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Press Releases For : November 12, 2014

Sound Devices Brings Complete Range of Rack-Mounted Video and Audio Recorders into Focus at CCW 2014

Video Devices PIX 270i and PIX 250i and Sound Devices 970 Address the Multiple-Source Audio/Video Needs of Today’s Large-Scale Productions

NEW YORK – Sound Devices, along with its new video-products brand Video Devices, will showcase its full complement of rack-mounted production decks, including the Video Devices PIX 270i and PIX 250i video recorders and Sound Devices 970 audio recorder, at CCW 2014 (Booth 1240). Video Devices PIX 270i.jpg 1a

Seamlessly replacing tape- and disc-based video decks, the PIX line of IP-connected video decks with FileSafeTM and PowerSafeTM are a complete offering addressing a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live events and mobile truck production. In addition, at CCW, Sound Devices will feature its first-ever dedicated, audio-only rack-mounted solution, the 970, which boasts an impressive 64 channels of Dante and MADI. The half-rack, 2U device simplifies any application requiring high-quality, high-track-count audio recording.

Video Devices’ PIX 270i and PIX 250i recorders offer significant advantages and time-savings for production workflows, providing tapeless, file-based recording and playback with the ability to access and transfer high-quality files over gigabit Ethernet. The units record edit-ready Apple ProRes (up to ProRes4444) or Avid DNxHD files, and allow simultaneous multiple-drive recording, giving production staff the peace of mind of rock-solid redundancy and backup capabilities (four drives for PIX 270i and two drives for 250i). Their extensive audio capabilities, including 64 channels of both MADI audio and Dante audio-over-Ethernet for PIX 270i, and PIX 250i’s 16 tracks of audio, make each unit a comprehensive, cost-effective replacement for complex video servers, and an effective tool for high-performance video production.

Both PIX products feature extensive network connectivity, and can be connected over Ethernet for simultaneous, frame-accurate grouped recording and playback, delivering a cost-effective, scalable solution addressing the multiple-camera recording and multiple screen playback needs of today’s productions. Any number of units can be grouped, controlled and configured as a single system from either the hardware or the built-in Web browser-based control panel, PIXNet.

Video Devices’ PIX 270i and PIX 250i and Sound Devices’ 970 all feature the company’s proprietary PowerSafe technology. PowerSafe circuitry has a built-in 10-second power reserve. In the event of power loss, the unit continues to operate for up to 10 seconds, then stops any file operation and shuts down. This ensures that a complete power loss has no effect on the recording. In addition, these newest rack-mounted products feature FileSafe, which automatically detects and repairs corrupted file headers when drives are mounted. If a drive is inadvertently removed during recording, the user can simply reinsert it to repair the files automatically.

The PIX 270i and PIX 250i include high-performance hardware scalers and frame-rate converters allowing recording of up-, down- or cross-converted 3G-SDI or HDMI signal at the same or a different frame rate. Hardware-based 3:2 pull-down removal is also available. With its built-in Ambient Clockit time-code generator/reader with genlock output, the PIX line is designed for multiple-camera and double-system sound applications. In addition to generating ultra-stable time-code, time-code can be read from the SDI stream, the HDMI stream or external sources. Its convenient 1/2-rack, 2U chassis dimension allows it to be easily integrated into any existing environment. It is powered by 10-27 VDC through a four-pin XLR connector. The PIX 270i offers a secondary DC input for power supply redundancy.

A powerful tool for professionals requiring a significant number of audio channels, Sound Devices’ 970 records 64 channels of monophonic or polyphonic 24-bit WAV files from any of its 144 available inputs. These inputs include 64 channels of Ethernet-based Dante, 64 channels of optical or coaxial MADI, eight channels of line-level analog and eight channels of AES digital. Any input can be assigned to any track. In addition, 32-track recording at 96 kHz is supported. The 970 records to any of four attached drives, which include two front-panel drive bays and two rear-panel e-SATA connected drives. Material can be recorded to multiple drives simultaneously or sequentially. This eliminates time-consuming post-record copying and allows for continuous long-form, high-track-count recordings.

