We have launched our new site! The Wire backend has moved to www.svconline.com. Your can log on now with your e xisting credentials. For your reference, posting instructions have been sent to your email. Note: postings made to the old backend will be redirected through Thursday Feb 19th. Please make the switch to www.svconline.com as soon as possible.


If you have questions please email thewire@svconline.com.


Looking forward to seeing you on the new site!

A virtual press conference from Sound & Video Contractor

Press Releases For : February 13, 2015

Shure DDS 5900 Digital Discussion System Provides Sound Solution for Regina Town Council

NILES, IL, Feb. 9, 2015— For years, the Regina Town Council struggled with unreliable audio at public meetings, despite having a high-tech wireless system in place. Regional installation and rental experts Professional Audio-Visual Ltd.—better known as Pro AV—were called in to rectify the problem. After assessing the existing system and the council’s need for reliability, intelligibility, and ease of use, Pro AV Director of Sales and Service Derek Yan recommended a dedicated digital discussion system, the Shure DDS 5900.

“The previous system used infrared wireless technology and was just not appropriate in the council’s meeting scenario,” says Yan. “It was clear that a hardwired system was a far better option in nearly every respect— easy to install, easy to operate, and far more reliable. We presented the Shure DDS 5900 as the option that would best address both their current and future needs.”

The DDS 5900 Digital Discussion System uses integrated desktop microphones and speakers to enable up to 250 meeting participants to hear and be heard clearly. For the Regina Town Council, 28 discussion units were required to serve the mayor, the council, and administrative officers. All stations are connected to a single central control unit, the CU 5905, which acts as the “brains” of the system, providing power and automated audio control. Each discussion station combines a personal speaker with a low-profile gooseneck microphone and can be set in four different operation modes.

Derek Yan was impressed with the ease of installation and use of the DDS 5900. “Because the conference tables already had access points drilled in, we chose the portable discussion units (Model DC 5980 P), which literally installed in minutes,” he notes. “All we had to do was plug in a Cat5e cable underneath, going from station to station in a daisy chain leading back to the central unit, which is hidden away. Adding more stations is just as simple, which accommodates future expansion. It also gives us easy access for service, which was an important consideration.”

Ease of operation was another important factor, and one at which the Shure DDS 5900 excels. “The entire system is controlled with browser-based software, which can run on any computer, smartphone, or tablet,” explains Yan. “It’s a simple interface that activates the stations and shows which mics are on and off. I spent about an hour training them on an iPad, and haven’t had a single call with questions or problems. Compared to the previous system, it’s like night and day.”

After the system was in place, the council was immediately impressed with the improved sound quality. With individual speakers for each participant, everyone can hear clearly, with no danger of feedback. The system’s audio output is also ported to a press bridge and to a separate house sound system for the gallery. Audience participation is enabled through a dedicated delegate discussion station.

The council has set up the microphones in Push-to-Talk mode, so anyone wishing to speak simply touches the discussion unit to activate or mute their mic. With the Auto Off feature, available in all modes except VOX mode, the DDS 5900 turns the microphone off after a duration of no sound, which is adjustable from 5 – 60 seconds. This is handy in a Push-to-Talk configuration like this one, because it prevents microphones from being left on accidentally.

Another attractive feature is that each microphone has a light ring around its element. The ring lights up when the mic is active, making it easy for everyone to see who is talking.

“In terms of installation, operation, and overall sound quality, everyone involved is extremely happy,” he says. “Sound quality is vastly improved, with no dropouts, and everything is audible. The software lets them remotely control every station, which was a huge concern for them. And since we installed the DDS 5900, we haven’t had a single callback for training or service, which is a huge change for all concerned.”

The Regina Town Council can expand its use of the system as time goes on. “Obviously, adding more stations is a possibility, but there are other capabilities that might also become useful in the future. They might want simultaneous translation, or they could add a digital recorder to archive the meetings. We can even interface the system for videoconferencing.”

Derek Yan is confident that this was the right choice for the Regina Town Council. “When you look at the design of the DDS 5900, you can tell that it’s stamped with Shure quality,” he says. “It was easy to install, easy to use, it sounds great, and never fails. As a result, our customers are happy, and at the end of the day, that’s what’s important.”

