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DPA’s d:facto™ Vocal Microphone Wins New Fans

ran Healey, the lead singer of UK band Travis, and Marti Pellow, the lead singer of Wet Wet Wet, are the latest in the growing list of vocalists to switch to DPA’s d:facto Vocal Microphone. In both cases the artists made the change on the recommendation of their live sound engineer, Tom Wiggans.

“I have no problem recommending DPA’s new d:facto microphone because I’m so impressed with the results it has delivered for Fran and Marti – and for Dougie Payne, Travis’ bass player, who is also using one for his backing vocals,” Wiggans says. “Before I tried d:facto, I had tried quite a few new vocal microphones that made big promises, but always ended up going back to the microphone that people have been using for over 40 years. However, the d:facto’s clarity and ability to capture the true sound source without extraneous background noise has made a real difference to the way I work. I now have much more time to concentrate on other details because my vocal fader is just vocal, I don’t have to deal with anywhere near as much ambient mush bleeding into the mix.”

Tom Wiggans was introduced to the microphone by Rob Ramon, product manager for DPA’s UK distributor, Sound Network.

“Rob was at one of the gigs Travis played at the Roundhouse in London, and afterwards he came backstage and introduced himself,” Wiggans said. “I was already familiar with DPA having used the company’s overhead and instrument mics. When I heard about d:facto I was keen to try one, so Rob arranged a demo. I didn’t get a chance to try it until we were in Paris a few days later. Pablo Wheeler (Travis Monitor Engineer) and I were able to do an A/B comparison with it against the mic Fran usually used. It sounded amazing – so good that after the show I realised I was going to need better reverbs. The difference was really noticeable.”

After such a positive experience, Wiggans was happy to specify two d:facto Vocal Microphones for the rest of the Travis tour, which was taking in a number of South American cities.

“I had one for Fran and one for Dougie, both of whom were delighted with the way their vocals were sounding,” Wiggans says. “We then flew straight to some Scottish shows, and unfortunately all our equipment went astray so we had to borrow stuff for a couple of shows. Thankfully, our gear arrived for the last show, and as soon as the band walked on stage and spotted we had the mics back everyone was much happier. Missing something when you don’t have it is always a good indication of how good it is.”

After completing the Travis tour, Tom Wiggans took his d:facto vocal microphones straight out on the road again – only this time with Wet Wet Wet.

“My original plan was to have Marti try the mic in rehearsal so that we could see how he got on with it, but he was having none of that,” Wiggans says. “He wanted to try it straight away so Chris Trimby (Wets Monitor Engineer) just threw him on stage with it, blind. The d:facto sounded brilliant from the off and Marti was absolutely chuffed to bits. He liked the weight and feel of it in his hand. From a performance point of view he felt it was really well balanced.”

Tom Wiggans has also been using DPA’s d:vote™ 4099 Instrument Microphones to capture drums and brass. These were supplied by SSE Audio Group in the UK and used on the Travis tour.

“The minute we miked up Neil Primroses’ drums with the d:vote 4099, everyone was blown away,” Wiggans says. “People were coming up to me and asking what I’d done to make the drums sound so ‘real’. All the attack that you get with acoustic drums was there – it sounded like you were standing right next to them, only through a PA. They were just as good on Wet Wet Wet’s brass section, which tends to be quite loud. Once again there was no problem with feedback or rejection.”

Both Travis and Wet Wet Wet will be playing live in coming months – Travis is off to the Far East in March/April, while Wet Wet Wet has a number of racecourse gigs lines up for the summer. For Tom Wiggans and for the lead singers, the choice of microphone is now easy.

“It will be DPA’s d:facto without any doubt,” Wiggans says. “From now on, when it comes to vocal mics, it’s always going to be my first choice.”

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.

For more information, please visit www.dpamicrophones.com

FOH ENGINEER ANDY TORRI BRINGS METRIC HALO GEAR TO BIG HEAD TODD AND THE MONSTERS

SAFETY HARBOR, FLORIDA – FEBRUARY 2014: Although Andy Torri enrolled at a Colorado music school in the late 1980s to carefully prepare himself for a life in the world of professional audio, it was a chance meeting at a local bar that held his destiny. Mutual friends introduced Torri to Todd Park Mohr, frontman for the rising act, Big Head Todd & the Monsters. The two became friends, and shortly after Torri found himself at another bar, complaining to Mohr about how hard it was to find sound engineering work in the studios around Colorado. He expected only friendly commiseration, but got a job offer instead.

