiers that are stacked vertically, straight up and down. Moreover, various expansions have occurred over the years adding sections on either side of the historic “twin spires.” All of these sections have slightly different profiles. There are varying ceiling heights, seating depths and column spacing. It was a unique situation that required careful planning. Unfortunately, Churchill Downs did not have CAD drawings of the facility. In fact, PDF drawings provided to Marsh/PMK trickled in over a period of weeks and none of them were to scale. “This put the already tight design schedule in serious jeopardy.” Marsh said. “How were we going to get this project into EASE [for coverage modeling] and how were we going to produce usable CAD backgrounds?”

Tim Lindstrom worked with Melvin Saunders, another consultant working on the Marsh/PMK team, to meet the challenge. Tim used dimensions obtained during the initial site survey to create re-scaled PDFs. Melvin used Google Earth to confirm or correct the dimensions and then created a SketchUp model of the complicated grandstands. The SketchUp model was imported into EASE, which finally allowed Dave Stearns to get into the detailed loudspeaker system design. Tim subsequently set about creating the necessary CAD backgrounds. “I was very proud of our team’s resourcefulness.” Marsh declared.

Two basic cluster types alternate along the length of the grandstand, just under the front edge of the Level 300 ceiling. There are nearly sixty clusters in total. The first type of cluster includes a Danley SH50 long-throw box and a companion TH212 subwoofer. The SH50 covers the seating in front of the grandstand building all the way out to the edge of the track. The second type of cluster replaces those boxes with a Danley SM96 to provide near coverage in between the horizontal cut-off angles of the SH50s in the adjacent clusters. Both cluster types include a rear-firing full-range SM60F aimed toward the top of the Level 300 seating tier and a more-or-less down firing SM96 with its woofer removed.

Marsh/PMK expanded existing Q-Sys DSP and QSC amplification to power the system. Existing Renkus-Heinz and QSC loudspeakers were repurposed and added to as necessary to improve coverage on the “porches” in front of upper level suites and on Level 200 of the grandstand building. Renkus boxes were also used on the front edge of Level 200 to cover walkways in front of the building and the rear of Level 100 seating where the Danley coverage is shadowed by overhangs. Existing Community loudspeakers were repurposed and added as necessary on poles to cover seating that extends beyond the building as well as the track infield, the entry plaza and the paddock area. “Re-use of existing equipment where possible was a goal of our design, but Danley now provides the major audio horsepower for the grandstands at Churchill Downs,” said Marsh, claiming no pun intended.

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

TRANSAUDIO GROUP TO DISTRIBUTE BETTERMAKER’S UNIQUE ANALOG EQUALIZERS WITH PLUG-IN REMOTE CONTROL

LAS VEGAS, NEVADA: TransAudio Group, U.S. distributor of high-end professional recording equipment, is pleased to partner with Bettermaker, the creator and manufacturer of the world’s first analog equalizers that can be controlled, automated, and recalled from a plug-in or Eprom. The Bettermaker’s flagship EQ232 possesses two (strictly analog) audio channels, each with a mastering-quality switchable high-pass filter, Pultec-style passive equalization, and clean parametric equalization. The modular 500-series EQ502P and EQ542 possess only the passive equalizers and only the parametric filters, respectively, and are also stereo.

Although its 100% handmade construction and stunning sound quality puts it in league with the very best boutique analog equipment on the market, Bettermaker’s unique niche is plug-in control (available in RTAS, 32-bit or 64-bit VST, and AU), which gives it all of the convenience of a digital plug-in, including automation and recall. The plug-in provides an A/B comparison feature, which goes beyond “bypass/in” to allow comparison of two separate equalizer settings. It’s also worth noting that engineers who aren’t using the plug-in can still store up to 399 presets for instant recall from the front panel via Eprom.

Marek Walaszek, an accomplished mix engineer, producer, and DJ based in Warsaw, Poland and the chief engineer and owner of Addicted to Music Studios, conceived, prototyped, and is now manufacturing the Bettermaker. “It started with the dream of a stereo Pultec that I could use on my stems or my master bus,” explained Walaszek. “Because I’m a mix engineer, I mostly work with other people’s session files. I recognize the convenience of recall – I can work on a mix, send it to the client, and then make requested changes weeks later. I wanted that same convenience in my outboard gear.” Walaszek got together with a friend and began prototyping his vision for a best-in-class analog equalizer that could gracefully accommodate the modern workflow.

