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Press Releases For : February 5, 2015

VideoCentric Launches Pexip(R)-Powered VideoCloud 365 Video Conferencing Service

Flexible Cloud Solution Relies on Infinity to Securely Connect to Any Professional Video Conferencing, Mobile, Lync, Skype, and Web Client

OSLO, Norway — Feb. 4, 2015 — Pexip(R), a leading innovator in scalable, distributed videoconferencing software, today announced that prominent U.K. video communications integrator VideoCentric has selected Pexip Infinity to power VideoCloud 365 — a high-quality “super green” video conferencing service. By incorporating industry-leading software from Pexip, the cloud-based VaaS allows meeting participants to connect on any device using any software, bringing an incredibly simple video conferencing solution to today’s dynamic enterprise environment. (more…)

Stevie Wonder’s Epic ‘Songs in the Key Of Life’ Tour Takes Analog Sweetness into the Present, with Clocking by Antelope Audio

As More Tour Dates are Announced, Antelope Audio is the Sole Clocking Device at FOH and Monitors for Limited Run Engagements, with Zen Studio Capturing Each Performance

1Santa Monica, CA, February 5, 2015: Last fall, Stevie Wonder announced that he would be taking his landmark Songs in the Key of Life album on the road in a limited run, 11-city engagement across North America. The announcement sparked the attention of major U.S. media, since it marked the first time Wonder has ever taken the Diamond-certified album on tour — and almost four decades after its original release in 1976. To be sure, Songs in the Key of Life is an American masterpiece that has helped define the very fiber of popular culture, while influencing countless musicians around the world. A faithful, touring rendition of the album was a daunting endeavor, since the double album took over a year to record and involved over 120 studio musicians.

The tour, which began on November 6th at Madison Square Garden and has now been extended to run through April 12, features a horn section, a choir, background singers and a ten-piece orchestra in addition to the regular band, which is comprised of 11 musicians. All in all, the live touring rig consists of over 40 musicians and 156 console inputs. Bringing Songs in the Key of Life to the live stage and into the digital age has been an enormously challenging task, and the sonic integrity of each performance has been anchored by clocking technology from Antelope Audio.

Finding a Technical Roadmap for a Creative Visionary
2Danny Leake, who has been Stevie Wonder’s FOH engineer for 22 years, is responsible for providing a spectacular audio infrastructure for each of the shows. To achieve this, he relied on an audio system from Eighth Day Sound, while working closely with Monitor Engineers James Berry (Stevie Wonder monitors) and Rico Gonzales (band monitors): “Stevie is the creative visionary, and basically, whatever he comes up with, I create the technical road map to get it done, and make sure it is achievable from a technology perspective,” he says. “On this particular tour, Stevie was reproducing the original Songs in the Key of Life album. We had a much bigger band, an orchestra with strings, and a choir. Plus a bunch of things that he had done on that album that were impossible to play live. I had to find a way of taking 156 inputs of stuff and turn it into a stereo mix.”

For Leake, ensuring the integrity of signal path and achieving an immaculately detailed soundstage was the first order of business. Before the tour began, he met with Antelope Audio’s Marcel James, who explained that by using Antelope’s 10M/Trinity combination to clock both the FOH and monitor stations, he could achieve significantly increased sonic depth while retaining an authentic ‘analog’ feel. “I tried using the Antelope clocking system at a friend’s studio at Marcel’s suggestion, and it wasn’t a subtle difference. Now we are using the 10M/Trinity combination to clock the entire show at 96k and it sounds really wonderful.”

Antelope: Bringing Analog ‘Back to the Future’
3In an industry conditioned to raise audio quality by focusing primarily on microphones, preamplifiers and loudspeakers, Leake was surprised at the enormously positive effect Antelope’s mastering grade clock could have on the signal chain. “To me, it was more ‘analog’,” Leake explains. “As an engineer, I came up with tape in the analog days. There is a certain depth you get from that — and some of that can get ‘fuzzy’ when you go to digital. But the Antelope clocking made it sound like straight analog: all of a sudden, I had depth, I could hear things that were happening with the reverbs that were more fuzzy before.”

In addition to hearing more depth, Leake says the Antelope 10M/Trinity combination also made a difference in bringing out more detail in the stereo field: “I don’t normally mix very wide for a live show, but the Antelope clocks made a big difference in expanding the sound stage. All this enables me to maneuver better around the console.”

Moving to an external clock was a big step for Leake and the Stevie Wonder tour. “This was the very first time we used external clocking on the console, both at FOH and monitors, and I will never go back,” he says. “We’ve run everything through the Antelope clocks since day one, and they have performed flawlessly — absolutely no problems.”