About Shure Incorporated

Founded in 1925, Shure Incorporated (www.shure.com) is widely acknowledged as the world’s leading manufacturer of microphones and audio electronics. Over the years, the Company has designed and produced many high-quality professional and consumer audio products that have become legendary for performance, reliability, and value. Shure’s diverse product line includes world-class wired microphones, wireless microphone systems, in-ear personal monitoring systems, conferencing and discussion systems, networked audio systems, award-winning earphones and headphones, and top-rated phonograph cartridges. Today, Shure products are the first choice whenever audio performance is a top priority.

Shure Incorporated is headquartered in Niles, Illinois, in the United States. The Company also has regional sales and marketing headquarters in Eppingen, Germany, and Hong Kong, China, with more than 30 additional manufacturing facilities and regional sales offices throughout the Americas, EMEA, and Asia.

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Sony Expands Trimaster EL Series with First OLED Designed for Pro Video Production

New BVM-X300Master Monitor Delivers 4K Resolution, Unequalled High Dynamic Range and Expanded Color Gamut Flexibility

 

Sony’s new BVM-X300 is its first OLED master monitor to combine 4K resolution, High Dynamic Range and a Wide Color Gamut display. The new 30-inch model expands Sony’s Trimaster EL series and provides an OLED option for professional video production applications including color grading, on-set monitoring and quality control in a 4K workflow.

 

The new monitor was unveiled this week at the Hollywood Post Alliance (HPA) Tech Retreat, Feb. 9-13 in Indian Wells, Calif.

 

“This new monitor offers the same performance of all our TRIMASTER EL OLED monitors, including unparalleled black performance, color reproduction, quick pixel response,” said Gary Mandle, senior product manager for professional displays. “The addition of features like 4K resolution, HDR and an RGB OLED panel for wider color gamut and better color uniformity make this an invaluable on-set tool for production professionals.”

 

 

Sony BVM-X300 Feb. 2015

 

 

High Dynamic Range Mode

In addition to the high-contrast performance of the entire TRIMASTER EL OLED panel, this new monitor provides High Dynamic Range mode, giving users the ability to view the entire range of an image accurately and clearly.

 

“This feature offers never-seen-before image reproduction – the black is black, and peak brightness can be reproduced more realistically with colors that are typically saturated in a conventional standard dynamic range,” said Mandle. “This mode can brilliantly express sparkling town lights and stars in the night sky.

 

The BVM-X300 monitor has a new integrated control panel with integrated inputs. This means there are no options required to complete the system, giving users a “plug-and-play” system right out of the box.

 

Wide Color Gamut Display

 

The emission layers in the new monitor’s 4K panel as well as new layering design give the BVM-X300 the ability to display ITU-R BT709 and DCI-P3 color gamuts more accurately than any previous Sony Trimaster display. In addition, the new BVM-X300 can display 80% of the new ITU-R BT2020 color gamut.

 

This master monitor supports both 2 Sample Interleave (2SI) and Square Division signals. It also supports HD signals including 3G-SDI Quad-link up to 4096 x 2160/48p 50p 60p, 3G-SDI single link for 1920 x 1080/50p 60p, YCbCr 4:2:2 10-bit, and 3G-SDI dual link for 1920 x1080/50p 60p, 4:4:4 12/10-bit.

 

The BVM-X300 OLED 4K master monitor is planned to be available in February.

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Christie 4K Digital Projectors Send Science Museum of Virginia’s Planetarium Audiences Across the Planet and Universe

Full Dome Theater Systems Leader Evans & Sutherland Upgrades Science Museum of Virginia’s Aging Film System with Christie D4K2560 3DLP Projectors
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Interior of Richmond Theater (Photo courtesy of Sean DeWitt Photography)

Interior of Richmond Theater (Photo courtesy of Sean DeWitt Photography)

