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ICE Cable Systems Invests in the Latest REELEX Cable Coiling Machine

Newer technology features the latest optimizations in both hardware and software, and is customized for ICE Cable Systems’ products, making this premium wire & cable brand’s Big Mouth Payout bulk wire dispenser even better

Example of REELEX II wind pattern and dispenser Los Angeles, CA – August 25, 2014 – ICE Cable Systems, a leading manufacturer of premium low-voltage wire and cable products, today announced that it has invested in a new REELEX coiling machine for its factory.

REELEX’s tangle-free technology is a patented method of winding wire and cable into a figure-eight coil. In optimizing each coil, factors such as gain, payout hole control and the density of the wind, along with progressive coil tension, are all instrumental to producing tangle-free packages. This unique coil can only be produced on a specially-designed and patented REELEX machine and accompanying customized software.

The REELEX II coil within the bulk wire carton does not rotate during payout, nor does any inertia take place. Void of any moving parts, the coil dispenses from the inside-out with a clear path and avoids the typical twists, tangles and snags that plague bulk wire cartons.

The REELEX II technology is a key element in ICE Cable Systems Big Mouth Payout bulk wire carton, that along with other conveniences such as ascending and descending foot markers on the cable jackets, and extremely durable 24 kilogram burst-tested cardboard with dual-layer handles, have made it very popular among installers.

“We’ve taken something good and made it even better,” says ICE Cable Systems President Brian Rizzo. “We’ve invested in a machine that represents the state-of-the-art in wire and cable technology and custom-configured it for our cables. The net result for our dealers will be perfect pulls, from the first foot to the last.”

ICE Cable's Big Mouth Payout bulk wire carton

Timothy Copp, Vice President of REELEX notes, “Installers need to know there is knock-off pull-box packaging out there. Non-REELEX coils might look and act like REELEX, but are prone to tangling, cable deformities, and can cause damage to the cable – leading to performance issues.”

For more information please contact ICE Cable Systems at 310.444.1950.

About ICE Cable Systems
Founded in 2004 by president Brian Rizzo, ICE Cable Systems is a leading manufacturer of premium low-voltage wire and cable products serving the Audio Video, Alarm and Security, Commercial, Electrical Contracting and Data Center channels. The company’s products are available to integrators both directly and through more than 50 distributors in North America and internationally. ICE Cable’s success is driven by ingenuity and its desire to make superior products that offer more value to installers. www.icecable.com

‘Torus Power Hour +’ CEDIA CEU Course Promises to Be a Groundbreaker Thanks to an All-Star Cast of Industry Experts

Renowned experts Anthony Grimani, Dennis Erskine, Arthur Kelm, Dr. Henry Pajooman, David Rodarte and Kevin Main give CEDIA professionals the inside track on grounding and power for high-end, high-performance installations

TORONTO, ON, CANADA - AUGUST 25, 2014 – Torus Power, a subsidiary of Plitron Manufacturing and maker of uncompromising and unrivaled isolation transformer–based power management components, announced today the Company will be hosting the groundbreaking ‘Torus Power Hour +’ Industry Expert Panel Session and Manufacturer Training Course during CEDIA Expo 2014, onSeptember 12, from 3 to 4:30 PM (Room 605 at time of press).

“Though commonly misunderstood, proper power management ensures both the integrity and performance of connected Audio/Video equipment is preserved,” says Kevin Main, VP of Sales and Marketing for Torus Power. “The Torus Power Hour + aims to demystify and educate the audience on proper power and grounding while providing some strong opinions and invaluable application insight from some of the best minds in the industry. This will be a discussion worth making time for!”

Main will introduce Torus Power and the esteemed panel, including host David Rodarte, global strategist and champion of the CE industry and recipient of Consumer Electronics Association’s TechHome Leadership Award. Rodarte, also past CEO of NuVo Technologies and now CEO of ChangingVelocity, will lead a panel of luminaries from all corners of the industry. Panelists include Anthony Grimani, world-famous audio expert and acoustician and President of Media Specialty Resources, Inc. and Dennis Erskine, award-winning THX-certified professional theater designer, acoustical engineer, CEO of the Erskine Group, and CEDIA Vice Chairman. Joining them will be power and grounding expert Arthur Kelm, CEO of Ground One, and Dr. Henry Pajooman, Ph.D., specialist in motors and magnetics and VP of Engineering for Plitron Manufacturing.