Zen Studio: Ever-Present to Capture the Magic
4While on the road, Leake counts the new Antelope Zen Studio among his ‘most used’ arsenal of tools. With (20) analog inputs, (12) microphone preamplifiers and Antelope’s signature 24-bit/192 kHz conversion all running over a proprietary USB connection, he uses the Zen as a ‘scratchpad’ to capture recordings from every show and to check his stereo mixes from the main L-R console outputs.

“I used the Zen Studio to replace a competitor’s unit, and it really made a big difference,” Leake says. “I love the conversion, and it has a really smooth top end that I am used to hearing from Antelope’s clocks over the main P.A. I would describe the preamps on the Zen as very clear and open, with more depth and detail than on what I was using before.”

For the new leg of the tour, which starts on March 17th in Denver, Leake says it will once again be wheels up with Antelope Audio: “It has been a wonderful experience for me, and also for my monitor engineers: the better the clocking is, the better it is for the whole stereo stage and IEMs. In Steve’s case, his ears are his eyes — so the quality of a stereo mix is all important.”

About Antelope Audio
Antelope Audio is a leading manufacturer of high-end professional audio equipment and the pioneer in the adoption of Atomic clock generators.

The company utilizes Igor Levin’s more than 20 years’ experience in digital audio to develop professional and consumer high-end products with the signature Antelope Audio sound. The company employs proprietary clocking and jitter management technologies as well as custom-designed digital and analog circuits to provide both professional audio engineers and music aficionados with unprecedented musicality, sound stage and clarity.

Antelope is the first to design a 1U 32-channel audio interface and a multi-channel portable interface with 12 mic pres. Antelope’s breakthrough technologies are offering both studio and live audio engineers great productivity and flexibility.

The company’s customers include many Grammy award-winning sound engineers and some of the most renowned recording, mastering and post-production facilities around the globe.

Photo captions:
1) Antelope Audio’s Marcel James interviews Stevie Wonder FOH Danny Leake
2) Antelope Audio provided all the clocking for Stevie Wonder’s ‘Songs in the Key of Life’ Tour.
3) Danny Leake, Stevie Wonder’s FOH Engineer, in action.
4) Danny Leake, who has been Stevie Wonder’s FOH engineer for 22 years, is responsible for providing a spectacular audio infrastructure for each of the shows.

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AVL Expo 2015 Emphasizes Audio Training for Pacific Northwest Worship Community

SEATAC, WA — The Audio, Video, Lighting Conference and Expo (AVL Expo), a free event for the house of worship community, will return to Experience Church in Puyallup, Wash., on Friday, Feb. 20, 2015. Doors open for the one-day conference and exhibition at 9 a.m., which will feature shorter sessions to allow more networking opportunities between attendees, exhibitors, and speakers. Now in its seventh year, AVL Expo is presented by professional video and audio systems integration firm Advanced Broadcast Solutions (ABS) in collaboration with Experience Church.tv®.

“From music to sermons, audio is central to a church’s AV presentation,” explained Mark Siegel, president of ABS. “This year, AVL Expo is placing a special emphasis on audio, and we’re bringing in some audio industry veterans to help churches improve their mixing and monitoring, stage mic placement, and overall audio designs.”

Beyond audio, the conference program will include sessions on stage lighting, cameras, and streaming, as well as a panel discussion featuring Siegel and other presenters. AVL Expo exhibitors will include Atomos, Broadcast Pix, Chauvet, Clear-Com, Electro-Voice, Pakedge, Panasonic, Shure, Sony, and Yamaha.

Keynote speaker James Hurley has spent more than 15 years as production manager for Hillsong Church’s U.S. campuses in New York City, Los Angeles, and Montclair, N.J. He has traveled throughout the United States and Australia teaching ministries about structure, leadership, mixing, and the practical execution of creative production. With his experience mixing conferences and tours, he designs systems that create high quality productions executed by volunteers.

Randy Weitzel from Yamaha Commercial Audio will present a session on the importance of in-ear monitoring. Weitzel began his audio career touring with Elvis Presley as a sound technician, and has since toured as a monitor engineer with more than a dozen major recording artists. During his career, he was the monitor mixer for the Grammy Awards twice, co-won an Emmy for his sound mixing of Barbra Streisand’s 1994 HBO special, and mixed for Billy Graham’s Crusades in the 1990s.