Christie® helped the Science Museum of Virginia create a state-of-the-art planetarium that is taking patrons across the planet and deep into the universe. Audiences are seeing it all in high resolution at 120 Hz thanks to Christie D4K2560 high frame rate projectors, which were installed by Evans & Sutherland (E&S), a pioneer in computer graphics and digital dome theater systems.
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The projectors power an 8K-resolution full dome system with the sharpest and brightest images ever seen on the 76-foot Dome screen, one of the largest digital dome theaters in the world. Audiences are spellbound when they see the high-energy 2D and 3D movies, as well as innovative astronomy shows featuring E&S’s proprietary Digistar 5 system.
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Making the journey from film to digital with Christie
“The fact that the Christie D4K2560 projectors with 120 Hertz and 25,000 lumens of brightness became available at the perfect time meant we could offer a cutting edge digital dome projection system to the museum. These new projectors provide them a solution that has the brightness on the dome that would equal or surpass what they were getting out of their film projector,” said Dennis Elkin, Director of Advanced Displays, Evans & Sutherland. “And with our proprietary auto blending and auto alignment systems, we are able to perfectly blend the five projectors into a uniform image across the dome. Color and dark state uniformity makes a lot of difference – especially in the dark parts of a presentation. It is critical to have the right black level for the sky in a dome or planetarium and the Christie projectors provide that.”
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Aware of the dome’s 30-degree tilt, Evans & Sutherland installed three Christie projectors in the back of the dome inside the projection booth, cross-shooting two of them. Another two Christie projectors were installed in the front of the dome, cross-shooting to the back. Using E&S’s auto-alignment and auto-blending, all the images were perfectly blended and “stitched together,” resulting in a seamless image throughout the entire dome surface, which was recently re-skinned by Spitz, an E&S subsidiary.
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“With a film projector that physically loads frames into the projection gate 24 times per second there is a slight misalignment between frames that causes some image jitter. Digital projection eliminates that shake and resulting blurriness. You add to that 8K resolution and four foot-lamberts of brightness and you really get a premium experience, which we demonstrated at the GSCA digital dome day,” added David Sasich, E&S sales account manager.
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“We split the dome down the middle with 1570 film on one side and digital on the other. We masked half of each projection system so there would be no cross-contamination,” Sasich continued. “The left side showed film and the right side of the screen showed the same footage in digital and they were synced together using Digistar. The feedback from the very film-centric GSCA audience was overwhelmingly positive and the takeaway was that digital is the way to go.”
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“Overall, the image coming from the digital system and the brightness is better than what was presented on film,” said Michael Daut, Director of Show Production, Evans & Sutherland. “Plus, the colors on the digital side were more true; you have a more consistent color for the digital image over the entire dome. When you have film, there is variance – but not with digital. And, from an operational standpoint, digital is much simpler to run.”
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The Christie D4K2560 3DLP® projector boasts 25,000 center lumens for ultra-realistic images and smoother video at 60Hz and 120Hz. It features Christie TruLife™ electronics – a major leap in video-image processing for high frame rate and high-resolution video projection.

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Audient ASP4816 Analogue Chic: Studio Bohemo

Bath, New Hampshire – “I suddenly knew what I had been missing,” said Wes Chapmon, describing his initial reaction after running a mix on his new ASP4816 that he’d previously been working on with his digital system. “The sound was alive, three dimensional, revealing and much easier to work with.” According to Wes, owner of Studio Bohemo in the White Mountains of New Hampshire, this intangible difference was one of two ‘game changers’ offered by the console from British manufacturer, Audient.
(more…)

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Music Producers Guild Announces its 2015 Award Winners

MPG Awards 2015 Paul Epworth

For the third time in seven years, producer Paul Epworth carried off the top gong at the Music Producers Guild Awards, which took place last night at the Park Plaza Riverbank Hotel in London.

Epworth, who has recorded numerous artists including Sir Paul McCartney, Adele, Florence and the Machine, Coldplay and John Legend, was handed the MPG’s Producer of the Year Award for 2015 – an honour that he also won in 2010 and 2013. As its recipient, he automatically received the 2015 BRIT Award for Best Producer, which was presented at the same time.

Now well established as an annual music industry event, the Music Producers Guild Awards 2015, in association with G-Technology, also honoured multimedia entrepreneur and former Eurythmic Dave Stewart with the MPG’s Outstanding Contribution to UK Music Award, sponsored by PPL.

Stewart later took to the stage to entertain guests with a live performance. Among the artists joining him were young American singer Thomas Lindsey, with whom Stewart has recently recorded an album; 17 year old British newcomer Holly Stephenson, who is soon to release her first album produced by Dave Stewart, and The Lake Poets – aka Martin Longstaff – a multi-instrumentalist singer/songwriter from Sunderland.

Introduced in 2009 to recognise the enormous contribution made by recording professionals to the success of the UK’s music industry, the MPG Awards regularly attracts a high turnout of music industry VIPs and celebrities.