The CEDIA course is worth 0.75 Continuing Education (CEU) credits, but Torus Power Hour’s real draw is the promise of an electrifying discussion on power and grounding for high-end, high-performance installations. The panelists will also cover everything integrators need to know to properly power, protect, and preserve electronics, followed by a deep dive into related technologies and key success factors. Some questions that will be put to the experts are: What are some of the high-level considerations that you think about when working on a power-hungry project? What are the symptoms you’ve experienced in a system that only an isolation transformer could have resolved? How do integrators justify the investment in toroidal isolation products with customers? And more.

As a thank you for the time taken away from the busy trade show floor, Torus will award one pre-registered course attendee the prize of the Torus Power AVR 20 Toroidal Isolation Power Transformer with Automatic Voltage Regulation. Enrollment for the course is limited to 90 students and early registration is encouraged.

To register for the Torus Power Hour + (CEDIA course MPTTP001-1), visit https://events.itnint.com/CEDIA14/RegOnline/RegLogin.aspx?stream=attendee.

Torus Power is a Crestron Integrated Partner and a member of Savant’s Partner in Excellence Program, which enables seamless integration across platforms. More information about Torus Power can be obtained by visiting www.toruspower.com, calling (800) 754-8766, writing to tech@toruspower.com and by following @TorusPower on twitter.

To schedule a media tour during CEDIA Expo 2014, contact Katye (McGregor) Bennett, KMB Communications, (425) 328-8640katye@kmbcomm.com@katyemcgregor, or stop by booth #1066 during the Expo.

About Torus Power
Torus Toroidal Isolation Power Conditioners are the world’s finest clean power source for audio, video, and control systems. Built to an uncompromising standard of quality, performance and reliability, Torus Power Conditioners are engineered to perform and protect like no other. Torus Power products are the consistent choice of knowledgeable audiophiles, home theater enthusiasts, custom electronic system integrators and designers, whose discriminating tastes and technical requirements mandate the ultimate performance and protection levels achievable.

Utilizing Plitron’s patented NBT technology and toroidal isolation transformers, Torus Power products restore incoming power to its clean original state, eliminate virtually all power line noise artifacts, and protect connected equipment from potentially damaging AC power line events, thereby increasing system reliability and extending product life. Providing high levels of clean, instantaneous current, Torus Power products ensure that dynamic components—such as high power amplifiers—are never starved for power.

Precision engineered by Plitron Manufacturing Inc., a much sought-after OEM supplier of toroidal transformers and toroidal-based products for many of the audio/video industry’s leading amplifier brands, providing more than 30 years of experience and an unparalleled reputation, Torus Power is manufactured to rigorous standards under Plitron’s ISO9001 medical-level quality control system in Toronto, Canada. More information can be found online at www.toruspower.com. Follow Torus Power on Twitter @TorusPower.

Torus Power Media Contact
Katye (McGregor) Bennett, KMB Communications, (425) 328-8640katye@kmbcomm.com@katyemcgregorwww.kmbcomm.com/press.

 

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HOSANNA LUTHERAN CHURCH GOES HI-FI WITH DANLEY

MANKATO, MINNESOTA – AUGUST 2014: Growing with the community since its founding in 1972, Hosanna Lutheran Church is now a cornerstone of religious life in Mankato, Minnesota. With four contemporary services a week, plus one traditional service and plenty of high-SPL youth events, its sanctuary sound and video systems were tapped to provide a huge range of content. Despite having loudspeakers made by a respected manufacturer, intelligibility and low-end extension were poor and a regular source of complaints until recently, when Audio Video Electronics (AVE) (Maple Grove, Minnesota) renovated the system. Citing their excellent fidelity and intelligibility, AVE installed a pair of Danley Sound Labs SH-60 loudspeakers. To give Hosanna Lutheran Church plenty of bass when needed, AVE also gave the church a beefy Danley DBH-218 subwoofer.

“Before AVE’s renovation, we always had complaints,” said Matt Kotthoff, technical director at Hosanna. “The system was muddy, and a lot of our disciples, especially some of the senior members, had a hard time understanding what was being said depending on where they were sitting. Also the system lacked intelligibility and power.” Stefan Svärd, president of AVE, added, “Not only that, the low-frequency extension was simply missing. This was despite its big name components and the fact that it looked like a good system on paper. It simply didn’t translate to real-world performance.”

Svärd designed an elegantly simple new sound reinforcement system for Hosanna. An exploded mono cluster of two Danley SH-60s leverages Danley’s excellent pattern control to cover all of the seating without energizing the rest of the structure. Between them, also on the ceiling, is the Danley DBH-218 subwoofer. Svärd repurposed Lab.gruppen C-series amplifiers for the mains and added a Lab.gruppen FB14000 for the subwoofer. An existing Biamp Nexia and EV-DC1 processor condition the system, albeit less now than with the previous components, as the Danley boxes are naturally flat and transparent. A new Midas Pro 3 mixer gives Kotthoff and his techs control of the system for complex services, and a Crestron control system provides simple control of audio, video, lighting, and HVAC via iPad or iPhone. Finally, a new 8000lumen Digital Projection HD projector gives the congregation crisp imagery.