After the usual false starts and an abundance of tinkering, the Bettermaker emerged and quickly found an eager audience. Grammy Award-winning engineers, such as Bob Katz, Jaycen Joshua, Dave Pensado, and Jimmy Douglass, as well as mastering engineers, such as Tim Boyce and Ludwig Maier, immediately put the Bettermaker in their “indispensible” racks and praised it loudly. The industry as a whole took notice as well: the Bettermaker earned a Resolution Award nomination in 2013 and won the Music Tech Excellence Award in 2012 and NAMM’s Best In Show award in 2013.

“As often happens with great inventions, it may seem obvious in hindsight,” said Brad Lunde, president of TransAudio Group. “There is, of course, tremendous value in great analog processing paired with plug-in control, automation, and recall. But I should also emphasize that the Bettermaker is not merely a gimmick. The Bettermaker’s sound quality would win converts and awards in its own right, and the plug-in functionality is well designed and robust. These two zero-compromise features come together in the Bettermaker to create something extraordinary. We at TransAudio Group were excited to learn that Marek is already cooking up new Bettermaker products that will pair analog audio circuitry with plug-in control!”

In addition to the three “stock” Bettermaker models (the EQ232P rack mount with all equalizer channels, the modular EQ502P Pultec section, and the modular EQ542 parametric section), Bettermaker offers two optional modifications of the flagship EQ232P. The first option converts its dual mono operation into M/S operation, a popular choice among mastering engineers. The second option forgoes the front panel controls entirely (at a cost savings) for users who plan to use plug-in control exclusively. These two options can also be combined.

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

The Bettermaker products are now shipping.
MSPRs: EQ502P: $1,775.00 • EQ542: $1,775.00 • EQ232P: $6,100.00

UK MIX ENGINEER MICHALIS “MsM” MICHAEL OPTS FOR METRIC HALO PLUG-INS FOR QUICK, GREAT-SOUNDING ITB PROCESSING

LONDON, ENGLAND: Michalis “MsM” Michael is a UK-based mix engineer with a growing and eclectic list of credits that includes several Top-20 singles, a number-one single, notable work on Diddy’s Last Train to Paris and going on to assist the chief engineer of the Grammy Award-winning J.U.S.T.I.C.E. League. His work while assisting necessitated travel, which motivated Michael to shift his workflow from reliance on hardware processing. These days, he mixes almost entirely in the box (ITB) and relies on Metric Halo plug-ins to deliver sonically-solid sounds with zero hassle. His recent work on Tom Prior’s Bad Advice EP to be released later this summer, which was produced in part by former Arctic Monkeys bassist Andy Nicholson, exemplifies Michael’s new workflow.

Born into a family of professional guitar and bouzouki players, Michael was immersed in music from an early age. “My dad taught me to play guitar, but I was always more fascinated with the amp and the guitar effects than with the instrument itself,” he said. “That led to early experiments with DJ’ing (bedroom DJ’ing as I was only 14!) that got me deeper into technology. Then a friend of a friend told me he was selling a Soundcraft 32-channel mixer, and I was so impressed by how it looked that I gave him my bike for it. I didn’t really know what I was going to do with it, but curiosity eventually led to me recording.” Michael built himself a good reputation for engineering that organically morphed into a mixing career. “Once I started mixing, I just never really stopped.”

That Soundcraft 32-channel mixer grew, so to speak, into a full-fledged studio that, until a few years ago, was loaded with sought-after hardware. “Once I started working for Edward Nixon, the chief engineer of the J.U.S.T.I.C.E. League, I was assisting rather than running a studio and slowly I saw a more efficient way of mixing and found I simply didn’t need most of my hardware,” Michael said. “That stuff was more about indulgence. So I literally sold it all and mix mainly ITB now. I’m slowly adding some bits of gear that I LOVE, but I almost had to strip it back to the basic fundamentals and learn to use just my ears. That was a great lesson for me. Any hardware I use is an ‘extra’ now. I rely on good plug-ins.”