With its built-in, rock-steady Ambient Recording Lockit time-code technology, the 970 is ideal for operation as a master clock. It can also slave or be jammed to any other time-code source. All common production time-code rates and modes are supported. The 970 also supports word-clock synchronization from external word clock, video sync, MADI or AES. To simplify the connection of multiple digital inputs, SRCs are available for all MADI, Dante or AES inputs.

The Sound Devices 970 also features an embedded Web-based control panel for machine transport and setup control over Ethernet-based networks, as well as file transfer over the data network with SMB. File metadata editing of scene name, take name, notes, track names, and reel folders can be done during, before and after recording across all drives. In addition to RS-422 and GPIO control, the unit also allows for format conversion between analog, AES digital, MADI and Dante.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production.

Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.com.

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WorldStage Makes Big Tech Staff Expansion To Support Continuing Growth

WorldStage is pleased to announce five new hires, across a wide range of departments, at its East and West Coast offices. Coming on board are Susanna Harris-Rea as lighting project manager, Russell Cowans as audio engineer, Gus Garces and Greg Duffin as staging project managers, and Frank Musgrove as senior video engineer.

“We are delighted to welcome these five talented and experienced professionals to the WorldStage family,” says company president Josh Weisberg. “We prefer to have our technical people on staff rather than freelance and we pride ourselves on having the most professional staff around. These “newbies” fit right into that philosophy, although I can’t say they’re that new, as we’ve known them all for years.”

Susanna Harris-Rea joins WorldStage in New York in the role of lighting project manager. A graduate of Ohio’s Oberlin College, she has been a freelance production electrician and gaffer for the last 15 years and served as artistic director from 2000 to 2009 at Overlap Productions, a New York based theater company.

Audio engineer Russell Cowans returns to WorldStage after a three-year absence. He was audio engineer at WorldStage predecessor Scharff Weisberg from 2004 to 2011 then joined the celebrated Alvin Ailey American Dance Theater where he remained for the last three years.

Gus Garces comes to WorldStage as staging project manager having served as audio tech/production manager and most recently in sales and production at New York City events agency Production Glue LLC.

Garces previously was director of sales at Paratore Audio Visual, director of production at Star Group Production and Cipriani, production manager/audio engineer at Manhattan Center Studios/Hammerstein Ballroom and staff engineer at Sound Works Studios and The Hit Factory Recording Studios. Like Cowans, Garces enjoyed a stint at Scharff Weisberg earlier in his career where was audio tech/production manager from 2003 to 2005.

Staging project manager Greg Duffin has more than 20 years experience in recording, theater, concerts, events and corporate meetings, including world tours with gold and platinum recording artists. For the last four years he has headed Duffin Design in New York City where The Tribeca Film Festival, ABC, Warner Bros Records, A&E Networks, AMEX, Morgan Stanley, Standard & Poors, the NYC RoadRunners and Columbia University were among his clients.

Previously, Duffin was a sound designer with Basil Twist/Tandem Otter Productions, FOH concert engineer/systems technician at Martin Systems Audio, resident sound designer at the Japan Society of NYC and production manager/FOH engineer for Regina Spektor’s touring show. A graduate of Missouri State University, Duffin began his career with audio positions in Springfield, Lawrence and Kansas City, Missouri and in Atlanta.

Frank Musgrove joins WorldStage in Tustin, CA as a senior video engineer with 15 years experience in leading and managing AV production for a variety of events and programs for corporations, media outlets and staging companies. For 19 years he has been on the production staff of MLB’s San Diego Padres doing live and taped events at the stadium and off site; for almost as long Musgrove has been a member of the Boltvision game day staff for the NFL’s San Diego Chargers.

Musgrove was a senior AV production staffer with Qualcomm INC. from 2007 to 2012 and video head/project manager at Multimedia Presentation Group from 2004 to 2007.