Since then, Torri has had only two main jobs: FOH engineer for Big Head Todd & the Monsters and studio engineer at KBCO in Boulder. The first gig, from which he took only a short reprieve between 2005 and 2012, took him from guitar-tuning-tee-shirt-sales-plus-mixing-duties in the smoky haze of local bars to his current position of respected FOH engineer at venues of all sizes around the Intermountain West and the nation. At KBCO, Torri engineered in-studio performances by Sting, Coldplay, Stevie Nicks, Dave Matthews, Jack Johnson, Elvis Costello, Willie Nelson, Robert Plant, and countless others. Most of those recordings found their way to KBCO’s wildly popular Studio C Session CDs, the proceeds of which went to charity.

Torri is one of those engineers who trained in the analog world and then successfully navigated the hills, valleys, and occasional rock slides to the state-of-the-art-hybrid digital/analog world that we currently live in. As he personally navigated that transition, he accumulated digital solutions from Metric Halo, and once he grabbed them, he never let them go! The first of those solutions was Metric Halo’s SpectraFoo sound analysis software. “It’s been a constant for me, both live and in the studio,” Torri said. “I love its flexibility. It’s easy to create custom pages of all the tools I need for a particular job. I also love the precision of those tools. I can zoom in or out on frequency, amplitude, or any other parameter and get as much detail or overview as I need.”

Big Head Todd & the Monsters play everything from clubs to theaters to amphitheaters, and the span between load-in and show-time is seldom ample. “We use in-house console and PA system,” Torri explained. “Every day is different, and every system has its own particular quirks.” Using his Metric Halo 2882 interface, Torri takes a feed from the board and compares it with output from a measurement microphone. He continued, “I use the Spectragraph and Spectragram a lot. They immediately reveal the hot spots and trouble areas of a particular system. After correcting those problems, I balance the system using SpectraFoo and some combination of pink noise and my own personal favorite ‘sound engineer songs.’”

Occasionally, Torri will find himself at a venue with sufficient outboard or console-based processing that he can dial in Todd’s voice and the rest of the mix using it. That’s the exception however, and he usually relies on the 2882’s DSP resources and his Metric Halo MIOStrip plug-in. “In addition to getting sound into SpectraFoo, I use the 2882 and MIOStrip to dial in the vocals,” Torri said. “I often use them on bass and/or the house mix as well. The Metric Halo system is rock solid, so I’m comfortable using it live. And it sounds fantastic. A while back, I mixed down some greatest hits tracks using every method of summing that was available to me, including using the 2882’s 80-bit summing. I gave the mixes to the mastering engineer without telling him what all the different codes stood for – it was a blind test. Every time, he chose the 2882 summing. It has a depth and definition to the panning and a warm, solid low end.”

Much like SpectraFoo and the 2882, Torri finds Metric Halo’s MIOStrip to be a tool for all occasions. “MIOStrip has a great sound, which is obviously very important,” he said. “The functionality is great; cuts and gains can be very subtle or very aggressive.” For vocals and instruments, Torri often pairs MIOStrip with the 2882’s “Character” processing, which models different flavors of analog circuits. He usually uses “Soft Sat.”

“Working with Metric Halo has been about more than just the gear,” Torri concluded. “The people behind the company are great. They create great products and stand behind them: SpectraFoo is seventeen years old, and the 2882 is twelve years old. It’s all well supported, updated, and totally relevant. What other company can say that?”

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

Renkus-Heinz Will Be at Pro Light + Sound — Will You?

Frankfurt, Germany — February 2014… Pro Light + Sound, held in tandem with Frankfurt Musikmesse, is one of the year’s largest trade shows for the professional audio, video, music, and media industries. Covering literally acres of aisles within the sprawling Frankfurt Messehalle complex, it’s pretty much impossible to see it all, even in four days’ time.