However, in an industry awash in plug-ins, few qualify as “good.” “I like plug-ins that let me get on with work without thinking about the details too much,” he said. “Mixing is about instinct, and if there’s something that stands in the way and slows me down, I don’t want to know about it. I like to hear good sounds and I like to hear them fast. I get that from Metric Halo plug-ins: simple layouts and quick results. In the hardware world, if a compressor was too fiddly or not doing what I wanted, I’d quickly move on until I found one that worked. Then I’d rely on it and it would become a staple of my workflow. That dynamic is accelerated in the plug-in world because it’s much quicker to just change a plug-in than it is to re-patch hardware. That makes instant gratification with plug-ins very important. Metric Halo plug-ins sound great right away and it’s easy to dial in the right parameters.”

Michael heard a lot of buzz about Metric Halo’s flagship ChannelStrip plug-in, which combines multi-band parametric equalization with flexibly-keyed dynamics processing. “There’s a lot to be said about ChannelStrip, and that’s why it’s been a go-to for over a decade,” he said. “I expected great things – and I wasn’t disappointed, but I was surprised by how great the gate works. I’ve struggled to find a gate that works well on poorly recorded drums, which I have to deal with from time to time. ChannelStrip’s gate works faster than anything I’ve tried before with no compromise in sound quality.”

Michael’s other Metric Halo plug-in favorites are Character, Precision DeEsser, and TransientControl. “Character is great,” he said. “I just throw it on a dull source and drive it – simple. There are plenty of ‘characters’ to choose from and it works without affecting the gain, which is always a mind game. The Precision DeEsser lets me de-ess precisely – how ironic! It’s my go-to. I’ve tried lots of de-essers; some are simple and fast but affect the sound too much. Others sound good but take too much time to set up properly. Precision DeEsser strikes the right balance. TransientControl helped me out on Tom Prior’s EP. There were a few synth bass lines that were a bit too ‘stabby.’ I needed more sustain without losing the impression that they were supposed to be ‘stabby.’ TransientControl worked perfectly.”

“It’s easy for audio professionals to get into the techy details of sound, and that’s fine. But I always try to remind myself that the majority of the world doesn’t care HOW the record was made – they just want to enjoy music. Remembering that music is about emotion and not technical details is an invaluable perspective when mixing,” he concluded.

ABOUT METRIC HALO Now based in the sunny city of Safety Harbor, Florida, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and future-proof hardware.

www.mhlabs.com

FOR MORE INFORMATION ABOUT MICHALIS MICHAEL
www.msmengineer.com
www.zman.co.uk/clients/michalis-’msm’-michael.aspx

Symetrix Appoints Millar Electronics as Rep in Southeast U.S.

SEATTLE, WASHINGTON: Symetrix, manufacturer of a wide range of DSP solutions for the installed sound market, from turnkey Jupiter processors to Dante-based, open architecture Radius and Edge processors, announces the appointment of North Carolina-based Millar Electronics as its rep in the Southeast. Millar Electronics will cover North Carolina, South Carolina, Georgia, Tennessee, Alabama, and Mississippi, where it has a deep history and a well-established network of connections. Millar Electronics was founded ninety years ago – in 1924 – as a components company selling capacitors, resistors, and the like. Over the decades, it grew with the times to become an audio/video manufacturers rep firm.

“Millar Electronics has built its success on relationships,” said Craig Richardson, vice president of global sales with Symetrix. “When I talk with people who do business with Millar Electronics, they always relate the trust they have in the salesmen they work with. Those salesmen are always out in their territories, talking with their clients, and keeping on top of what’s going on. They help their clients make the right choices for success now and in the long run.”

“We’re excited to work with Symetrix,” said Pete Petty, sales manager with Millar Electronics. “Symetrix builds cutting-edge DSP solutions, and its Edge and Radius products use Dante as a networking platform. Of course, Dante is becoming a big part of the industry, and Symetrix’ native Dante capacity will work hand-in-hand with a lot of the other equipment we represent and provide our clients with a complete solution. Moreover, great people work to make Symetrix what it is, and, having personally worked with them before, I know they’ll make it easy for us to go out and do our job. We’re looking forward to delivering a substantive increase in Symetrix’ market share in our territories.”