“I’ve had a lot of experience with loudspeakers from all sorts of manufacturers,” said Svärd. “To me, Danley’s unique designs offer the smoothest, most ‘studio-monitor-like’ performance in the sound reinforcement market. They have accurate phase response, great pattern control, and true hi-fi sound. The Danley DBH-218 subwoofer delivers a lot of clean output, and because it’s horn-loaded, it affords a degree of pattern control. For the youth services, they have that subwoofer shaking the whole building! Together, the whole system sounds phenomenal.”

Kotthoff agrees, “The Danleys sound great! Everything sounds crisp, clear, and clean. Nothing sounds harsh or painful. The intelligibility in the whole worship space is outstanding, everything from feeling the bass guitar rhythm to the clear natural sound of both singing and speaking voices. The DBH-218 subwoofer is awesome, every chance I get I love to crank the kick drum and feel the beat go right through me! I have received so many compliments, from ‘the audio is so clear’ and ‘now that’s an HD presentation’ to things like ‘I got bass in my butt!’ and ‘can you turn it louder?’ The system is amazing! It totally enhances Hosanna Lutheran’s strong music ministry in so many ways!!”

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

Wohler Expands Reseller Agreement With Brazil’s CIS Group to Include File-Based Product Family

Wohler’s File-Based Line Will Help Increase Efficiency and Profitability for Latin American Media Companies

SAN FRANCISCO — Aug. 19, 2014 – Wohler Technologies today announced that CIS Group, already a part of a select global network of value-added resellers for Wohler’s baseband and stream-based product lines, will now represent Wohler’s line of file-based products, as well. Key among them is Cinnafilm(R) Tachyon(R) Wormhole(TM), an automated file-based retiming solution based on Wohler’s RadiantGrid Intelligent Media Transformation Platform(TM). CIS Group will resell Tachyon Wormhole and Wohler’s other file-based appliances in Brazil and select Latin American regions, where media companies are looking for ways to trim costs and monetize their content.

“We see great potential for both RadiantGrid and Tachyon Wormhole in the Brazilian market because it’s a technology that will help both large networks and regional stations increase revenue potential,” said Guilherme Silva, CEO and president of CIS Group. “CIS Group has been a leader for many years in bringing IT-based solutions to Brazilian media companies. Tachyon Wormhole fits this long tradition and will allow us to offer new ways of meeting our customers’ needs.”

Wohler serves as the exclusive master distributor for Tachyon Wormhole, which is based on the RadiantGrid platform and enables up to a ±10 percent runtime adjustment while preserving not only video and audio quality, but also closed caption integrity. Wohler offers the product directly and through select resellers. Wohler’s other file-based products include the RadiantGrid Media Transformation Platform and WohlerLoudness loudness-correction software.

“CIS has an extensive customer base within the Brazilian market and a deep understanding of marketing, selling, and supporting cutting-edge solutions such as Wohler’s file-based product lines,” said Craig Newbury, vice president of sales at Wohler. “That combination gives us access to the growing Brazilian market through a partnership with a true value-added reseller.”

More information about Wohler and its products is available at www.wohler.com.

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About CIS Group
CIS Group designs, engineers, and installs integrated solutions for broadcast facilities, sports venues, corporations, live/post production studios, educational institutions, and houses of worship. The company focuses on digital technology and new media projects for the creation, management, and distribution of film, video, audio, and data. With more than 26 years of experience in the broadcast and post production industry, CIS Group is uniquely suited as a technology integration partner.

Established in 1988, CIS Group delivers turnkey systems that combine proven broadcast, IT, and storage technologies to enable full digital workflows. Headquartered in Davie, Florida, CIS has field operations offices in Brazil and Portugal.

About Wohler Technologies Inc.
Wohler’s tradition of innovation began more than 30 years ago with the creation of the industry’s first in-rack audio monitoring product, and it continues today through the company’s continued development of unique solutions that span the baseband, stream, and file-based domains and include advanced monitoring solutions for video, audio, and captioning applications; solutions for IP monitoring, encoding, and decoding; and the award-winning RadiantGrid(TM) platform for efficient file-based content transformation and distribution. Together, Wohler’s advanced, cost-effective confidence monitoring and media transformation products ensure high-quality production across any platform and delivery to any device. More information about Wohler is available at www.wohler.com.