AVL Expo registration is free for the first two people registered from each church by Feb. 16. Additional attendees will be permitted based on availability, but space is limited. Complimentary lunch courtesy of ABS will be provided. For registration and more information, please visit www.advancedbroadcastsolutions.com.

About ABS:
Based in SeaTac, WA, ABS (Advanced Broadcast Solutions) delivers customized, technologically superior solutions for broadcast, corporate, house of worship, entertainment, government, and educational facilities – from design and integration to installation and support services. Since 1982, its experienced technical staff has installed more than 700 systems for clients including GOCOM Media, Cowles California Media, Cisco Systems, Meredith, and Time Warner Communications. For more information, call 206-870-0244 or visit www.advancedbroadcastsolutions.com.

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The Pursuit of Perfect Sound – Sennheiser celebrates its anniversary: 70 years of innovation

1Old Lyme, CT, February 5, 2015: For decades, the name Sennheiser has been synonymous with high-quality products, excellent sound and numerous innovations that have set new standards in audio technology. This year, the audio specialist is celebrating its 70th anniversary. It remains a family-owned and operated enterprise, now headed by a third generation of the Sennheiser family: today’s CEOs, Daniel Sennheiser and Dr. Andreas Sennheiser, are the grandchildren of the company’s founder, Prof. Dr. Fritz Sennheiser.

The list of product innovations from Sennheiser is as extensive as it is impressive. Sennheiser has made a significant impact on the evolution of audio technology over the past seven decades, from the world’s very first open headphones, the HD 414, to present-day innovations such as the Digital 9000 wireless microphone system and MobileConnect, an inclusive audio-streaming solution for people with sight and hearing impairments. Numerous patents and awards – including an Emmy, a Grammy, a Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences, and the Engineering Emmy‘s® Philo T. Farnsworth Award – bear witness to the company’s unique innovative drive. “In the past, our products have surprised and amazed the audio world over and over again. Why? Because they have gone beyond the common standard. As a result, nobody anticipated them,” says Dr. Andreas Sennheiser, who is co-CEO of the company alongside his brother Daniel Sennheiser.

The beginnings
2The company was founded on 1 June 1945 as Laboratorium Wennebostel – or “Labor W” for short – by electrical engineer Prof. Dr. Fritz Sennheiser in Wennebostel, near Hanover, Germany. Initially, the young enterprise produced tube volt meters. They sold well, but Fritz Sennheiser had higher ambitions: Driven by the ethos of making good existing products even better while advancing new technologies, the lab developed a constant stream of new solutions. The product range gradually expanded over the years. In 1947, Sennheiser launched its first microphone developed in-house. The first “shotgun” microphone followed in 1956, and a year later the company was already producing 100 different types of products. In early 1958, Labor W was renamed Sennheiser electronic – the inception of a brand that ten years later would spark a worldwide boom by developing and producing the first open headphones.

Second and third Sennheiser generation
3In May 1982, Sennheiser saw its first change of generations. Prof. Dr. Jörg Sennheiser, son of Prof. Dr. Fritz Sennheiser, was appointed Managing Director, while his father became a limited partner. Over the years, Prof. Dr. Jörg Sennheiser gradually modernized and inter–nationalized the company’s structure, turning Sennheiser into a GmbH & Co. KG. Cutting-edge developments across various areas of acoustics, and new sales locations worldwide, followed with unprecedented momentum. Sennheiser opened an additional production plant in Tullamore, Ireland, and a branch office for research and development in the USA. An additional plant followed in Albuquerque, New Mexico, USA, and a joint venture with Denmark’s William Demant Holding was initiated, forging a path for the founding of Sennheiser Communications A/S in 2003.

4In July 2013, Daniel Sennheiser and Dr. Andreas Sennheiser, the sons of Prof. Dr. Jörg Sennheiser, took over as the CEOs of Sennheiser electronic GmbH & Co. KG. Both share their grandfather and father’s entrepreneurial ambition of aiming to shape the entire audio sector through a dynamic culture of innovation and an uncompromised passion for excellence. Thanks to this spirit, Labor W, a start-up based in a half-timbered house in Wennebostel, has grown to become a global player, sustaining a continual increase in turnover over the decades. Today, Sennheiser has more than 2,700 employees, with around half of them based in Germany. In 2013, the family company, whose Management Board still regards independence as a core value, generated turnover of €590.4 million.