He has done video replay and served as camera operator and EIC for numerous sports productions, including events from host broadcasters, ESPN, Fox, NBC, ABC and CBS. He also handled Vista Systems’ Spyder and Encore video playback and projection for sporting events, concerts and other multi-camera events in the San Diego market. Earlier in his career he had posts at San Diego State University, KUSI Television, King Video Cable and KCRA-TV.

Gary Standard, WorldStage CEO, concluded, “These hirings are another example of the continued growth of WorldStage on both coasts. We welcome all of these professionals to our staff and look forward to the contributions they will bring us.”

WorldStage Inc., the company created by the merger of Scharff Weisberg Inc and Video Applications Inc, continues a thirty-year legacy of providing clients the widest variety of entertainment technology coupled with conscientious and imaginative engineering services. WorldStage provides audio, video and lighting equipment and services to the event, theatrical, broadcast and brand experience markets nationally and internationally.

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Masque Sound Custom Equipment Package Provides Intimate Audioscape for Lincoln Center Theater’s Newest Play, The Oldest Boy

NEW YORK, NY – When visionary playwright Sarah Ruhl’s newest play, The Oldest Boy, made its debut at Lincoln Center Theater’s Mitzi E. Newhouse Theater on Monday, November 3, Sound Designer Darron L West once again turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to supply a custom audio equipment package for the much-anticipated production. Main Pic The Oldest Boy LCT - 3

In this moving and delightful exploration of motherhood, love and letting go, The Oldest Boy tells the story of Tenzin, the toddler son of an American woman and a Tibetan man who is recognized as the reincarnation of a high Buddhist teacher. Differing cultures contend with competing ideas of faith and love when two monks seek permission to take Tenzin to a monastery in India to begin his training as a spiritual master. His parents must decide whether to send their young son away or keep him home.

Designing the sound system for The Oldest Boy posed its own unique set of challenges; the first of which was the design of the stage itself. “The stage is a really beautiful, wooden formal circle in the middle of the theater, and in designing the sound I wanted to be able to create layers from the center out,” says West. “We placed an enormous amount of speakers in the theatre to accomplish this, which gave us the added ability of being able to move the majority of the sounds around the room with ease. It was all about radiating the sound from the center out, and the system Masque Sound provided allowed us to achieve our goal.”

For West, his associate, Charles Coes, and Beth Lake, his assistant, however, the biggest challenge in designing the sound was dealing with the delicate nature of the music. Since the musical numbers are all composed on Tibetan instruments, such as bowls and tone bells, with a single, live musician performing onstage, the sound designers had to find a way to integrate all of these understated instruments to work inside the system’s surround.

“We designed the system in rings,” adds West. “There is a center system that only outlines the edge of the round stage, which means that the musician can be performing in the middle of the stage and get a lot of gain before feedback on his microphone. Most of the music in this show is multi-channel, so the audience is almost sitting in a bowl with all of these layers going on behind them that are creating a whirlwind of surround soundscapes. The show features beautiful scenic changes and the sound layers help shape the story for our audience, not only in terms of where it is going, but where it is ultimately headed.”

In order to create the sound he was looking for, Masque Sound provided West with a large Meyer Sound speaker package, including UPA-1P loudspeakers for the mains, a variety of UPMs for fills, UPJ-1Ps for the center ring and USW-1P subwoofers. “It’s about the clarity at the top end,” says West. “With musicians loudly playing these pure tone bells and bowls to fill up the room, it is important to rely on a fast speaker that boasts a lot of top end. To get the dynamic range we needed in the show, the Meyer rig was the only way to go for us. There was no question as to what we wanted to use, and we were very happy that Masque Sound was able to provide it.”