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

Visit Wohler Technologies at SET EXPO 2014, Exhibiting With CIS Group in Stands C09 and D10

Photo Link: www.wallstcom.com/Wohler/Wohler-CISGroup.jpg
Photo Caption: CIS Logo

Digigram to Introduce New Low-Latency, High-Density LX-MADI PCIe Sound Card at IBC2014

LX-MADI PCIe Sound Card Offers 64/64 MADI I/O, Latency Down to 3 ms, and High Stability in Audio Production and Broadcast Automation Applications

MONTBONNOT, France — Aug. 19, 2014 – Digigram today announced that it will showcase the new LX-MADI PCI Express(R) (PCIe(R)) sound card, the latest addition to company’s unparalleled range of sound cards engineered for broadcast applications, at IBC2014. Digigram designed this card to provide radio and television broadcasters with low-latency performance and reliable multichannel synchronous audio PC connectivity in high-density audio production and automation applications.

“With the new LX-MADI PCIe card, users can establish a high permanence-of-service bridge between the PC-based content management world of digital audio workstations and automation systems and the legacy synchronous audio world based on AES10 standard Multichannel Audio Digital Interface (MADI),” said Pascal Malgouyard, head of product marketing at Digigram. “This approach simplifies the systems required to support key broadcast processes while ensuring the continued quality and reliability of audio signals.”

Equipped with an optical MADI interface, Digigram’s new LX-MADI PCIe sound card supports a 64/64 I/O channel count with low roundtrip latency down to 3 milliseconds. An embedded 64×64 matrix gives users routing and direct monitoring capabilities, along with record and play functions. Because the LX-MADI PCIe sound card is a hardware solution, it offers high stability regardless of the computational load presented by other applications running on the host system, such as editing, processing, ingest, and playout.

The new Digigram LX-MADI PCIe sound card will be shipping by the end of 2014. In the meantime, it will be available for demonstrations on the Digigram IBC2014 stand (8.C51).

Further information about Digigram and the company’s products is available at www.digigram.com or by phone at +33 4 76 52 47 47.

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About Digigram
Positioned at the convergence of professional audio and video with IT, Digigram offers IP-based solutions that enable users worldwide to increase their competitiveness through change.

The company’s products enable the reliable capture, production and delivery of high-quality audio and video over IP networks. Its innovative IP audio codecs, professional sound cards, and audio processing software are used by thousands of journalists, broadcasters, and audio engineers worldwide. Digigram’s all-IP video product line provides advanced contribution and distribution solutions to broadcast, IPTV, Web TV, and OTT operators. The company also delivers key audio/video technologies and OEM solutions to software vendors and manufacturers.

For more than 25 years, through constant innovation and the development of fruitful partnerships, Digigram has been influential in energizing the industry, raising standards, and pushing forward technological development.

Further information on Digigram and its product portfolio is available at www.digigram.com.

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

Please Visit Digigram at IBC2014, Stand 8.C51

Photo Link: www.wallstcom.com/Digigram/Digigram-LX_MADI.jpg
Photo Caption: LX-MADI PCIe(R) Sound Card

Forbidden to Present Two Sessions at IBC Content Everywhere Conference During IBC2014

LONDON — Aug. 19, 2014 – Forbidden Technologies plc (AIM: FBT), the AIM-quoted owner and developer of the market-leading cloud video platform Forscene, announced today that they will moderate two sessions at IBC’s inaugural Content Everywhere Europe conference colocated with IBC2014 in Amsterdam. For each session, one in each of the Workflow and Cloud Solutions Theatres, Forbidden will introduce key clients who will discuss how they leverage Forscene in their unique production and post-production workflows.

The IBC Content Everywhere Cloud Solutions area, located in Hall 3, hosts presentations and case studies on Cloud Technology and products. These free-to-attend master class sessions will explore the latest cloud solutions. In the session titled “Camera-to-Cloud — Cut Out the Delay Between Shoot and Post,” Maverick TV’s Donna Mulvey-Jones will explain how the cloud is used to cut out the delay between shoot and edit and provide better collaboration between production crews in the field and post-production teams back at base. To illustrate the point, Mulvey-Jones will describe Maverick TV’s use of the Forscene cloud-editing platform integrated with Sony’s CBK-WA100 wireless adapter — a combination that allows wireless transmission of content directly from the camera to Forscene. The session will be held Sunday, Sept. 14, from 2 p.m. to 2:25 p.m. in Hall 3 of the RAI. More information about the Cloud Solutions sessions can be found at www.ibc.org/page.cfm/link=861.