A smart approach to the future
As an innovation-driven company, Sennheiser will continue playing a key role in shaping the future of audio. The foundations for this have already been laid with its new Innovation Campus, built on the company site in Germany. “Here, as at our worldwide innovation centers, we will work in cross-functional teams that bring together our breadth of expertise to shape unique solutions, such as ones to individualize audio content even more,” Daniel Sennheiser explains. “In the future, we will align our product development even more closely to customers’ true needs, wherever they arise – on live stages, at professional studio productions, in offices, or simply while listening to music and relaxing – while always striving to achieve acoustic perfection.” With adaptable and increasingly smart products, Sennheiser will keep on developing and delivering future solutions that redefine audio technology.

5Throughout 2015, Sennheiser’s anniversary year, the online magazine “Bluestage” will present exciting background stories about the audio specialist’s products and the corporate history every month. More information is available at: http://en-de.sennheiser.com/bluestage-magazine.

1: Prof. Dr. Jörg Sennheiser, Alannah Sennheiser, Daniel Sennheiser, Prof. Dr. Fritz Sennheiser, Dr. Andreas Sennheiser, Karin Sennheiser (from right to left)
2: Historical photo of Laboratorium Wennebostel in Wennebostel/Wedemark, near Hanover, Germany
3: Prof. Dr. Jörg Sennheiser, Prof. Dr. Fritz Sennheiser
4: Dr. Andreas Sennheiser, Daniel Sennheiser (l/r)
5: Timeline of innovations over Sennheiser 70 year history (download here).

About Sennheiser
The Sennheiser Group based in Wedemark near Hanover, Germany, was founded in 1945 and has gone on to become a leading manufacturer of microphones, headphones and wireless transmission systems. Sales in 2013 totaled 590.4 million euros. Sennheiser employs more than 2,700 staff worldwide and operates plants in Germany, Ireland and the USA. The company has a worldwide network of subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading partners in other countries. Georg Neumann GmbH, Berlin, a maker of studio microphones and monitor speakers, and Sennheiser Communications A/S, a joint venture making headsets for PCs, offices and call centers, are also part of the Sennheiser Group.

More information about Sennheiser is available on the internet at www.sennheiser.com.

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Home to NHL Jets Knocks One In With Sound Art and Yamaha CL5

MTS Centre

BUENA PARK, Calif.—The MTS Centre (Winnipeg, Manitoba) recently installed a Yamaha CL5 Digital Audio Console along with two Rio1608-D input/output boxes courtesy of Sound Art Winnipeg Inc. Home to NHL’s Winnipeg Jets, the Centre seats over 15,000 and plays host to a multitude of indoor sporting and entertainment events.

Sound Art is a premier international professional sound rental company offering clients complete and comprehensive audio production services. With offices in Calgary, Winnipeg, and Toronto, they provide state-of the-art audio equipment for rental and installations.

The Yamaha CL5 is used primarily for Jets game production and was chosen for multiple reasons. “The Centre had reached the capacity of its existing analog console, states Iain Graham, Technical Projects Manager for Sound Art. There were serious issues with sub-mixes for the concourse, etc. being altered between hockey games and not being reset. The ability to have a digital signal path from the control room located in the loading dock area, to the press box production booth, was essential.”

MTS Centre CL5

Graham also said in addition to the creation of a digital signal path, it was essential that the Centre be able to use all of the analog ‘trunking’ from the original install. “Dynamics on every channel was a welcome bonus and custom fader layers allow the engineers for various scenarios to only see the faders they need to see. Of course, the ability to use a redundant power supply tipped the purchasing decision to the Yamaha CL as compared to the competition being looked at during the selection process. The touch screen was also very attractive.”

The Centre has recently started to use the multi-track feature of the CL with Nuendo. “Nuendo enables the technical staff to archive shows and also allows offline troubleshooting if an action during a game needs to be reviewed, says Graham. There are significant fines from the NHL if anything interrupts a game, so staying on top of any potential issue is important.”

The Yamaha CL5 was phase two of the audio installed by Sound Art. Previously, the company upgraded both the bowl and concourse PA systems.

For more information on Sound Art, Inc. visit www.soundart.com.

For more information on the Yamaha CL Series, visit www.yamahaca.com.


About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of professional audio products offering complete systems solutions for the sound reinforcement, touring, broadcast, commercial recording, and post-production markets with a complete line of digital mixers, amplifiers, speakers, processors, networking capabilities, and NUAGE Advanced Production DAW System. YCAS is also the official North American distributor for NEXO speaker products. With the new CIS Series that includes ceiling and surface mount speakers, mixer and power amplifiers, and matrix processors, the Company furthers is commitment to their commercial installation solutions customers. All market sectors receive comprehensive in-house/field product training, a dedicated dealer network, and 24/7 technical support.