But if you’re planning on attending this year’s Musikmesse, don’t forget to add a visit to Renkus-Heinz to your must-see list. The leader in digitally steered loudspeaker technology will be displaying their full line of Iconyx steerable line array systems, the world’s most popular and highly acclaimed solution. Full IC Live and IC Live Dual systems will be on display, as well as IC2, and all configurations of third-generation Iconyx IC-R-II systems with triple tweeter technology.

Also on display will be the award winning VARIA line of modular point source array loudspeakers, as well as our exciting new RH Series loudspeakers, and a preview of RHAON2, the new Renkus-Heinz Audio Operation Network — redesigned and rebuilt from the ground up.

As the world’s most experienced manufacturer of digitally steered products, Renkus-Heinz will be offering a quick yet highly effective demonstration of the power of digital beam steering. In less than a minute, you will hear what Iconyx can do for you.

After the demo, register to win an iPad Mini. A winner will be drawn at random at the end of the show. You do not need to be present to win.

Come by Hall 8, Stand M40, and meet with the Renkus-Heinz staff, including VP Sales & Marketing Rik Kirby, VP International Sales Karl Brunvoll, Marketing Manager Margie Ulm, European Sales Manager Håkan Sjöö, and Middle East Sales Manager Norbert Bau, along with representatives from various worldwide distributors. See you in Frankfurt!

 

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Headquartered in Foothill Ranch, California, Renkus-Heinz, Inc. is the worldwide leader in the design and manufacture of audio operations networks, digitally steerable arrays, powered and non-powered loudspeakers, system specific electronics and fully integrated Reference Point Array systems.

 

Symetrix Processing Simplifies Audio at New Willow Creek Care Center

BARRINGTON, ILLINOIS – FEBRUARY 2014: The Willow Creek Care Center in South Barrington, Illinois is a direct charitable extension of Willow Creek Community Church – the third largest church in the country. What started as an off-site food pantry grew over the years to include other services as well, and the church recently funded construction for a new $10 million building on its main campus. The new building houses a grocery store, a clothing store, dental & eye care, a car repair shop, culinary training, legal & employment consultation facilities, and facilities to teach English as a second language, as well as other classes. A Symetrix Zone Mix 761 fixed architecture processor, with twelve inputs, six outputs, powerful application-specific DSP resources, and flexible user control options, forms the heart of the new building’s music playback and paging system.

Willow Creek Audio Systems Engineer Matthew Wentz designed the new building’s sound system with consultation from A/V equipment provider TC Furlong (Lake Forest, Illinois). “The folks in charge of the care center wanted to be able to play music from CD, iPod, or a music server and to distribute it to the lobby, the grocery store, the clothing store, the dental/eye care center, and the corridor that links the care center to the main church building,” said Wentz. “In addition, they wanted the ability to send pages to all of those locations with automatic music ducking. Because there are predictable times when the center is officially closed but when volunteers are still stocking shelves, they wanted to schedule volume changes that would accommodate those different uses. Finally, they wanted the ability to control the volume in each zone.”

He continued, “I chose the Symetrix Zone Mix 761 because it has all of the features that they were looking for, plus the availability of Symetrix ARC-K1e wall-mounted volume controls that would allow for an easy installation in each location using just a single CAT6 run. Going beyond that, Symetrix’ implementation of the free ARC-WEB interface for use on smartphones was tremendous because I could program certain parameters that they could adjust without having to go to each individual volume control. It also allowed me to create admin-only controls so that I could be in a different part of the building and still control volume, muting, and routing.”

The Zone Mix 761’s well-implemented paging features also proved to be an important part of the overall design. “The paging functionality did exactly what it was supposed to do without a lot of setup and programming,” Wentz said. A Shure paging microphone connects to one of the Zone Mix 761’s line inputs and is programmed to send to all six zones, duck the music appropriately, and bring the music back in smoothly when the page is complete. “Importantly, the page goes out at an appropriate volume no matter what volume each zone is using for music playback,” he said.

The system has been up for six months without a glitch, and the daily users of the system love its simplicity and reliability. The Willow Creek Care Center’s website is www.willowcreekcarecenter.org.