The IBC Content Everywhere Workflow Solutions area, located in Hall 9, will showcase the financial and production benefits of the disruptive technologies of file-based production workflows. In the session titled “Expanding the Use of Cloud to Create More Efficient File-Based Workflows,” Paul Wilkes, technical director for Halo Post and Portland Post, will talk about a revolutionary new workflow that synchronises post-production and archiving for BBC factual content in the Forscene cloud. The hour-long session will begin Monday, Sept. 15, at 12:30 p.m. in Hall 9. More information about Workflow Solutions can be found at www.ibc.org/page.cfm/link=910.

More information about Forscene can be found at www.forscene.co.uk. More information about Forbidden can be found at www.forbidden.co.uk.

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About Forbidden Technologies plc
Forbidden develops advanced technologies that enable media makers and broadcasters to create and distribute compelling viewing experiences to demanding worldwide audiences. Forbidden’s flagship product, Forscene, is the world’s most advanced cloud-based video post-production platform. It allows post-production professionals to make and deliver stories with high quality and production value in demanding, fast-paced landscapes. Quoted on the London Stock Exchange Alternative Investment Market, Forbidden partners with high-profile media and technology organisations, including Atos, BIM, deltatre, EVS, and Key Code Media. More information about Forbidden can be found at www.forbidden.co.uk. More information about Forscene can be found at www.forscene.co.uk.

Visit Forbidden at IBC2014, Stand 8.B38e

Photo Link: www.wallstcom.com/Forbidden/Forbidden-SonyWirelessAdapter.jpg
Photo Caption: Sony’s CBK-WA100 Wireless Adapter

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JOEL HAMILTON RECORDS AND MIXES “PUSS N BOOTS” DEBUT USING ATC SCM25A’s

BROOKLYN, NEW YORK – AUGUST 2014: Puss n Boots is a three-piece, all-female, alt-country band led by singer-songwriter Norah Jones and backed by accomplished vocalists Sasha Dobson and Catherine Popper. All three women learned new instruments for five years before recording their debut album with engineer/musician/producer Joel Hamilton (Tom Waits, Black Keys, Sparklehorse, Elvis Costello) at Studio G Brooklyn. Titled No Fools, No Fun, the album was recently released on Blue Note Records. As co-owner of Studio G Brooklyn with Tony Maimone, Hamilton installed ATC SCM25A three-way reference monitors and ATC SCM0.1-15 subwoofers in Studio A, a change that happily coincided with his first Grammy nomination (Pretty Lights, A Color Map of the Sun), a Latin Grammy nomination (Bomba Estereo, Elegancia Tropical), and a Latin Grammy win (Gaby Moreno, Postales). The ATCs were purchased from Audio Power Tools in New York.

“The ATCs have changed the way I work and improved the quality of my work,” said Hamilton. “I’m lucky to have a nicely tuned control room with an SSL and plenty of vintage outboard gear, and with the ATCs, I’m suddenly able to make decisions that are smaller – and yet more critical – than I have ever been able to make before. I have the ability to resolve a finer shade of the colors I’m hurling at the end-listener, and it’s been a revelation. It’s not a small thing, and that’s why I’m reaching for dramatic words like that. It’s tectonic. The entire continent has shifted.”

The glorious harmonies delivered by Jones, Dobson and Popper are a huge part of Puss n Boots’ magic. They form the emotional foreground. “The balance of those harmonies is crucial,” said Hamilton. “You’ve got these three gorgeous women with gorgeous voices, and they’re all coming at you like gangbusters because they can all project. We recorded everything live to analog tape, including the vocals. That gives a particular nuance to how the instruments sit against the vocals. You can feel the beat push and pull so beautifully. I needed to make sure that all of that nuance would come shining through for the listener. Striking the right midrange balance of those harmonies is critical, and I had to make sure all of that beauty would be immediately apparent to, say, my mom!”

While Norah Jones’ existing albums might safely be described as “polished” and most classic country albums might safely be described as “rough,” Hamilton had to walk the line between those extremes. “The balance is deliberately raw, which is perhaps unexpected by traditional Norah Jones standards, but it also has to be informed,” he said. “We were shooting for a tiny bulls eye, but we also had to make sure that everything felt unfettered and natural; just on the edge of scratchy so that it felt rough but didn’t actually hurt people. With the ATCs, I could find that line and make adjustments with confidence. I could tell where I was overcooking it on purpose. I could dial in just the right amount of ‘road house.’”

With the introduction of the ATCs, gone too is the need to translate for the client how a mix will sound outside of the studio. “After spending a lot of time in front of other monitors, I could tell when certain things would sound bad in the studio but fine outside of the studio,” Hamilton said. “The challenge beyond that, however, was convincing the client that those bad things would be fine later on, which is just one more thing to heap onto the already-skittish nature of an attended mix session. And so clients would ask, ‘why don’t you just get monitors that sound like it will sound like?’ It seems so simple, but of course it’s not.”