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SurgeX Introduces Axess Elite with International Electrical Standards for Smart Energy and Power Management

The IP-enabled Axess Elite is a surge eliminating, mains management system that enables users to monitor and control power distribution platforms.

Amsterdam RAI, NL – Integrated Systems Europe 2015 – February 10-12 – Stand 7-T180 – ESP/SurgeX, the leader in surge elimination and energy intelligence, introduces its Axess Elite web-enabled mains conditioning and energy management system for the 16 amp CEE7/7 and 10 amp AS3112 international electrical standards. Available in Q2 2015, the Axess Elite is one of the first IP-enabled smart energy solutions to carry these standards and it addresses a growing demand for connected power products internationally.

Combining surge elimination with advanced mains management capabilities, the SurgeX Axess Elite also provides remote monitoring and control of power distribution platforms across multiple sites simultaneously. Custom settings, scheduling and on/off controls can be configured on individual outlets and custom sequences can be created across the entire network with e-mail notifications sent about different issues, based on user-defined conditions.

This unique device gives integrators the ability to manage customer’s systems more efficiently and reduce costs through fewer service calls. One of the most common service calls is for locked gear; a simple fix, but typically requiring an onsite visit to correct the problem. With Axess Elite, integrators can hard reboot locked up equipment remotely via the outlet reboot command. Utilizing AutoPing, a trigger can be set to automatically fire if the Axess Elite fails to get a ping response from the device that has locked up, thus eliminating the time and costs associated with sending an integrator onsite for a simple reboot.

Beyond monitoring and management, Axess Elite measures system energy usage collecting temperature, voltage and current draw measurements. Data is recorded and reported back via a user-friendly GUI. Energy usage data is displayed per outlet to provide a detailed report of the system’s energy consumption by each connected device. The Axess Elite also compiles an internal history log file for advanced monitoring of the system and user access.

“SurgeX has engineered the most comprehensive remote energy management and power protection solution available for the global market,” said Shannon Townley, president, SurgeX. “Axess Elite consolidates energy monitoring, power management, and consumption while providing surge protection from a single, rack-mountable device. This solves a big problem for integrators and their customers.”

The Axess Elite features the core technology behind the SurgeX brand: Advanced Series Mode® (ASM) Surge Elimination Technology. The SurgeX patented Advanced Series Mode Surge Elimination Technology is completely non-sacrificial and eliminates surge energy without producing harmful side effects such as ground contamination or common-mode disturbances. This proprietary technology protects AV equipment from power disturbances that can disrupt sound quality and digital performance, and provides a professional grade power protection product line that is more robust than traditional surge suppression products.

The Axess Elite also comes equipped with the Axess Manager and Axess Manager Mobile, new desktop and mobile apps designed to let users monitor power conditions and control power functions of multiple installations from a single location. Integrators using Axess Manager in multiple locations will appreciate the single interface and the ability to uniquely classify and manage each installation. The streamlined approach makes it easy to identify power-related issues quickly and allows for simple navigation and management of existing installs, especially when new devices and systems are constantly being added to the network.

SurgeX will be demoing the Axess Elite at Stand 7-T180 at the Integrated Systems Europe Show.

To learn more about SurgeX, please visitwww.surgexinternational.com.

About ESP/SurgeX

ESP/SurgeX is the leader in energy intelligence and power protection products. Our comprehensive product portfolio offers a complete line of AC power solutions for surge protection, power conditioning, diagnostic analysis, and control of sensitive electrical and electronic equipment. Backed with 42 patents/patents pending, ESP/SurgeX products are engineered to safeguard against power anomalies that can “confuse” the circuitry in digital equipment and cause both equipment degradation and downtime. Independent research proves that ESP/SurgeX technology can improve equipment performance, profitability, and ROI. For over 25 years, business leaders worldwide have trusted ESP/SurgeX to protect and improve their electronic systems. For more information visit www.espei.com.

ESP/SurgeX products are manufactured in Knightdale, North Carolina. Visit www.surgex.com or www.espei.com for further company and product information.

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Beale Street Audio Shipping Nine New In-Ceiling Speakers Powered by Sonic Vortex Technology

Primed to disrupt existing performance expectations for in-ceiling speakers, new Beale models include patented Sonic Vortex Technology, the most significant architectural speaker innovation since the category’s inception.