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

ASHLY’S PEMA PROCESSOR MATCHES THE UPSCALE AESTHETIC AT SUITSUPPLY STORES WORLDWIDE

AMSTERDAM, NETHERLANDS – FEBRUARY 2014: Based in the Netherlands, Suitsupply is a high-end men’s fashion brand with stores throughout the world, including six locations in the United States and five more that are currently under construction. It would be difficult to overstate the brand’s command of cutting-edge fashion, and everything it touches – from its garments, to its fashion photography, to the aesthetic of its stores – speaks to that command. Nothing is off-message. To ensure that the sonic environment that clients experience when they enter a Suitsupply store also supports the brand, the company hired Tau Audio Solutions of Groningen, Netherlands to design professional music playback systems that would be reliable, high performance, and easy to use. Tau Audio Solutions in turn specified the Ashly Pema (Protea-Equipped Media Amplifier) for use in every new store, delivering sophisticated processing, high-fidelity amplification, and reliable remote-control operation in just two rack spaces. Most of the time, the home office controls Suitsupply music systems around the world from its home office in Amsterdam!

“Originally, Suitsupply worked with standard consumer-grade hi-fi equipment,” explained Ron Vossen, managing director at Tau Audio Solutions. “But they quickly realized they had a higher standard, and they contacted us to give them professional sound that is truly high-fidelity, IP addressable, and foolproof.” Tau Audio Solutions designs the sound reinforcement for each new store and hires a local integrator to install and commission it. “We always find local companies that are familiar with Ashly Audio,” he said.

Unlike most other retailers, each Suitsupply location has its own unique aesthetic, which requires a fresh sound system design from Tau. “Very different ceiling heights are often an issue, as are the demands of the interior designers,” said Vossen. “They are in the fashion business and so is their approach to technical issues. A big part of our job is understanding and translating their questions into solutions.” Inputs to a typical Suitsupply sound system include a Sonos music playback system, a microphone, or an external music source. An Ashly Pema 4250.70 combination 8-in x 8-out Protea™ DSP Matrix Processor and 4-channel 250-Watt amplifier does most of the work, and its four separate outputs allow different processing and volumes in, for example, the fitting rooms or the entrance. SoundTube loudspeakers and subwoofers (“they like a sophisticated punch,” said Vossen) serve as the endpoints of each system.

“The Ashly Pema is a great choice for Suitsupply because it contains high-quality, flexible processing and amplification in just two-rack spaces at a competitive price,” said Vossen. “Almost all of the system control happens from Amsterdam – each store has only limited volume control. It seems to work out well. We give them the settings that we think are best, and they deliver those settings to the Ashy Pemas all around the world via IP addresses.”

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 37-year old company is headquartered in Webster, New York U.S.A.

www.ashly.com

DETROIT AUTO SHOWS BENEFIT FROM DANLEY SOUND LABS SPEAKERS AT THE NEW GRAND RIVERVIEW BALLROOM AT COBO CENTER

DETROIT, MICHIGAN – FEBRUARY 2014: The roots of the North American International Auto Show, which is held annually in Detroit, Michigan, go back to 1907 when it was strictly a regional venue for America’s nascent auto manufacturers to parade their latest inventions. Flash forward over a century and the event has become one of the largest auto shows in the world, attracting press and enthusiasts from around the globe to the North American auto-making capital, and bringing an approximate $500 million annual boost to the local economy. As attendance numbers continue to grow, Cobo Center, which hosts the event, recently renovated the underused 12,000-seat Cobo Arena to convert it into a ballroom better suited to the show. Danley Sound Labs SM-60F full-range loudspeakers, supported by Danley TH-115 subwoofers, fire down from the new ballroom’s fifty-foot ceilings to support high-energy auto show productions, along with other events that the new space, renamed Grand Riverview Ballroom at Cobo Center, will host throughout the year.

“The old Cobo Arena was not used very often,” explained Tim Hamilton, A/V designer with Acoustics By Design (Grand Rapids, Michigan) and the lead A/V consultant on the Cobo project. “They gutted it completely, down to the structure, and put in a new floor. The upper half is the new Grand Riverview Ballroom, and it is aesthetically gorgeous, a far cry from the rough arena that went so underused. The Grand Riverview Ballroom is a premium spot, and I suspect that all of the manufacturers will be clambering to rent it, rather than being stuck on the concrete floors of the main exhibit hall. I gave the system enough oomph so that they could easily cover any event short of a full-blown concert.”