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

COLUMBIA PERFORMING ARTS CENTRE DANCING TO ASHLY’S NX-SERIES AMPS

COLUMBIA, MISSOURI: The Columbia Performing Arts Centre in Columbia, Missouri is a private, not-for-profit dance school for children founded in 1998, and its students range in age from toddlers through college age. The school recently completed a major addition including four new studios. The addition replaced the nearby, but separate, studio annex allowing them to have all eight studios under one roof creating a safer environment for the students. Local A/V integration firm Sound Concepts Inc. was hired to design and install high-fidelity sound systems, both for the new studios and to preemptively replace the older components in the existing studios. Sound Concepts Inc. delivered an impactful, energy-efficient sound system centered on the Ashly nXp8002 two-channel Network Amplifier rated at 800W per channel with a built-in Protea™ DSP Processor. All nX Series amplifiers can be programmed to trigger a defeatable sleep mode where the amp draws less than 1 Watt of AC power.

“The Columbia Performing Arts Centre is always brimming with energy and activity, and high-quality sound reproduction is an important component in its success,” said Chris Howe, manager at Sound Concepts Inc. “In addition to supplying the new studios with great, easy-to-operate sound systems, the center’s directors wanted us to harmonize functionality and quality in the existing studios as well. That way, instructors trained in one studio will be able to use any other studio without a hiccup.” Howe completed the installation in stages, beginning with the new rooms and progressing to the existing rooms as class schedule logistics permitted.

As requested, each studio is nearly identical. Each features a Denon DM700C CD player for a primary music source. Howe used its digital output with the Ashly nXp’s optional digital input card. In addition, he gave each system a 1/8-inch iPod-style jack and connected it to the nXp’s analog input. “If an instructor wants to use the CD player, they just use it and it works,” he said. “If they want to connect their digital music source from a player, phone, or computer, they just turn the Denon player off, and the nXp automatically fails over to the analog input. It’s really simple and removes a layer of equipment that we (and they) would have had to deal with.” He used the nXp’s back-panel volume control option to wire a 10k potentiometer for a simple volume control. Depending on the room, the nXp powers either four 8ohm Renkus-Heinz TRX182s or two 8ohm Renkus-Heinz TRX151s. Each room gets the full benefit and liveliness of stereo sound.

“There were a lot of good reasons to go with the Ashly nXp combined amplifiers/processors,” said Howe. “Of course the built-in DSP is one of the first features that drew us to the nXp line, we needed smooth compression and limiting to protect the system as well as a good EQ to fine tune the speaker response to each space. The fail-over functionality was huge, as was the unit’s super low power consumption at idle. That kind of intelligent power management is great in a situation like this! The fact that they’re American made with a huge five-year warranty is excellent. And of course, the sound quality and reliability is tremendous. When we got the first nXp8002 in, we A/B’d it with an amp from our rental stock in the adjacent room. That rental amp’s got a good name and a good reputation. Everything else about the two rooms was exactly alike – same size, same speakers, same everything. I assumed I wouldn’t be able to hear a difference, or if I did hear a difference, I’d have to strain to hear it. I was surprised that the Ashly nXp8002 was obviously better. It was the kind of difference you just hear, no straining needed.”

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 40-year old company is headquartered in Webster, New York U.S.A.

www.ashly.com

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

HPA to Host Symposium Leading Into SMPTE 2014 Annual Technical Conference & Exhibition

‘Making Do With More’ Event at Hollywood’s Historic El Capitan Theatre Will Explore the Impact of Enriched Pictures and Sound for Filmmakers and Content Creators

WHITE PLAINS, N.Y. — July 24, 2014 – The Society of Motion Picture and Television Engineers(R) (SMPTE(R)), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today announced that the SMPTE 2014 Annual Technical Conference & Exhibition (SMPTE 2014) will feature a pre-conference event — the SMPTE 2014 Symposium, hosted by the Hollywood Post Alliance(R) (HPA(R)) and titled “Making Do With More.” The daylong event is scheduled for Monday, Oct. 20 at the historic El Capitan Theatre in Hollywood, California.

“As we consider how technological advances will improve the entertainment experience, we must also address the workflow challenges that will arise,” said Pat Griffis, SMPTE education vice president. “Each area of potential enhancement — higher resolution, greater contrast and color, higher brightness, more frames, and more objects associated with sound — brings with it new demands on workflow. Sessions within the SMPTE 2014 Symposium will address these and other next-generation workflow concerns from both a technical and creative standpoint.”