Amsterdam, NL – ISE Stand 1-P85 – February 10-12, 2015 – Beale Street Audio is making major sound waves at ISE 2015 with the launch of an initial group of nine new in-ceiling speakers powered by Sonic Vortex Technology™, a “twist” on traditional ported enclosure designs that brings true performance innovation to a growing but technologically stale category. Six new in-ceiling models are available with 6.5 and 8-inch woofers as well as three angled in-ceiling models with 6.5-inch woofers. All models feature 1-inch tweeters, an integrated retrofit enclosure and flexible industrial design options.

Beale Street Audio’s patented Sonic Vortex Technology reimagines the traditional ported enclosed speaker design to deliver significantly more bass and a flatter frequency response. This audible improvement is achieved by separating the main port of the enclosure into multiple sections called “fins” that are tuned to ideal listening specifications. The fins compress and move air at a high rate of speed without port noise and also add to the cabinet’s rigidity. Compared to sealed models, the Sonic Vortex design provides a 6 to 9 db boost in the mid-lower bass ranges and a flatter frequency response across the audio spectrum.

The new in-ceiling speakers are grouped into three different classes differentiated by price and driver materials: B (Better), MB (More Better) and BB (Better than their Best). B models feature injected poly woofers and silk dome tweeters to provide smooth sound at a great value. MB models feature ribbed injected poly woofers and aluminum tweeters for broader sound with deeper bass. BB models are the premium solution and feature extremely rigid and accurate carbon fiber woofers and titanium tweeters for maximum detail and power handling.

“I was a custom integrator for many years so I know how tired the architectural speaker category has become. Bezel-less designs and pivoting tweeters have aesthetic and marketing appeal, but do not represent any great technological achievement,” said Jim Murray, founder of Beale Street Audio. “Architectural speakers aren’t known for producing extreme low frequency effects and effortless clarity, but our Sonic Vortex Technology optimizes air movement within the cabinet enclosure to produce astonishing sound levels from such a small speaker.”

Beale Street Audio in-ceiling speakers are also highly scalable. Infinite variable designs for both cabinet air volume and port dimensions allows for flexible industrial design options. The depth and width of the integrated enclosure can vary based on the models, while still providing enhanced bass and better overall performance compared to similar products. The new speakers are also amplifier-friendly since they sound and perform like a sealed speaker cabinet with the same impedance curve.

Murray continued, “We are not just another flash-in-the-pan speaker manufacturer. Beale Street Audio is backed by a 95-year-old multimillion-dollar company with a nearly 50-year history in the audio business. We are shipping product today, we have an aggressive product development strategy and we are pursuing dealers and partners who want a speaker line that differentiates them in a crowded market now.”

Get Reale. Get Beale. To learn more about Beale Street Audio and Sonic Vortex Technology, visit www.getbeale.com.


About Beale Street Audio

Beale Street Audio is redefining the performance standard for architectural speakers and amplifiers by introducing real innovation to a category that has not seen anything fresh for a long time. All Beale Street Audio speakers feature patented Sonic Vortex™ Technology, a unique enclosure design that produces unprecedented levels of bass output and room energizing dynamics from in-ceiling and in-wall speakers. Backed by customer-friendly policies, and first class operational support, Beale Street Audio prides itself on delivering unsurpassed value to the residential and commercial markets, while being easy to do business with. Learn more at: www.getbeale.com 

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HARMAN’s Martin Professional Lighting Fixtures Are Crucial Design Elements, Enhance Creative Process for Kylie Minogue’s “Kiss Me Once” Tour

Martin_Kylie2LONDON – Australian pop sensation Kylie Minogue recently completed the first leg of her Kiss Me Once tour, which included stops throughout Europe. The second leg of the tour begins in March 2015 with five shows in Kylie’s native Australia. Following the successful tour of Europe, Lighting Designer Rob Sinclair and Lighting Director Louisa Smurthwaite provided insight into the creative processes behind the tour’s extensive lighting design, which prominently featured fixtures from HARMAN’s Martin Professional

Very early in the process, even before the new music was available, Sinclair had a meeting with Creative Director William Baker and Set Designer Alan Macdonald, during which it was decided that ‘precise geometry’ and ‘Bauhaus aesthetics’ were to be the key themes for the set design, inspired by the lines of the set and the early costume ideas. Baker then created a very detailed and instructive style guideline for each section of the show. For Sinclair, this was extremely useful to begin the process of designing the lights. About a month before rehearsals, the music arrived and Sinclair began working on the lighting design, creating a series of detailed notes.