The inputs to the system include a collection of AKG wireless microphones together with numerous floor boxes and wall panels. All of the inputs feed a Biamp AudiaFlex signal processing system. Touch panels positioned at strategic locations throughout the hall run Biamp’s daVinci control system software, which allows input selection and volume control. Outputs from the processing system feed Biamp amplifiers that power twenty full-range Danley SM-60F loudspeakers and Crown iTech series amplifiers that power the four Danley TH-115 subwoofers. Each loudspeaker and subwoofer has its own amplifier channel. Preset selection allows users to engage all the loudspeakers and subwoofers as one unit for full-floor events, to split the room in half for situations in which a retractable wall is in place, or to mute the loudspeakers at one end of the hall for events where a stage is in place.

“There weren’t a lot of loudspeaker and subwoofer solutions that would meet all of the particular needs of the Grand Riverview Ballroom,” said Hamilton. “First, they would be fifty feet in the air, and most traditional ceiling speakers would be significantly under-gunned. Second, the beautiful, decorative ceiling had only a limited number of rigging points, and yet we still had to satisfy the need to divide or mute speakers according to the presets. Third, we needed great fidelity and power on a budget. The Danley SM-60F had the right 60×60 beam width to hit the floor correctly, and it has the Danley sound and efficiency at a great price point. Moreover, it is a relatively small box, which satisfied the requirements for the rigging points. All in all, we used the Danley loudspeakers and subwoofers to cover a large space with a distributed system that focuses sound on the floor and minimizes reflections off the ceiling and walls.”

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

EMERSON COLLEGE ADDS 32-CHANNEL API 1608 ANALOG CONSOLE WITH AUTOMATION

BOSTON, MASSACHUSETTS – FEBRUARY 2014: Specializing in preparing students for careers in communications and the arts, Emerson College, through a collaborative initiative between VMA Prof. Pierre Archambault and the TRF Audio Group, recently added a 32-channel API 1608 analog console with full automation to its studio facilities to provide high-end sonics and a transitional work-flow between its other studio facilities. The school is located in Boston, Massachusetts and currently enrolls over 4,000 undergraduate and postgraduate students. Among schools of its type, Emerson College is unique for its long history – Charles Wesley Emerson founded it as a school of oratory in 1880 – and its recent growth. The new API 1608 will be used to teach courses in Advanced Recording and Introduction to Sound Design.

“We are a school of communications, focusing on Sound for Visual Media Arts,” said Bruno Caruso, Audio Technical Supervisor with Emerson College. “We use our studio facilities to teach Sound Design, Mix to Picture, ADR, Foley, sound for gaming, and voice-over.” Emerson’s studio facility already contains an entry-level room, with an analog console workflow, and a high-end post-production suite with an Avid ICON Digital workflow. The post-production suite already uses a collection of API 512c mic preamps and an API Channel Strip to handle any source recording. “We were certainly very happy with that sound,” said Caruso. “That was a factor that moved us in the direction of API for our console purchase.”

The goal was to add a studio space that bridged the technological gap between the entry-level room and the post-production suite. “Of course the API sound was an important part of our decision to add a 1608, but there was more to it than that,” said Caruso. “It’s an analog board with a great sound that’s very easy to teach. The students can stand around the board while the Faculty demonstrates techniques. Moreover, including automation gave us a pedagogical bridge between the entry-level room and the post-production suite.”

Emerson College purchased its 32-channel API 1608 through nearby Parsons Audio (Wellesley, Massachusetts). “Everyone at Parsons was great,” said Caruso. “They gave us demos of everything we were considering and lots of other support. They were instrumental in pointing us in the right direction for our needs. Through them, Todd Beeten of Sound Construction built us custom furniture and racks for our facilities” Caruso was also impressed by the help he received from API: “As far as I’m concerned, the entire industry should look to API as an ideal model for customer service. Right off the bat, our phone calls were always answered by an actual person and that’s very reassuring. Their lead technical support guy, Radovan Maricic, had the complete answer to any question we had right on the tip of his tongue. He knows API inside and out, outside and in. There’s no ‘I’ll check into that and get back to you.’ He knows exactly what’s going on, and that made it easy to install and commission the board.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

Visual Unity’s vuMobile™ platform Adds Ecwid

Leading OTT platform and multiscreen solution provider, Visual Unity Global is announcing an important extension to its mobile marketing platform vuMobile™, by integrating the popular Ecwid e-commerce platform. vuMobile™ now enables clients to build their own online store in 5 minutes. This feature improvement is offered within the existing price and service package.