Hamilton used to switch between a number of monitors and loudspeakers all day long, but now he just hangs out on the ATCs. Depending on the task at hand, he can turn the ATC subwoofer on or not. “With the sub on and the volume cracked, the ATCs rock and serve as ‘mains,’” he said. “When I’m listening closely and resolving small moves, the ATCs are my nearfields. Either way, I now have complete confidence in what I’m hearing and doing. When a mix sounds good on the ATCs, I know it will sound good everywhere else. With Puss n Boots, we were able to make solid decisions that stuck. We totally avoided the hell of endless revisions!”

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

METRIC HALO GEAR NO MYTH FOR FOH ENGINEER SUNE SNELLMAN JAKOBSEN

COPENHAGEN, DENMARK – AUGUST 2014: Sune Snellman Jakobsen is a live mix engineer stationed in Copenhagen, Denmark whose credits include world tours with The Raveonettes, Mew, Mercury Rev from NY, Kashmir from Denmark, and, most recently, Trentemøller. An avid Metric Halo user, Jakobsen owns a ULN-8 interface and a LIO-8 interface and regularly uses their SpectraFoo sound analysis software to set up shows and to help identify and solve problems while mixing. His interfaces carry Metric Halo’s optional +DSP, which allows him to run their powerful plug-ins on critical live channels (including the whole mix!).

Jakobsen’s entry into the industry was not so worldly, nor so high-tech, but it set him on the right path. “I became interested in audio as a member of the underground punk scene in Copenhagen during my teenage years,” he said. “I played guitar in punk bands and hung out in a punk club where some older guys taught me the basics of mixing consoles, multi-way speaker systems, stage monitors, and all that. Neither the bands nor the audience cared too much about fidelity or clarity, so I could mix shows night-after-night and no one complained about my dreadful mixes. It was hard on the ears but good practice for a novice.”

One of Jakobsen’s punk rock mentors recommended him for a job with one of Denmark’s leading PA companies, and he spent the next several years prepping outboard racks, packing house-boxes for rentals, driving trucks, rigging PAs, and patching microphones on tours and festival stages. “The whole time I was looking over the shoulders of all the experienced and skilled monitor and FOH engineers,” he said. “I soon moved from rigging and miking to actually operating the boards, which was exciting. I got pretty good at mixing monitors, and I was able to mix FOH for a few up-and-coming acts.”

As his skills and industry contacts grew, more bands hired Jakobsen to engineer their shows, prompting him to make the move to full-time freelance. After some years of regional touring with local bands, he signed on to a worldwide tour with The Raveonettes. “The band had just landed a major label deal and had a lot of hype going so we went back and forth from European to U.S. club tours and festivals,” he said. “We performed on the Late Show with David Letterman a few times, Conan, Jimmy Kimmel Live!, numerous radio sessions, and support-tours with Depeche Mode, Interpol, The Strokes, Supergrass and many others. Those support tours were great because they gave me new opportunities to learn from great live engineers.” When The Raveonettes finally took a break after six years of constant touring, Jakobsen signed on with Mew and, later, Trentemøller.

“As a FOH engineer, I think it’s important to embrace the sonic ideals of the artist,” Jakobsen said. “I don’t see any point in applying my own favorite flavor if it doesn’t appeal to the artist. Along those lines, it’s critical to build a relationship of trust so the artist feels I have an understanding and appreciation of what their music should sound like. It was an interesting transition to go from The Raveonettes’ minimal, noisy, and reverb-y soundscape to Mew’s big sonic universe, with big pounding drums and layers of pads, guitars, and backing vocals.” Although still working with Mew, Jakobsen began touring with Trentemøller in 2010, which took him to European arenas in support of Depeche Mode, 3,000-seat headlining gigs, and plenty of European festivals. “I’m still fascinated by the way a good mix can lift a music experience (and how a bad mix can ruin a show), and I’m still intrigued by how difficult it is to reinforce audio and to mix,” he said. “I like the combination of creativity, technical skills, and science. It’s an ongoing learning experience, and that’s cool.”

SETTING UP THE SHOW
Jakobsen seldom has more than a short window to load in, set up, check the PA, and sound check before doors open. One of the first things he addresses is the PA system performance: “The frequency response should be full range and both level and response should be as uniform as possible throughout the audience area. I use Metric Halo SpectraFoo sound analysis software on most every gig to analyze and help tune the PA system.” He typically sends pink noise to one side of the PA, feeds the same signal to SpectraFoo’s Transfer Function source channel, places his Earthworks M30 measuring mic somewhere on-axis, and feeds its output to the Transfer Function response channel. He then time aligns the two signals with SpectraFoo’s Delay Finder and takes a snapshot of the response. He repeats this process with the mic at several other locations – a little farther or closer, and on or off axis. He marks the snapshots in SpectraFoo’s overlay list and asks it to calculate an average.