Steve Levine, chairman of the MPG, says, “There has always been a close relationship between artists and recording professionals and we are delighted that the MPG Awards is always so enthusiastically received by those at the forefront of creating great music. Once again, our winners and nominees have been involved in hugely diverse projects that cover a wide range of musical styles and genres. This truly reflects the incredible amount of recording talent we have here in the UK and I am delighted that the Music Producers Guild is annually able to give these worthy professionals the credit they deserve.”

The 2015 MPG Awards saw a total of 15 Awards presented (see full list of winners below). These included the MPG Award for Inspiration, won by Damon Albarn, and the MPG Award for Innovation, won by Giorgio Moroder.

“We are delighted to honour both of these incredible talents with the two awards that are chosen by MPG,” says producer and MPG Awards Committee member, Tony Platt. “When we started to consider possible candidates for this year’s important MPG Inspiration Award one name came up repeatedly. Interestingly, for very diverse and often personal reasons, we all decided that Damon had inspired in the very best way possible – by example. Inspiration is not easy to define, especially in a creative industry, but perhaps the ability to fuel enthusiasm is at the heart of it and Damon Albarn, in his quiet unassuming way, has managed to do this, year after year, project after project – it was an easy choice in the end!”

An equally emphatic decision was made to present the 2015 Innovation Award to Giorigio Moroder. Widely regarded as the founder of Disco and an electronic music trailblazer, Moroder returned to the limelight last year when he collaborated with Daft Punk. He is about to release his first solo album in 30 years and is also working with artists such as Charli XCX, Britney Spears, Kylie Minogue and Lady Gaga.

For a full list of MPG 2015 Award winners and sponsors, please see the list below:

• UK Producer of the Year, sponsored by The BRITS 2015:
Paul Epworth

• Outstanding Contribution to UK Music, sponsored by PPL
Dave Stewart

• Recording Engineer of the Year, sponsored by RØDE:
Mark Rankin

• Mix Engineer of the Year, sponsored by Solid State Logic:
Mark ‘Spike’ Stent

• Mastering Engineer of the Year, sponsored by Apollo & Transco Blanx:
Mandy Parnell

• UK Album of the Year, sponsored by Universal Audio:
Goldfrapp – Tales of Us

• UK Single Song Release of the Year, sponsored by Shure:
Sam Smith – Stay With Me

• Re-mixer of the Year, sponsored by G-Technology
James Rutledge

• Breakthrough Producer of the Year, sponsored by Musicguard Insurance:
Tom Dalgety

• Breakthrough Engineer of the Year, sponsored by Alchemea College:
Robbie Nelson

• International Producer of the Year, sponsored by Lewitt Audio & JHS:
Dan Auerbach

• Studio of the Year, sponsored by KMR Audio:
RAK Studios

• The A&R Award, sponsored by Prism Sound:
Korda Marshall

• The MPG Award for Innovation
Giorgio Moroder

• The MPG Award for Inspiration
Damon Albarn

The Music Producers Guild would like to thank to Avid for sponsoring Award tickets for all of the nominees.
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About Music Producers Guild:
The Music Producers Guild is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers.

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Press Releases For : February 12, 2015

Producer/Engineer Jack Miele Finds the Right Tools with Daking

DCIM100GOPRONEW ORLEANS, LOUISIANA – FEBRUARY 2015: Based in New Orleans, Jack Miele is a talented producer, engineer, and multi-instrumentalist with several Grammy nominations, and Emmy and Silver Telly wins to his name. His long list of high-profile clients includes Blues Traveler, Zac Brown Band, John Oates, Better Than Ezra, and Ani DiFranco; a list that just so happens to include a handful of the projects that have benefitted from Miele’s discovery of Daking analog processors. Miele works out of Music Shed Recording Studios and his own project studio both of which are now well stocked with Daking equalizers and compressors.

Part of Miele’s success derives from his ability to clearly articulate his goals. “My goals as a producer are different from my goals as an engineer,” he said. “When I’m producing, I’m almost working as a psychologist to get the artist to forget about the stress and technology of the studio so that they can deliver an authentic performance that will connect with listeners on an emotional level. It’s all about believability and honesty, and when you get it right, you allow the artist to transfer a message to the listener. As an engineer, I’m trying to find a recording chain with gear that complements the artist. Just as everyone’s voice is different, everyone’s playing and performance is different. Their attack, their release, how hard they hit the strings or the drums or their own vocal cords. It’s all touch and feel and it’s all different for every artist. Somewhere out there exists a piece of gear with electrical characteristics that work best with a particular artist’s nuances.”