Recently announced rebranding and repositioning of vuMobile™ version 4.0 is followed by a further significant platform feature improvement; integration with the revolutionary Ecwid shopping cart. Ecwid is the fastest-growing, global e-commerce platform for small businesses, and used by over 400,000 retailers in 175 countries. The multi-platform Ecwid is also Facebook’s most popular store building app.

With vuMobile™, clients can now build an online store within five minutes. This storefront is fully functional on any device including feature phones, smart phones and even desktops. Through a modern responsive design, clients are able to categorize different types of products (for example consumer electronics or e-products) and choose from more than 40 payment systems. Ecwid has numerous shipping and tax options and enables product feeds to marketplaces and comparison shopping engines. The e-shop is easily integrated with social media networks like Facebook, and the Ecwid storefront is available in 45 languages.

Tomas Petru, CEO of Visual Unity Global, says. “Thanks to the integration with Ecwid’s online store, our vuMobile™ platform now offers our clients the ability to easily generate additional revenue through mobile channels worldwide.”

“Ecwid is honored to integrate with the Visual Unity platform and work with such an innovative partner,” says Jim O’Hara, president of Ecwid, Inc., adding, “Now Visual Unity’s users can add robust e-commerce functionality directly to their mobile sites in minutes, and also enjoy the flexibility of adding stores to social media and other online venues.”

Gabriel Dusil, Chief Marketing and Corporate Strategy officer at Visual Unity Global adds: “This latest integration with Ecwid shows Visual Unity’s commitment to developing strategic features that bring untapped revenue success to our clients.”

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About Visual Unity Global

Visual Unity Global is a global provider of video and digital media solutions, enabling our clients to deliver premium quality video content over the internet. Our clients can measure, analyse 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, Munich, Nairobi and Los Angeles. For further information, please visit www.visualunity.com, info@visualunity.com

About Ecwid: Ecwid is a full-featured, cloud-based e-commerce platform that allows businesses to create professional online stores and embed them into any existing web, mobile, or social site. Ecwid, available directly or through trusted partners, has over 400,000 registered merchants in 175 countries, and is available in 45 languages. A free plan is available. The Ecwid Facebook app is the leading shopping cart application on Facebook, with over 40,000 Facebook stores globally and used by more than 300,000 monthly active users.

For further information, please visit: www.ecwid.com.

Fred Falke Dubs Prism Sound’s Lyra the Pinnacle of ADA Conversation

Renowned French DJ, remixer and producer Fred Falke was so bowled over by Prism Sound’s Lyra II audio interface that he bought one after just one listen.

“It simply surpasses every other competitor by far,” he says. “The AD conversion is so clear that recording becomes effortless, and the DA is just unreal: you can hear every little detail in a mix in a way that you never thought was possible. It’s like watching the stars through the Hubble telescope.”

One of the most prolific and in-demand producers around, Fred Falke earned global recognition as a DJ, producer and remixer with his debut release Intro. Now based in Los Angeles, Falke’s career has spanned nearly two decades and he has consistently proven his versatility with releases such as Golden Cage and reworks of Nervo and Robyn tracks. His ability to bridge the gap between pop and electronic dance music is evident with his remixes for artists from Katy Perry and Ke$ha to, more recently, Lana Del Rey, Jason Derulo and Selena Gomez. He has also written and produced for Ellie Goulding and Florrie and co-wrote Amelia Lilly’s track You Bring Me Joy that reached #2 in the UK charts.

Falke says he first came across Prism Sound’s recently introduced Lyra 2 audio interface during a recording session at Metropolis Studios in London.

“It sounded so good that I immediately bought a unit myself,” he says. “I have subsequently gone on to use it on a number of tracks, including remixes of Tiesto’s Redlights and Foxes’ Let’s Go.”

Prism Sound’s Lyra has built up a loyal following among musicians and DJs because it is so portable and versatile – something that Falke says is essential to him. “It doesn’t matter where I’m working, I have this little ‘magic box’ in my bag and can achieve superb recording and mixing,” he says.