“That,” he said, “is then my visual reading of the system. I immediately get an idea of the PA at hand and whether it’s reasonably linear or not. Sometimes I’ll spot an issue even before I listen to music. For example if there’s a broad dip in the 1k-6k range it could indicate the gain settings in the system crossover aren’t right and the hi-mid drivers are gained too low. Or a dip at the crossover frequency of the sub and the low-mid could indicate phase or timing issues with the subs. It’s of course important to listen to reference music and tune with the ears in addition to the SpectraFoo output, but the visual plot is a great help in locating problem frequencies.” He uses SpectraFoo’s Delay Finder along with the phase response of the Transfer Function to time-align subwoofers, fills, and delay speakers if necessary. During sound check, he uses its Correlation Meter and Phase Torch to verify phasing between sources (e.g. bass DI and bass mic). Ringing the system with Spectragraph allows him to quickly identify and notch out problem frequencies with the Metric Halo EQ plug-in.

MIXING THE SHOW
Jakobsen described his mix philosophy: “The mix itself must complement the music and should hopefully impress and overwhelm the audience. All of the instruments should be well-defined within the mix. Vocals should almost always be on top of the mix, and lyrics should be audible. I tend to favor ‘wall of sound’ mixes, with gaps in the soundscape filled by anything available from stage, perhaps by mixing guitar parts up very close to the vocal or adding lush reverb to drums or percussion. I like to be overwhelmed by sound when I’m in the audience, so I aim to do the same when I’m mixing. I think one key to an interesting mix is to feature supporting roles as much as lead roles, be it a rhythm guitar or a tambourine or whatever; I think it helps keep people’s attention when all the different roles are well defined.”

Jakobsen uses his Metric Halo ULN-8 and LIO-8 along with the free Metric Halo MIO Console control software as an audio “multi-tool.” MIO Console allows him to route signals and to operate the DSP resources he has installed on the interfaces. With Trentemøller, he reserves the Metric Halo gear for the tracks that need the most processing: vocals, kick drum and snare drum. “I’m not aware of any other interface that has the combination of such great-sounding preamps, transparent converters, sublime mix bus processing, and all of the DSP tools necessary: unlimited bands of precise EQs, compression, limiting, delay, and ‘character’ modeling. At the same time, it gives me a straightforward interface for recording and playback.”

For vocals, Jakobsen uses Metric Halo’s “Classic British Mic Pre” character, followed by a “MIOstrip” loaded with a six-band EQ for sweetening, two compressors with complementary fast and slow settings, a second six-band EQ for notching out problem frequencies, and a very fast compressor with a side chain high-passed at 5kHz to serve as a de-esser. “In addition, I use the ‘California Vocal Box’ character on the vocal’s master strip, which I find adds a nice grainy texture,” he said. “For the current tour, Trentemøller asked for a vocal distortion for a few songs. I made a virtual MIO channel and tried different combinations of the Pedal and Amp macros. I ended up with a combination of the ‘Screamer’ into the ‘MHClean’ with some delay and a lot of compression and EQ. It sounds great!”

Jakobsen uses similar processing for the kick and snare drum. ” I almost always mix drums into a group and insert a stereo ULN-8 or LIO-8 input, split that into two stereo channel strips in MIO Console – one with no processing (or perhaps just Metric Halo’s Transient Designer) and one with a hard squashing compressor, Transient Designer, and often a bit of soft clip to give the drums an edgy character,” he said. “Those channels sum to a stereo output that’s a killer parallel compression drum group insert. I even have the option to add different characters to the drum group, for example the ‘Soft-Saturation’ character for a fatter and more punchy sound, and I have an EQ on the output bus that allows me to cut boomy frequencies in the low end or add high-end brilliance on the fly.”