The SMPTE 2014 Symposium is among the first joint efforts of SMPTE and HPA as they move forward with plans for full consolidation by May 2015, and it highlights the strengths of both organizations. HPA is known for facilitating dialog among all disciplines in the entertainment industry, and for its contributions to SMPTE educational events such as SMPTE 2014 that enrich and expand the larger conversation about key topics shaping the industry.

HPA is well-known for the annual HPA Tech Retreat(R), which brings technologists and filmmakers together to address many controversial topics influencing the industry. In developing the SMPTE 2014 Symposium as a “filmmaker’s symposium,” HPA is orchestrating sessions that take an in-depth look at advanced technologies that bring new tools to storytelling. The symposium will include creative sessions from renowned cinematographers, visual effects specialists, colorists, and other filmmakers discussing what they hope to do with enhanced pictures and frame rates.

Additional sessions will offer a look at immersive sound, its impact, and how it’s being applied today; changing models for delivery of content to the consumer — including theatrical, broadcast, physical media, and digital distribution — across TV sets, computers, and mobile devices; and the standards and practices being developed to address the changing content life cycle.

“By connecting the creative community and its supporters with the technical community at the SMPTE 2014 Symposium, SMPTE and HPA are creating an opportunity for all participants to gain a richer and deeper understanding of technology’s impact on the creative process,” said Leon Silverman, HPA president. “The new displays and distribution approaches being proposed by technology companies need to be understood in the context of how the creative community will use this extended tool kit. It is also critical that we examine the standards and workflow approaches that will be necessary to deliver something more to consumers than a higher numbers of pixels.”

SMPTE 2014 is the premier annual event for motion-imaging and media technology, production, operations, and the allied arts and sciences. Each year the event draws elite and world-renowned technology thought-leaders from motion picture studios, broadcast and distribution networks, production and postproduction communities, software companies, systems integrators, manufacturers, display technologies, distribution providers, over-the-top providers, and others leading the evolving motion-imaging industry.

Further information about SMPTE 2014 and the preconference symposium is available at www.smpte2014.org/.

# # #

About the Hollywood Post Alliance(R)
Hollywood Post Alliance(R) (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools, and infrastructure for the creation and finishing of motion pictures, television, commercials, digital media, and other dynamic media content. The annual HPA Tech Retreat(R) draws top industry engineering, technical, and creative talent, as well as strategic business leaders focused on technology, from all aspects of digital cinema, postproduction, film, television, video, and related technologies together for an informal exchange of information. The 2015 HPA Tech Retreat is scheduled for Feb. 9-13 in Indian Wells, California. Further information is available at http://hollywoodpostalliance.org/?ai1ec_event=2013-hpa-tech-retreat&instance_id=293. Information on joining HPA is available at http://hollywoodpostalliance.org/.

About the Society of Motion Picture and Television Engineers(R) (SMPTE(R))
The Oscar(R) and Emmy(R) Award-winning Society of Motion Picture and Television Engineers(R) (SMPTE(R)), a professional membership association, is the preeminent leader in the advancement of the art, science, and craft of the image, sound, and metadata ecosystem, worldwide. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the communications, technology, media, and entertainment industries. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 800 standards, recommended practices, and engineering guidelines.

The Society is sustained by more than 6,000 members — motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students — who meet in Sections throughout the world. Through the Society’s partnership with the Hollywood Post Alliance (HPA), this membership is complemented by the professional community of businesses and individuals who provide expertise, support, tools, and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media, and other dynamic media content. Information on joining SMPTE is available at www.smpte.org/join.

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

Calrec Audio IBC2014 Product Preview, Stand 8.C58

Calrec Products at IBC2014

Summa Audio Console
At IBC2014 Calrec will showcase its new Summa audio console. The Summa console is designed for broadcast professionals who need a straightforward solution for producing creative and engrossing broadcast audio, but not all of the resources offered by Calrec’s Apollo and Artemis consoles.