He continued, “So in my view, a big part of being a good engineer is knowing the characteristics of the tools I use. Just as a carpenter or a surgeon knows which particular tools are best for a particular situation, the engineer has to size up the talent and build a signal chain that will bring out their best qualities.” Miele’s friend, accomplished mastering engineer Bruce Barielle, introduced him to the Daking Mic Pre/EQ. “Bruce said that Daking had come out with an EQ in the spirit of the Trident A-Range, and so I obviously got excited,” Miele said. “The minute I turned the knobs, I knew I had to have it. Nothing else in my collection, which includes API, Neve, SSL, Universal Audio, Summit, Empirical Labs, had the same sound. The Daking Mic Pre/EQ is a unique tool.”

Miele often uses the equalizer and mic pre sections independently. “The Daking mic pre is brilliant and modern-sounding,” he said. “It’s very open and fast. I find it works great on acoustic instruments – guitar, cello, or grand piano – and female vocals – or really anything that I want to capture with a beautiful, open top end.” Because he has two Mic Pre/EQs, Miele frequently adds their equalizer sections to the mix buss on his Amek console. “I add or subtract a few frequencies and it just snaps the whole mix into place,” he said. “The equalizer section has a beautiful, smooth color. It adds brilliance without being harsh, and the number of bands and their range of parameters makes it tremendously versatile.”

Given his success with Mic Pre/EQ, Miele explored the rest of the Daking product line and fell in love with both the Daking FET II Compressor and the Daking Comp 500, which fits the 500-Series module form factor. “They’re both great, and they’re very different from one another,” he said. “The FET II is my favorite vocal compressor – there are very few vocalists that it isn’t perfectly suited for. In an act of due diligence, I tried ten compressors on John Oates’ vocals, and the FET II – more than any other – brought them to life. The fixed release times are useful and I often dial them in, but the auto-release feature is special. It’s very pleasing to the ear and can get a whole track breathing organically. I love it.”

Although Miele expected a small version of the FET II in the Daking Comp 500, he got more than that. “It’s an incredibly transparent compressor,” he said. “In fact, the first time I put it on, I had to triple check that it was actually working. The gain reduction was flashing and the track was holding in, but I didn’t hear the ‘sound’ of compression that I’m used to. The Comp 500 is incredible on drums. In fact, I wish I had one for every drum! It can grab the transients without squashing the hell out of them. It can get in and get out so that the drums stay punchy.” Miele put the Comp 500’s transparency to good use when he recorded Jessica Lange’s vocals for a sung David Bowie cover scene in American Horror Story. “Unlike records, where listeners expect artifacts, sound for screen has to be a lot more transparent,” he explained. “The Daking Comp 500 gave Jessica’s vocals the sound we needed without giving them an obvious ‘compressed sound.’” Miele also applauds the Comp 500’s Stereo Link feature, which works flawlessly and allows him to apply transparent compression to his mix buss.

“If it sounds good, it is good,” Miele summarized. “There are no rules. Sure, you can learn the ‘rules’ first and then break them, but you ultimately have to trust your ears. As excited as I am about Daking, I try never to fall into a ‘pride of ownership’ mistake… applying a certain piece of gear just because it’s the newest or most expensive. That said, almost everything sounds awesome through Daking. The Daking FET II Compressor and the equalizer section of the Daking Mic Pre/EQ have a definite color and vibe that’s really pleasant. The Daking Comp 500 and the mic pre section of the Mic Pre/EQ are really transparent and colorless. They’re a great set of tools to work with.