He connects the interface via USB to his MacPro, utilising the line-ins and also the preamp inputs. “When mixing, my DAW master out goes into the outboard through line-outs one to two, and comes back into the Lyra line-ins,” he explains.

Ease of use is also high on Falke’s list of criteria. Part of his signature approach is his love of crafting synth sounds and beats with synthesisers, drum machines and samplers.

“They all have a specific sonic signature,” explains Falke. “Instruments and vocals carry emotions. The Lyra manages to capture that with an unmatched perfection. The controller software is a no-brainer, offering the same zero-latency recording as working from a desk.”

In perhaps the ultimate testament to the quality of the Lyra, Falke explains that when he took delivery of it, he listened to many of his favourite songs and tracks through it right away.

“Even though I have heard these songs a million times before, all of a sudden I heard things I never heard before,” he recalls. “It’s hard to describe how good it is; you have to experience it to realize what you’ve been missing: Prism Sound is the pinnacle of ADA conversion.”

Based on the award-winning and critically-acclaimed Orpheus interface, Prism Sound’s Lyra allows music recording professionals to access the power and sophistication of the Orpheus audio path and clock circuitry, but in a smaller package and at a much improved price point.

The Lyra 1 interface has two analogue input channels – one for instrument/line and one for mic/line – plus two DA output channels and optical-only digital I/O. Lyra 2 includes two AD input channels with switchable microphone, instrument or line input modes and four DA output channels. Both versions incorporate new ARM Cortex processor design offering class-compliant USB interfacing that allows for seamless integration with both Macs and PCs. Both versions also offer digital volume control, a low latency ‘console-quality’ digital mixer for foldback monitoring and optical SPDIF capability.

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About Prism Sound
Founded in 1987 in Cambridge, UK, Prism Sound manufactures a range of high quality professional test equipment for audio applications. The company is organised in three divisions and in addition to audio test equipment, Prism Sound also manufactures equipment for high-quality recording and production for music and sound applications and for voice-logging recorders used in law enforcement, legislative and business applications. Prism Sound audio test equipment is used by many major consumer electronics brands in automotive, home entertainment, personal mobile, communications and other market sectors as well as most of the world’s leading broadcasters including the BBC. Prism Sound’s music recording products are widely used by leading professionals in music and film sound such as the legendary Abbey Road Studios in London.

For more information: www.prismsound.com

CAST BlackTrax and Trinity Fellowship Church to present ‘Lights. Camera. Tracking!’

CAST BlackTrax delivers on ROI, increased creativity and systems flexibility

Appealing to large-scale event and production professionals, Paul Braile, BlackTrax expert at CAST BlackTrax Ltd and Michael Wells, executive director of operations at Trinity Fellowship Church, Texas will present the ‘Lights. Camera. Tracking!’ seminar at PLASA Focus: Nashville 2014 at room Mezzanine 27 at The Nashville Municipal Auditorium, TN from 12:00 to 13:00 on Tuesday, 18th and Wednesday, 19th of February.

Trinity Fellowship Church in Amarillo, Texas utilized BlackTrax motion tracking system in its 3,750 seat auditorium integrated with live performers, lighting, sound, multi-media and video for its 2013 Christmas Program and beyond.

“Visitors will walk away from the seminar with an in-depth understanding of how our production has deployed BlackTrax bringing significant ROI as well as lighting, logistical and creative benefits,” explained Michael Wells, executive director of operations at Trinity Fellowship Church.

“BlackTrax is key to our presence at PLASA Focus: Nashville 2014,” said Bruce Freeman, chairman at CAST Group. “We will offer visitors outstanding education as well as hands-on experience of our innovations, opening their use for future projects.”

In addition to the company’s education initiative, CAST will exhibit its revolutionary BlackTrax, wysiwyg and Vivien technologies at Booth 201 at PLASA Focus: Nashville 2014 from February 18 to 19, 2014.

All seminars in the Professional Development Program at PLASA Focus: Nashville 2014 are free to attend. Interested parties are encouraged to register early for the ‘Lights. Camera. Tracking!’ seminar at http://www.prereg.net/2014/plasaone/.

For enquiries about the BlackTrax Solution please contact bt@blacktrax.ca or visit the website at www.blacktrax.ca.

www.blacktrax.ca

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