Designed to ensure intuitive operation in live broadcast applications, Summa simplifies even complex workflow tasks, such as creating mix-minus feeds, with a highly intuitive GUI suitable for a broad range of operator levels. Users control the console via a 17-inch multitouch screen inspired by familiar tablet technology. The crisp high-resolution display provides elegant controls and a clear presentation of information. The console’s other large displays are fully configurable to display bus, output, and loudness meters, and they feature dedicated metering, routing, and processing information for each fader.

Photo Link: www.wallstcom.com/Calrec/Calrec-SummaLongshot.jpg
Photo Caption: Calrec’s Summa Broadcast Audio Console

Company Quote:

“IBC is the leading industry event for Europe, but it also attracts an international audience. We look forward to showcasing our new products at the show this year and look forward to the feedback from our customers and partners in the region.”
– Henry Goodman, Head of Sales and Marketing, Calrec Audio

Company Overview

Calrec Audio is exclusively dedicated to excellence in audio mixing for on-air and live production. A broadcast specialist for 50 years, Calrec has developed a range of digital consoles relied on by the world’s most successful broadcasters. For putting sound in the picture, broadcasters put their trust in Calrec. More information is available at calrec.com and community.calrec.com.

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Shotoku Makes Gains With El Financiero ׀ Bloomberg TV

UNIQUE VR TRACKING SYSTEM DELIVERS AUGMENTED REALITY SOLUTION FOR FINANCIAL NEWS BROADCASTER IN MEXICO CITY

Mexico City – Shotoku Broadcast Systems, a leading international manufacturer of advanced camera support products, has announced the recent installation of its highly regarded Shotoku TK-53LVR Dolly Crane System for a Virtual Studio at El Financiero|Bloomberg TV, a station based in Mexico City that broadcasts, through an alliance with Bloomberg NY, both worldwide and local financial-based programming to Mexico and Central America. The sale was facilitated through long-time Shotoku dealer Comtelsat, based in Mexico City with offices in US, Brazil and Central America, to help the station deliver stunning graphics and visuals to viewers.

According to Ricardo Granada, IT & TV support manager, El Financiero|Bloomberg TV, the station is using the TK-53LVR system, alongside a Vizrt Virtual Studio solution, Grass Valley LDX camera dedicated to the Shotoku system, and a Kayak production switcher, as an augmented reality system, for the graphics and statistics, as well as logos of the station’s sponsors in some sections. It is used for augmented reality and virtual elements matched to the real studio.

“They don’t use a traditional lower third or a bumper to show some sponsored section of the news show,” explains Angélica Elizalde, sales executive and specialist in graphic solutions for Comtelsat. “Instead, they use the logo of the sponsor in augmented reality during the whole section — which is way more spectacular, since the anchor is interacting with the virtual element. Also, the anchors can present statistics and schemes that come out right from the floor of the studio — which is a simpler and more creative way to present the information to the audiences. And those graphics can get sponsored, too.”

“We knew the brand from other installations and knew it was a reliable and very stable system,” says Granada. “We were quite impressed because of the length of the crane and the possibilities it has for live production; and also by the fact that no other vendor has a product with the same quality, accuracy and level of service we are used to receive from Shotoku.”

The Shotoku TK-53LVR Dolly Crane System for Virtual Studio offers a unique set of VR features coupled with a sturdy twin arm structure that provides vibration-free, high performance with a single operator. The VR Dolly Crane System allows any studio to be easily transformed into a virtual environment without the need for targets on the ceiling, floors, or walls, or infrared sensors. Reliable, accurate and immediate VR data, including pan/tilt, zoom, focus and X/Y camera date is sent to the graphic computer via an RS422 cable. A Pan Bar control unit maximizes optimal pan & tilt operation. The TK-53LVR also features Shotoku’s unique SPi-Touch 2 point calibration system for quick set-up.

“We’ve been dealers for Shotoku for a number of years, and we have always preferred the system because of its reliability and accuracy in the mechanical tracking data –it’s just the best,” adds Elizalde. “They can have a 360-degree tracking of virtual elements; the arm of the crane is totally vibration free (no matter the length of it, which is quite large). They can make a very large range of movements without worrying about undesired bumping; plus they just need one operator to manage the whole system (nevertheless, they often use two people just to make sure, but most of the time is just one). Also, unlike some other systems, Shotoku guarantees that there won’t be any delay or loss on the receiving of the mechanical tracking data.”