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

Danley’s Massive New Caleb Horn Debuts at the University of Iowa’s Kinnick Stadium

University_Iowa_1IOWA CITY, IOWA – FEBRUARY 2015: The University of Iowa Hawkeyes football team plays all of its home games in the 70,500-seat Kinnick Stadium, which is located on the west side of campus. It is adjacent to residences on one side and to campus buildings on the other side, one of which is the University Hospital. Although it’s fair to say that almost all Iowans stand behind the Hawkeyes (there is no pro team in the state) it’s also true that Iowans who are recovering in the hospital deserve peace and quiet, even on game day. When school officials became disenchanted with the lo-fi sound and poor coverage of Kinnick Stadium’s old sound reinforcement system, they worried that elevating it to modern standards would only increase game day complaints from the hospital. Those worries have been allayed. Kinnick Stadium’s new high-powered Danley Sound Labs system – the first in the world to use the massive Caleb Horn – delivers reference-monitor-quality audio while keeping sound energy in the bowl. The new audio system provides Danley’s famous pattern control, rich low-end, airy high-end, unrivaled speech intelligibility, and prevents appreciable spillover into the adjacent neighborhood and hospital.

“As Hawkeye management and fans traveled to other stadiums, they kept hearing sound systems that were far better than the one they had at home,” said Marvin Smejkal, owner of Sound Concepts (Cedar Rapids, Iowa), the company under retainer with the University for audio system maintenance and operation. “As the complaints mounted, they asked us to research the sound systems in the five best stadiums they had heard. Three of the five were Danley systems, which resonated with my previous experiences involving Tom Danley’s creations – I was a huge fan of his ServoDrive subwoofer back in the 1980s and 1990s. Based on previous experience and a very impressive blind comparison, we recommended a Danley system for Kinnick Stadium.” The design, installation, and commissioning was a collaborative effort by consultant Anthony James Partners (Richmond, Virginia), with input from Sound Concepts and Danley Sound Labs.

“The design of the new sound system presented a number of significant challenges,” said acoustician and Director of Danley University Doug Jones, who designed the speaker system using Danley’s new Direct modeling software. “Architectural considerations ruled out a distributed system, so we were asked to throw sound eight hundred feet across the stadium… without affecting the hospital just beyond. The only way to do that is with highly directional horns, which is Danley’s specialty.”

Although a range of Danley components – including Jericho Horns and BC-415 subwoofers – contribute to coverage of the entire bowl, the real hero in Iowa is Danley’s new Caleb Horn. Measuring ten feet tall by four feet wide by five feet deep, the Caleb Horn delivers precision pattern control to extremely low frequencies and provides seemingly magical coverage of the opposite stands – and little else – at Kinnick Stadium. It is a single, massive horn with 108 drivers (12 x 18-inch drivers, 32 x 6-inch mid-range drivers and 64 x one-inch high-frequency compression drivers, 40 x 15 degree coverage pattern) with a frequency response that extends down to 30Hz.

“Danley’s Caleb Horn is a game changer,” said Larry Lucas, director of audio engineering at Anthony James Partners. “Given the architecture of Kinnick Stadium, the Caleb’s default 15 by 40 degree beam width was perfect to hit the far section, but Danley was willing to modify the horn exit to hit any target we required. Apart from the precision coverage, which extends to vastly lower frequencies than can be obtained with any other solution, the Caleb shares another Danley feature: clean, musical sound without comb filtering or other interference issues.”

Kinnick Stadium is the first project to use Danley’s new freely available Direct modeling software from conception to completion. Unlike other modeling software, Direct makes predictions down to subwoofer frequencies, which allowed Jones to predict the low-frequency interactions around the bowl and, critically, at a point where the stadium is open to the hospital. By carefully adjusting the timing and phasing of the subwoofers relative to the Caleb’s substantial low-frequency content, Jones placed a low-frequency null near the hospital within the Direct software. The predicted null translates to reality; although the crowd will still enjoy abundant bass, the nearby hospital is significantly spared. “In addition to being accurate across the spectrum, Direct is very quick to render and easy to use,” commented Jones.