In terms of consoles, West was looking for an efficient board with as much flexibility as possible, which he found in the Yamaha DM1k. The DM1k allowed West to use MADI to send out the multiple outputs, between 26-32, in each with separate QLab channels allowing for the detailed soundscape. For microphones, West employed a selection DPA 4021s and 4022s, as well as a DPA 4061, which is worn on the head of the musician playing the traditional Tibetan nylon stringed instrument.

“We have such a long relationship with Masque Sound, and I know that I am in such good hands when I am working with them and never have to worry about anything,” concludes West. “With this show in particular, there were massive amounts of changes. It’s a brand new, world premiere with a lot of different levels and moving parts. To not have to worry about the implementation of the sound system was just fantastic. Masque Sound also provided its frequency coordination services, which is another item I can check off my list and not even have to worry about. In addition, our mixer at Lincoln Center, Stephen Bettridge, did an amazing job in helping this all come together.”

Directed by Rebecca Taichman, The Oldest Boy is scheduled to run through December 28 at the Lincoln Center Theater’s Mitzi E. Newhouse Theater, located on 150 West 65th Street in Manhattan. For more information, including where to purchase tickets, please visit www.lct.org.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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Extron Introduces Next Generation Fiber Optic Control Inserter

Extron FOX II RS 104Extron Electronics is pleased to introduce the new FOX II RS 104, a four port RS-232 inserter for long-haul transmission of control signals to remote source and destination equipment over fiber optic cabling. Each port provides a bidirectional fiber optic connection to an Extron FOX II or FOX Series transmitter or receiver for the Ethernet insertion and extraction of control data, while maintaining a continuous pass-through link for video and audio. The FOX II RS 104 is ideal for use in applications with a centralized control system that require the long-haul transmission of AV and control signals over fiber optic cabling. (more…)

Edward Jones Dome Undergoes Major Upgrade with HARMAN’s BSS Audio, Crown and JBL

Dome08MorningST. LOUIS, Missouri – Opened in 1995, the Edward Jones Dome in St. Louis is no stranger to bringing new attractions to town. Owned by the St. Louis Regional Sports Authority and operated by the St. Louis Convention & Visitors Commission, the facility is part of the city’s convention center complex and seats up to 68,000 people. Its new HARMAN Professional audio system, featuring BSS Audio, Crown and JBL VERTEC® loudspeakers, is part of the continuous program to improve the experience of attendees at a variety of sporting events, as well as large conventions, religious gatherings, and much more.

The Edward Jones Dome project is the largest installation of powered VERTEC equipment in the world. At the heart of it are 12 arrays that each contain 12 JBL VERTEC VT4889A fullsize line array elements with DrivePack® DPDA input modules. In addition, there are two arrays of nine and two arrays of 12 JBL VERTEC VT4887A compact line array loudspeakers with DPDA modules that cover the field. All arrays utilize a top and bottom short frame and are suspended by a custom Polar Focus rigging system that allows every array to be operable for service. The installation also features four BSS Audio BLU-800 devices, two of which are used in the control room to create new networks. Of the remaining two, one feeds all bowl loudspeakers and the other all of the under deck and back of the house fill speakers.

Rounding out the installation are 25 Crown amplifiers. The South Amp Room, which powers underdeck and back-of-house loudspeakers is equipped with 10 DriveCore™ Install (DCi) 4|1250N amplifiers. The North Amp Room, which powers underdeck and back-of-house loudspeakers as well as an overflow press area, has 11 DCi 4|1250N amplifiers. There are three DCi 2|300N amplifiers in the main control room which power various booth monitors and elevators, and one Crown DCi 4I1250N amplifier, also in the Main Control Room, which is available as an auxiliary amp for various speaker needs on and around the field.

“For this project we worked very closely with HARMAN to identify an audio solution that would address all of the goals the owners had to improve audio performance throughout the facility in an efficient, cost-effective manner,” said Paul Murdick, who heads the technology solutions division of TSI Global, a St. Louis-area full-service systems integrator. “With this installation we wanted to take advantage of the acoustical upgrades, which we were confident would make the audio sound better than it did before. Also, with the Sports Authority’s plans to diversify the kinds of events it hosts, it was the perfect time to upgrade the entire system rather than do a quick fix.”