Granada adds, “I have been a user for a few years, but I never worked with a crane system, so this was a challenge. Nevertheless, the system has proved to be as reliable as all other Shotoku products I know. Once you get to know it, it is fairly simple and straightforward to use. Overall, it’s easy to manage, it’s accurate and the final result is always impressive.”

About Shotoku Broadcast Systems
Shotoku Broadcast Systems is an international leader in the manufacture and marketing of a full range of camera support products with emphasis on manual and robotic pedestals and pan/tilt heads for the television broadcast industry. The Company also provides robotic camera systems capable of interfacing with third-party equipment. Established as an engineering design firm specializing in advanced mechanics and electronic control systems, Shotoku maintains headquarters in Japan with offices in Staines, UK and Torrance, CA. The Company’s robotic camera systems are designed, developed and manufactured in Staines, UK. For further information: www.Shotoku.co.uk

Shotoku contact: James Eddershaw
+44 (0) 1784 224650 / mailto:info@shotoku.co.uk

Press contact: Desert Moon Communications / Harriet Diener
+1-845-512-8283 / mailto:harriet@desertmoon.tv

SMPTE IBC2014 Preview

Visit the Society of Motion Picture and Television Engineers (SMPTE) at IBC2014 in Partnership Village, Stand 8.F51f

SMPTE at IBC2014

Technical Sessions
SMPTE members will lead a variety of sessions during the IBC2014 exhibition. The Society will offer “Laser Projectors Part 1: Seeing is Believing” and “Laser Projectors Part 2: Is the Devil in the Details?” as part of the IBC Big Screen Experience. Produced and chaired by Peter Ludé, past president of SMPTE, the session will address the impact of laser projection technology on digital cinema and provide a look at breathtaking images shown on the Big Screen Experience’s 6-Primary laser projection system from Christie. SMPTE will also co-produce “Go With UHD-1, or Wait for UHD-2?” as part of the IBC Technical Stream. In this session, Dr. Hans Hoffmann, past SMPTE standards vice president, and Howard Lukk, a SMPTE standards director, will lead a discussion with major players in this space to explore strategies and standards for content creation and delivery to the home. Additional sessions featuring SMPTE members include “Trifocal Camera Systems” as part of the IBC Big Screen Experience; and “Movie-making in the Matrix,” presented by SMPTE Governor Richard Welsh, who will join fellow experts in examining virtualized movie production. SMPTE will also present “EDCF Global D-Cinema Update,” in which an impressive array of SMPTE panelists — including SMPTE Governor Angelo D’Alessio — will bring attendees up to speed on the latest business and technology developments in digital cinema.

As an IBC2014 partner, SMPTE is once again supporting the Rising Stars program, which offers exclusive conference sessions tailored to tackle the topics most important to young professionals. This popular program gives new entrants to the broadcast industry the opportunity to meet top industry experts across a series of specially staged sessions and events. Throughout the show, SMPTE members will volunteer their time and expertise to provide guided tours of the exhibition floor to Rising Stars participants. Through this program, SMPTE helps to foster the successful rise and advance of young creative, business, and technology professionals working within the industry. A complete list of sessions for the two-day program is available at www.ibc.org/page.cfm/ID=869.

SMPTE Announcements at IBC2014

The SMPTE 2015 Forum in Berlin, produced in collaboration with FKTG, has been officially confirmed, and the Society will announce details at IBC2014. The rapid convergence of connectivity, bandwidth, and media technology improvements, coupled with consumer interest, has led to a rapid increase in Web-based media distribution. This conference will explore the “old” and the “new” in the context of the technology required to deliver a compelling entertainment experience over the Web. Examining related opportunities and challenges from a European perspective, this unique two-day event at Fraunhofer Institute for Open Communication Systems (FOKUS) will provide fresh perspectives to help engineers, creatives, and researchers understand the technical trends that drive the future of media over the Internet.

Save the Date! SMPTE representatives will also provide information about the 2015 HPA Technical Retreat, scheduled for Feb. 9-13, 2015, at the Hyatt Regency Indian Wells in Indian Wells, California. Registration is open for the SMPTE 2014 Annual Technical Conference & Exhibition (SMPTE 2014), which will take place Oct. 20-23 in Hollywood, California. Further details on presentations and speakers will be announced during IBC2014.