University_Iowa_2To either side of the Caleb Horn, a Danley J3 Jericho Horn paired with a Danley J4 Jericho picks up the distant sideline seating. The J4 is a highly-directional, high-frequency array of 64 compression drivers that compensates appropriately for atmospheric losses. Mike Hedden, Danley president commented, “The J4 is a very unique product. Sound from 64 compression drivers seamlessly exits the large format horn via a patented combiner system. This allows unprecedented audio quantity and quality to be provided at extremely long distances. The J4 is capable of reproducing audio several octaves higher than the competition, sounds much more natural, covers a larger area, and is a better value.” Another pair of J3 Jericho Horns, one on each side, provide near-throw coverage of the main seating areas. Despite their placement on the scoreboard, which is right above the near end zone seating, Danley’s exceptional pattern control allows them to operate “without liquefying the fans immediately below,” in the choice words of Hedden. Four Danley SH-64s are time-aligned and balanced on the near side to complete the even and consistent audio coverage in the stadium. Adding icing on the cake (for those who love a little bass) are four Danley BC-415 subwoofers that complement the Caleb’s low-end output and can shake the press box windows down to 21Hz. Arranged two tall by two wide, the configuration provides a favorable front-to-back output ratio, again keeping energy in the bowl and off the street. Lab Gruppen amplifiers with integrated Lake processing power the system with nearly 150,000 watts.

“Unlike the stadium’s old system, the new Danley system provides independent zone control,” said Smejkal. “Special events used to be a nightmare because we had to more or less engage the whole system, which added to the noise complaints. Now, we’re able to fire up only certain components of the Danley system. It sounds better, doesn’t waste energy, and keeps the neighbors happy. Even with the entire bowl audio system operating, we found in recent testing that areas around the stadium, where noise complaints used to be frequent, that sound from the stadium is now unmeasurable over ambient background volumes. The reduction in sound spill out of the stadium is truly amazing.”

With the new Danley Caleb Horn paired with six Jericho Horns, four Danley SH-64s, and four BC-415 subwoofers, Kinnick Stadium is capable of SPLs it will never have the opportunity to tap into. But all that sheer muscle – usually taken as the primary measure of a sound system’s mojo – is really just a side effect of the system’s extreme pattern control. “There’s no other way to get that kind of pattern control down to such low frequencies,” said Jones. “That was a huge issue at Kinnick Stadium. As a bonus, they will run the system considerably below its potential, which will keep components cool and extend its lifetime.”

Like other Danley systems, Kinnick Stadium was comparatively easy to commission. “Line array systems involve a huge numbers of boxes, all of which interfere with each other in complicated ways,” continued Jones. “They require delicate aiming, endless tweaking, and plenty of DSP manipulation. Even after all that, the results are never satisfying to an audiophile – they involve huge compromises, especially at larger distances. In stark contrast, we can simply point Danley’s horns where they need to go, and we’re most of the way there. I used only five EQ points for the entire system! We mainly adjusted levels so that the small overlap zones were consistent. The whole process took only six hours.”

Kinnick stadium currently houses the best point source, long throw audio system ever assembled, until the next Danley Sound Labs innovation again changes the playing field.

ABOUT DANLEY SOUND LABSDanley 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

Christie and Euromet Partner to Offer Ceiling Mounts and Rigging Solutions for Christie 1DLP Projectors

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Christie H Series and Christie Q Series now more versatile than ever
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Christie® , the worldwide leader in visual display solutions, and Euromet are partnering to offer a new ceiling mount and rigging solutions for Christie 1DLP® projectors. The partnership includes ceiling mount hardware for Christie H Series, and a rigging frame that works with both Christie H Series and Christie Q Series.
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Christie H Series With Stacking Frame

Christie H Series With Stacking Frame


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Based in Italy, Euromet designs, develops and manufactures precision, purpose-built industrial strength solutions that are renowned worldwide for impeccable quality, durability, and ease of use. With its rigorous attention to detail, Euromet delivers unparalleled adjustment accuracy and meticulous calibration across the x-axis and y-axis.
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“Having partnered with Euromet for the Christie One Mount, I couldn’t be more pleased to expand Christie’s partnership with Euromet,” said Curtis Lingard, product manager, Christie. “Euromet’s dedication to creating the highest quality of professional products is perfectly aligned with Christie’s own design and quality standards.”

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Related Topics: Projectors

Press Releases For : February 11, 2015

Digital Vision to Demonstrate at HPA Tech Retreat

Thor and New 4K Tools in the Spotlight at the Tech Retreat Demo Room
Digital Vision
(Indian Wells, CA) – Digital Vision will be front and center at the HPA Tech Retreat this week, having been selected to participate in the event’s meticulously curated demonstration area. The Tech Retreat Demo Room showcases innovative companies that have been chosen to exhibit their products and technologies for the HPA’s audience of industry thought leaders. This is the 21st year for the Tech Retreat, seen as one of the most influential conferences serving the entertainment and media technology communities.