Lee Buckalew, systems designer for TSI Global, explained that he found the fact that the amplifiers were network-enabled to be particularly beneficial. “It was our first time using them, and we found them to be amazingly stable,” he said. “Their networking and error-reporting capabilities are impressive.”

Throughout the project, TSI worked closely with consultants Ross & Baruzzini, Inc, as well as John Powell, vice president of sales for JBL, Doug Nelson, accounts manager with Network Sales and Marketing, and Aaron Kunz, HARMAN territory sales manager. Brad Ricks and George Georgallis from HARMAN assisted with system tuning and Emilian Wojtowycz, also of HARMAN, offered pre-tuning assistance. Polar Focus provided engineering input, creating a system that provided solutions for ease of service while simplifying the seismic restraint needs, all while increasing the seismic protection offered.

Together, the team worked to address challenges unique to the Edward Jones Dome, including the shape of the dome, which made solid, even coverage for both lower and upper seats a potential problem.

In order to expedite tuning of the massive PA the team utilized JBL HiQnet Performance Manager™ and the system is now remotely configured and managed on a day-to-day basis using HARMAN HiQnet Audio Architect™. “We were able to minimize our time from start to finish on this project using both HARMAN software platforms,” added Buckalew.

“From start to finish, HARMAN was overwhelmingly supportive,” says Murdick. “As a project that began more than two years ago when the owners spoke to us about fixing a center cluster of loudspeakers and getting more field coverage with the audio system, HARMAN really demonstrated its commitment to working with systems integrators over the course of a relatively long-term installation.”

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 16,600 people across the Americas, Europe, and Asia and reported sales of $5.6 billion for the 12 months ended September 30, 2014.

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Kyle Means Creative Uses High Resolution Systems’ UDC Software for Custom Video Switching

IMG_0119Kyle Means, AV producer and engineer at Atlanta-based Kyle Means Creative, has found High Resolution Systems’ UDC (Universal Device Controller) to be his controller of choice for projects nationwide.

Kyle Means Creative specializes in providing screen switching, video content and camera switching for companies like PSAV, PRG, Spectrum Productions and others; Means also works directly with corporate clients. Means is a former lead show team technician and director of sales at PSAV, Atlanta. He also serves as technical director of Titanium Conferences for the International Titanium Association.

“I use UDC 400 and an iPad to create custom switching services,” he explains. “A lot of people use UDC to control Vista Systems’ Spyder [image processor], but what I think is really cool is using UDC to control other devices like DT Videolabs’ PlaybackPro so we can run concurrent video playback on multiple screens simultaneously. That can only be done through UDC.”

Means also likes the ability “to manage multiple AJA Ki Pro record decks,” he says. “I can roll multiple Ki Pro machines and manage multiple record decks.”

He’s beginning to experiment with using UDC to control multiple single destination switchers from a single control surface. “That essentially gives clients who can’t afford a true matrix switcher the kind of show that has multiple destinations,” says Means. “A lot of companies don’t have these big matrix switchers but need that capability for a show. So we’ll have a number of switchers set up with UDC as the central control surface. Through programming and UDC we can deliver the same kind of functionality as a big matrix switcher.”

About High Resolution Systems

High Resolution Systems known as HRS Control is a company with a strong systems engineering and applications background. Its founders have decades of experience in the audio visual rental and staging industry, broadcast applications, A/V installations and system design. This combined experience allows them to provide the highest possible quality solutions to its customers in the most efficient manner. For more information, visit www.hrscontrol.com.