Sinclair sent his notes and instructions to Smurthwaite who patched it up and set up the consoles. By now it was time for band rehearsals and Sinclair and Smurthwaite spent two weeks in a small, badly ventilated room to pre-visualize the preliminary design in action and to make adjustments where necessary. Next came ten days of strenuous production rehearsals, during which the duo learned that nothing from the pre-visualization worked. Consequently, the design had to be changed an additional two or three times to ensure all the details were correct as well as incorporate feedback from Baker and Kylie.

“Nothing from pre-visualization ever works,” says Sinclair “It’s useful to have a start but the transfer from screen to reality is always jarring. Baker and Kylie had some great notes about color and pace and we produced pages of our own. We both have a great eye for detail and had long discussions about the timings of single cues.”

Sinclair and Smurthwaite’s final design included 12 Martin MAC Auras and 120 Martin MAC Viper AirFXs, which made up the majority of the rig. According to Sinclair, the lighting design was precise and meticulously detailed.

“We chose them [the Auras and AirFXs] particularly for their brightness,” says Sinclair “We needed a hard-edged fixture that would be visible against a video wall and needed to be seen in the air more than on stage. I did a shoot-out in Vegas and the AirFX was the clear winner.”

Working with this large amount of fixtures was a great challenge for this creative duo as it pushed them to develop designs that were more than just ‘here come the spots or the washes’. “Having the purity of one type of light source really captured our imaginations,” says Smurthwaite “It allowed us to create a clever and classy lighting design – it wasn’t obvious and I really like that.”

Talking about the lighting design for a particular song, ‘Kiss Me Once,’ Smurthwaite said they were trying to create an intimate experience for the audience by going from warm, soft looks to bold lasers to a petal drop. “The lights, the effects and the laser paired flawlessly with both the music and Kylie’s stage presence, and the audience got sucked in,” says Smurthwaite.

“Musically, I really enjoy the composition,” says Smurthwaite. “The costumes took a life of their own, the dancers looked incredible and it’s where Kylie appeared so close to the audience on the B stage after an onslaught of laser mapping, video content, lighting and dancers. It’s a special moment.”

Ultimately, both Sinclair and Smurthwaite look back on the first part of the tour as a great success. “It was long and at times painful,” says Sinclair. “The drawing of plots and arguing about budgets took most of the summer. I’m not sure that either of us were making sense after so long without sleep but I’m very, very proud of what we achieved.”

While Kylie Minogue prepares for the Australian tour, Sinclair is on tour with Queen and Adam Lambert where he also decided to build an entire rig around the MAC Vipers. Sinclair will be present for rehearsals for Kylie’s Australian tour and Smurthwaite will be running the shows.

Sinclair trained as an electrician. He started sweeping floors at Vari-Lite and gradually worked his way up fixing lights in the shop, then fixing them on the road, operating other people’s lighting design, then designing his own. He is a new member of Kylie’s team and also designs lighting for Queen, Peter Gabriel, Adele, Pet Shop Boys, Miley Cyrus, Vampire Weekend and several others. He feels privileged and proud to be making a living doing something he loves so much.

Smurthwaite started in the theatre and corporate events industry but left to try working with other technologies for a design multi-media company. She did projection mapping and guerilla marketing with digital equipment and interactive environments. Here, she got mesmerized by lasers and programmed and designed shows for music tours, where she turned up on Pulp in 2011 and met Sinclair. Smurthwaite came along with Sinclair to join the Kylie tour. Since then she has had the pleasure of working with him on Pulp, Bloc Party, Birdy and Goldfrapp.

Martin Equipment List
120 units x Martin MAC Viper AirFX
12 units x Martin MAC Aura

Read more about Kylie Minogue

Read more about Rob Sinclair

Read more about Louisa Smurthwaite

For full story, please visit: http://martin.com/en-US/View-Case?pid=13699&itemId=CaseStory:14304

For more information, please visit: www.martin.com

As a world leader in the creation of dynamic lighting solutions for the entertainment, architectural, and commercial sectors, Martin lighting and video systems are renowned the world over. Martin also offers a range of advanced lighting controllers and media servers, as well as a complete line of smoke machines as a complement to intelligent lighting. Martin operates the industry’s most complete and capable distributor network with local partners in nearly 100 countries. Founded in 1987 and based in Aarhus, Denmark, Martin is the lighting division of global infotainment and audio company HARMAN International Industries. For more information please visit: www.martin.com.

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and enterprise automation solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson ® and Revel®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of approximately 17,600 people across the Americas, Europe, and Asia and reported sales of $5.9 billion during the last 12 months ended December 31, 2014.