Digital Vision excels in providing the best image processing technology available to the broadcast, film and post production industries. To address the need for higher resolution formats, as many program providers are now requiring 4K deliverables, Digital Vision created THOR, a hardware accelerator designed to enhance their applications and process images in real time or faster.

Thor is offered as a part of the Nucoda and Phoenix ecosystems but also functions independently across multiple platforms, making the toolset available to broadcasters in a file-based or video environment, such as live broadcast applications. Initially available with Thor Clarity, other tools including Thor Zoom and Thor Sharpen will be available to users soon.

Digital Vision continues to transition its business across the broadcast, film and archive worlds owing to its rich heritage and its continued development of technology in motion compensated standards conversion, automation, media management and monitoring. From The Golden Eye 4 archive scanner (8mm to 70mm) through the Nucoda and Phoenix toolsets to Thor, Digital Vision supports varied infrastructures depending on individual requirements.

Patrick Morgan, Product Marketing Manager, said, “We are looking forward to participating in the HPA Tech Retreat. It is a very unique event where we get to show our work to the best and brightest minds in the business. We’re incredibly proud of Thor, and we are excited to demonstrate it for the HPA audience.”

About Digital Vision
Digital Vision is the supplier of the world’s best colour grading, restoration and film scanning solutions for the broadcast, film, commercial and archive industries. Founded in 1988 in Stockholm, Sweden, Digital Vision has offices in London, Los Angeles, New Zealand, and Stockholm. Digital Vision’s Emmy award winning technology and products include Nucoda and Phoenix colour grading, finishing, mastering and restoration solutions that are used to create much of the worlds’ high profile television, film and commercials media broadcast and distributed today. In addition to the Nucoda and Phoenix ranges, Golden Eye film scanners and the Bifrost Archive Bridge solution provide innovative tools to create the industry recognised highest quality in scanning, film digitisation, preservation and archiving.

For more information, visit www.digitalvision.tv. All trademarks used herein, whether recognized or not, are the properties of their respective companies.

# # #

Digital Vision Marketing Contact:
Patrick Morgan | patrick.morgan@digitalvision.se | Tel: +44 (0) 20 7734 8282 |
Mobile: +44 (0) 7917674711 | Office: +1 818-769-8111

Digital Vision PR Contacts:
USA
Christine Purse, Ignite Strategic Communications | chris@ignite.bz |
Tel: +1 818 980 3473 | Mobile: +1 323.806.9696

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Related Topics: News

Audio Systems Support Career-Oriented Education at CREC Public Safety Academy

CRECPublicSafetyAgency

CRECTheatre

Guillén Technology Consultants Designs Community-Based Systems for Connecticut Magnet School

CREC Public Safety Academy opened their modern new facility in September, 2014 with audio systems that support the school’s career-oriented education for grades 6 through 12 in law enforcement, fire sciences, emergency medicine and other safety and security fields.

The school’s large and attractive new facility serves 700 students and includes classrooms equipped with the latest technology, a gymnasium and fitness center, a cafeteria and multipurpose room along with a theatrical auditorium.

Jorge Guillén of Guillén Technology Consultants provided building technology, AV, audio systems and safety and security consulting services for the new school. The building’s many different spaces presented Guillén with numerous challenges in his audio system designs. The school’s goals included intelligible voice paging and high-quality sound reinforcement throughout. However, acoustics varied considerably from room to room and several areas had high ceilings and hard, reflective walls, floors and ceilings.

Guillén chose Community loudspeaker systems to help him overcome these acoustic challenges and meet the school’s goals. He used Community R SERIES loudspeakers in the gymnasium and multipurpose rooms and D SERIES loudspeakers in the multipurpose room, cafeteria, fitness center and library. He designed the auditorium sound system with iBOX IHP-1566 loudspeakers, i215S subwoofers and MX41E-94B floor monitors.

Guillén designed electronics systems to fit the needs of each room. He used Rane amplifiers, mixers and system processors, Samson wired and wireless microphones and Listen Technologies assistive listening systems. For the auditorium, he included a PreSonus digital mixer and a Telex theatrical intercom.

The systems were installed and commissioned in time for the school’s opening and Guillén says the Community loudspeakers helped him achieve consistently high-quality sound throughout the building’s many different spaces.

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Related Topics: Audio, Loudspeakers

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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