SMPTE Products at IBC2014

Ideal for the studio, shop, or truck, the SMPTE CamWhite pocket chart is a consistent and reliable neutral white reference with a sturdy laminated surface. Enabling users to white-balance cameras to a scene’s primary light source with precision, CamWhite charts are a versatile tool for improving the production value of images — saving both time and money in post. The standard CamWhite chart measures 6.3 inches by 3.75 inches, but larger formats are available.

SMPTE also will feature its CamBook(R) 3, which helps users to align and set up cameras to REC 709, compare/match camera makes and models, and test lenses for colorimetry and resolution. CamBook 3 works in conjunction with the SMPTE-branded DSC Labs OneShot(TM) pocket chart, which provides all of the color and luminance information necessary to match and reproduce color in dailies footage.

Photo Link: www.wallstcom.com/SMPTE/SMPTE-CamWhite-PocketChart-Drawing.jpg
Photo Caption: SMPTE CamWhite Pocket Chart

SMPTE Publications and Resources at IBC2014

Throughout IBC2014, SMPTE staff will be available on the stand to discuss current trends and answer questions about SMPTE activities, resources, and publications. One of those publications, the latest “SMPTE Standards Quarterly Report,” was released in July following the June meeting of the SMPTE Standards Committee in Tokyo. The Standards Report summarizes the current progress of SMPTE committees working to create, approve, revise, and remove standards for the industry. Copies of the September 2014 SMPTE Motion Imaging Journal’s “Progress Report” issue, the Society’s key publication, will be available on the stand. The issue will focus on trends and developments in the motion-imaging industry. Readers may access Journal content from 1916 to the present from the SMPTE Digital Library available at library.smpte.org. The SMPTE Digital Library provides one-stop access to SMPTE resources so that professionals can stay informed about the latest technology and industry research.

A complete listing of SMPTE publications is available at www.smpte.org/publications.

SMPTE also will highlight its new mobile app for use with iOS, Android, and Web-based operating systems. Available to anyone, the free app was designed to provide useful information and updates to SMPTE members and also serve as a convenient quick-reference guide for anyone interested in learning more about the Society. Users can access breaking news, updates on upcoming educational events, local Section information, the SMPTE Digital Library, test materials, details about membership benefits, social media, and multimedia in one easy-to-use package. The SMPTE mobile app is available for download on iTunes and Google Play, and a Web-based version for other operating systems is available at http://smpte.mobapp.at.

Photo Link: www.wallstcom.com/SMPTE/SMPTE-Mobile-App-screen.jpg
Photo Caption: SMPTE Mobile App

Membership Services

SMPTE Manager of Member Relations Roberta Gorman, members of the SMPTE Sections’ Board of Managers, and members of the SMPTE Board of Governors will be on hand at IBC2014 to discuss membership benefits and the Society’s role in international standards and interoperability. In addition, prospective members will be able to join and existing members may renew their memberships on-site.

Company Quote:

“The IBC2014 show comes at an exciting time for SMPTE. We look forward to highlighting recent developments not only in our education and standards work, but also in our expansion as an organization to support both the technical and creative communities dedicated to moving imagery. We’re particularly excited about our consolidation with the Hollywood Post Alliance, which brings to SMPTE the voice of a strong creative community, as well as the enormous popularity and importance of SMPTE members’ research in key areas driving our industry forward. We are confident that, whether new to the industry or an experienced expert, any visitor to the SMPTE stand or attendee at our technical conference sessions will find it an engaging and worthwhile experience.”
– Barbara H. Lange, Executive Director of SMPTE

Company Overview

The Oscar(R) and Emmy(R) Award-winning Society of Motion Picture and Television Engineers(R) (SMPTE(R)), a professional membership association, is the preeminent leader in the advancement of the art, science, and craft of the image, sound, and metadata ecosystem, worldwide. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the communications, technology, media, and entertainment industries. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 800 standards, recommended practices, and engineering guidelines.

The Society is sustained by more than 6,000 members — motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students — who meet in Sections throughout the world. Through the Society’s partnership with the Hollywood Post Alliance (HPA), this membership is complemented by the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media, and other dynamic media content. Information on joining SMPTE is available at www.smpte.org/join.

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