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Recorded at St. Louis Symphony on a HARMAN Studer Vista 5 Console, John Adams’ City Noir Earns GRAMMY® Nomination for Best Engineered Album, Classical

Studer_StLouisSymphonyST. LOUIS, Missouri – St. Louis Symphony’s recent investment in a HARMAN Studer Vista 5 digital console has paid immediate dividends in many ways, the most recent being the nomination of a 2015 GRAMMY® Award for classical artist John Adams’ album, City Noir. Nominated for Best Engineered Album, Classical, as well as a nomination for Best Orchestral Performance, City Noir was recorded at the St. Louis Symphony, engineered by Richard King and released on Nonesuch Records.

Described by John Adams as “jazz-inflected symphonic music”, City Noir is a 35-minute, 3-movement work featuring solos for alto saxophone, trumpet, trombone, horn, viola and double bass. The GRAMMY-nominated City Noir album was recorded over two performances in February 2013 and was released through Nonesuch Records in May 2013.

Since acquiring the Vista 5, the St. Louis Symphony has used the console to record all of its Saturday performances in 96k, including John Adams’ symphonic works, along with live radio broadcasts on Saturday nights via St. Louis Public Radio 90.7-KWMU. The Vista 5 is the heart of the Saturday broadcasts and recording, taking multiple streams and splitting the mixes to a multi-track, 2-track hi-res feed and then also to the mix for radio.

Paul Hennerich, lead engineer for the St. Louis Symphony and owner of the Pan-Galactic Company, found the Vista 5 to be the most versatile and efficient console for the Symphony’s needs. “For our recordings with Nonesuch, the Vista 5 was one of the few consoles that had the ability to do high-resolution recordings that we needed to track,” Hennerich said last October. “And, of course, the sound quality is phenomenal, so the console hit all the requirements we had.”

In addition, the Vista 5’s EQ capabilities also sold the St. Louis Symphony on the console. “With classical music, you need a phase-accurate EQ to really bring out the subtleties of the orchestral performances,” Hennerich noted. “We also have the Vista FX feature with the built-in Lexicon effects. Having the ability to adjust multiple reverb sends at the same time makes the workflow that much faster. Also, being able to have two engineers work on their own control surface has been a nice feature.”

For more information on the St. Louis Symphony, please visit www.stlsymphony.org

For more information on the Pan Galactic Company, please visit www.pangalacticrecording.com

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and enterprise automation solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® , Mark Levinson ® and Revel®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of approximately 17,600 people across the Americas, Europe, and Asia and reported sales of $5.9 billion during the last 12 months ended December 31, 2014.

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Kramer to Showcase Innovative Live Event Solution at ISE 2015

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VP-772 8-input 4K Dual Scaler offers seamless switching and special effect transitions

Kramer Electronics announced today the release of the VP-772 8-input 4K Dual Scaler with seamless video switching and special effect transitions. The company will be showcasing VP-772 at ISE 2015 (Stand 1.F20) in Amsterdam as a part of Kramer’s pro AV solutions for live events.

With Kramer’s state-of-the-art scaling technology, the VP-772 is designed for projection and display systems at live events, churches, auditoriums, conference rooms, boardrooms, hotels, and production studios.

VP-772 scales and processes video and audio inputs and outputs to independent preview and program DVI-I outputs (VGA, DVI-D and HDMI) and two balanced stereo audio outputs. The dual scaler also features DVI-U inputs (with analog, DVI and HDMI support) and stereo-balanced audio signals. The preview output, featuring an on-screen display menu, lets you view how the program output will look on the live display.

VP-772 includes 4K support on the outputs for the latest devices and displays with native resolutions beyond 1080p60. VP-772 also includes Breakaway or audio-follow-video functionality.

About Kramer Electronics:

Since 1981, Kramer Electronics has been a leading player and pioneer in the Pro AV industry. With 26 global offices, supporting and distributing its products in over 100 countries across six continents, Kramer offers an extensive and innovative Pro AV solutions portfolio for Corporate, Education, Houses of Worship, Government, Live Events, Healthcare, and more.

For over three decades, Kramer has built its reputation on strong personal relationships with its customers and providing the highest level of service and support in the industry.

Kramer has won numerous awards, including the 2013 Pioneer of AV Award at InfoComm in honor of its Founder, President & Chairman, Dr. Joseph Kramer. Kramer’s award winning analog and IP-driven solutions for collaboration, streaming and control are at the forefront of an ever-evolving Pro AV industry. Kramer’s consistent sales growth and expansion into new markets is a testament to the company’s commitment to R&D and reliance on customer feedback.

For more information, visit us at: www.kramerAV.com


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