Finally, Jakobsen sends the entire mix into a stereo MIO Console channel that gets routed to two auxiliary groups, one with “SoftSat” Character applied and one without. “I can then mix between these two depending on the PA system of the day,” he said. “It’s like having a wet/dry control on the SoftSat Character, which can really make the PA system sound like it’s ‘in your face.’ Then I route that mix to multiple master busses with different EQs and delays for the main PA, the subs, fills, and delays.” During the performance, Jakobsen keeps SpectraFoo open with a Level Meter on the house sound, a Spectragram and a Spectragraph on the mix bus, and a Spectragraph on the solo bus for quickly diagnosing problems with individual channels. “It’s especially helpful for getting the low-end even. If I hear a boomy note in the bass, it’s easy to identify with SpectraFoo,” 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

WIND OVER THE EARTH ADDS AN API 1608 TO ITS DEMO ROOM STUDIO

BOULDER, COLORADO – AUGUST 2014: Situated in the foothills of the Rocky Mountains, Wind Over the Earth (WOTE) offers recording sessions for local bands, singer/songwriters, and voice-overs, as well as post-production and training services within its demo studios. It doesn’t promote itself as a commercial studio, but rather uses its space as a base of knowledge to be shared with the community. As a longtime user of API gear, WOTE has now commissioned an in-house 1608 console to offer real world knowledge and applications to its customers.

“Jumping into the 1608 is something we wanted to do for quite some time,” stated Mark Venezia, studio manager at WOTE. “The classic sound of API is something WOTE has been advocating for years, so when we were making the decision to install a console, the 1608 was the right fit.”

Since the commissioning, the 1608’s headroom, imaging, and overall depth of sound have made an immediate impact. “The 1608 has brought us up to another level of visibility,” shared Venezia. “It has made our life that much easier. The work flow on everything we do is smoother.”

Part of what makes the 1608 a success at WOTE is the setup. “We have everything wired into four bays as of right now, and the ease of use revealed itself in our first session. We custom-build all of our cables here at WOTE, and the last two 1608 consoles we have sold have included custom wiring packages for specific client needs,” explained Venezia. “In each case, customers who have been in our demo room learned first-hand the ease of use. The versatility of moving modules around is nice as well.”

With some post-production projects, recording sessions, and a series of live shows using the 1608 already complete, WOTE is eager to pursue further trainings. “We are putting together a series of master’s mixing seminars, where we will be flying out some high-profile engineers for an evening of knowledge sharing in the mixing environment. We love hosting seminars like this, as community is our number one priority,” shared Venezia. Part of the glue that holds all the future works together is the knowledge WOTE is able to pair with the gear it offers. “The 1608 is the centerpiece of the room, and everything is based around it.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and the BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

HARD HIT BY SANDY, LONG BEACH HIGH SCHOOL REBUILDS ATHLETIC FIELD USING ASHLY AUDIO

LIDO BEACH, NEW YORK – AUGUST 2014: Long Beach High School is situated on a barrier island on the southern side of New York’s Long Island, where it received a terrific pounding from Hurricane Sandy in late October 2012. For more than a year afterward, student athletes had to pass the trashed and unusable athletic field as other rebuilding efforts took precedence. The job would be large. In addition to rebuilding the field itself, the school had to replace the field’s fatally damaged sound reinforcement system. Installed by Advance Sound of Farmingdale, New York, the new system centers on an Ashly ne24.24M modular processor and two Ashly ne8250 eight-channel amplifiers. Advance Sound installed a similar system at Long Beach Middle School prior to Hurricane Sandy, and that system weathered the fateful storm and remains functional to this day.

“Long Beach High School was very hard hit by Sandy,” said Thomas DePace, chief operations officer at Advance Sound. “The wind, the sand, and the water turned what was once a grassy field into a swampland. The goal of this rebuilding effort was to prevent such loss to a future storm. We’ve had great success with the robustness of Ashly gear, so that was easy to specify. In addition, the school wanted to move to a more distributed system to avoid noise conflicts with neighbors that had been a source of some tension with the old end zone-fired system. We needed a lot of amplifier channels, and Ashly’s two-rack space, eight-channel ne8250 filled that need perfectly.”

Inputs to the system include a CD player, an iPod input, and a handful of wired and wireless microphones, all of which feed an Ashly ne24.24M modular processor outfitted with eight analog inputs and twelve analog outputs. Two Ashly ne8250 amplifiers deliver sixteen 250W channels to drive six bi-amped One Systems 212CIM loudspeakers and a collection of indoor loudspeakers for the press booth. The 212CIMs are weatherproof, and Advance Sound was allowed to install each speaker on its own dedicated sound pole. Thus, coverage was not constrained by the locations of existing structures, and the SPL at the adjacent residences is significantly lower than with the previous system.

“With an eight-fader Ashly RD-8C remote control, the new system is also very easy and intuitive for the non-technical staff to operate,” said DePace. “That’s important because we’re an hour away from the school, and troubleshooting on game day is not something we want to be engaged in. With the RD-8C, all they have to do is turn the fader up for the input they’d like to hear. That’s as easy and repeatable as it gets!”

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

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