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HOSA TECHNOLOGY ANNOUNCES PRO BREAKOUT CABLES

**** Photo: The new Hosa Pro Breakouts ****

**** Photo: The new Hosa Pro Breakouts ****

Buena Park, CA – November 2014… Hosa Technology, the leading innovator of analog and digital connectivity solutions for the modern musician, is pleased to introduce the latest line expansion to the Hosa Pro line of cables. The new Hosa Pro Breakouts make the process of interfacing consumer audio products with professional equipment easier than ever. With Hosa Pro Breakouts, any consumer audio product equipped with a stereo minijack output can seamlessly be interfaced with professional units sporting quarter-inch Tip/Sleeve, XLR, or even RCA connectors. (more…)

Press Releases For : November 11, 2014

Broadcast Pix Launches Trade-In Promotion at CCW 2014

Billerica, Massachusetts – Broadcast Pix™ will launch its new “Cast Out Your Old Switcher” trade-in promotion at Content & Communications World (CCW) 2014, which runs Nov. 12-13 in New York City (Booth 1258). The company will also demonstrate the components of its new Sports Bundle, including the Granite™ X large-scale integrated production switcher, ReVue slow motion system, and FX3D real-time 3D graphics platform.

During the “Cast Out” promotion, Broadcast Pix will provide a free 500 control panel or $2,000 off the cost of a 1000 or 2000 control panel for customers who Sports Bundle-2trade in any video production switcher toward the purchase of a new Flint™ LS, Mica™, or Granite system. Trade in any switcher with “cast” in its name and also receive free PixPlay software, which allows any Broadcast Pix integrated production Sports Bundle-2switcher to provide slow motion control to a Blackmagic Design HyperDeck or AJA Video Systems Ki Pro disk recorder. The “Cast Out Your Old Switcher” promotion ends on Dec. 31, 2014, and all orders must be shipped by the end of the year.

Announced last month, the Broadcast Pix Sports Bundle is a tightly integrated package that provides the sophisticated switching, multi-camera replay, and 3D graphics expected by today’s sports viewers. It is anchored by the Granite X 2 M/E production switcher, with 22 SDI inputs, 12 outputs, seven channels of file-based inputs, six key layers, dual-channel clip server, and access to cloud-based content. Granite X also features a number of additional built-in production tools – including a customizable multi-view, CG, and file-based macros.

Developed in collaboration with strategic partner EditShare, ReVue offers variable speed playback of two or four channels of video in sync, and its compact controller includes a jog/shuttle wheel and intuitive controls for review and playback. FX3D creates a simplified end-to-end graphics workflow, complete with a library of royalty-free 3D objects and animations, easy import of 3D models from other programs, a full rendering engine for original 2D and 3D models, and a playout engine with template-based rundown controller and asset search capabilities.

“Our new ‘Cast Out’ promotion is a great opportunity to upgrade your control room with one of our integrated production switchers,” said Steve Ellis, CEO of Broadcast Pix. “CCW is also a great venue to showcase our very affordable Sports Bundle integrated solution, which can deliver live productions with slo-mo and 3D graphics that rival the big sports networks.”

About Broadcast Pix Founded in 2002, Broadcast Pix is the leader in integrated production switchers, with customers in more than 110 countries. Available in several configurations, from compact systems with end-to-end integration to large-scale systems for high-end live productions, Broadcast Pix switchers include CG, dual clip stores, file-based macros, external control software, and customizable multi-view and virtual sets with patented control options. Broadcast Pix also offers ReVue next generation slow motion systems, fX3D real-time 3D graphics, Rapid CG dynamic graphic playout software, and VOX voice-automated live video production, each designed to enhance our highly integrated live production switchers. Customers include leading broadcast, corporate, education, government, religious, sports, streaming, and visual radio studios. Learn more at www.broadcastpix.com.
Broadcast Pix and Granite are trademarks of Broadcast Pix, Inc. Patented. Made in USA.

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Pixcom Installs Matrox Avio KVM Extenders to Facilitate Workstation Centralization Outside of Production Studios

Matrox fiber-optic KVM extenders provide real-time control while eliminating system background noise and heat in video editing studios

Matrox® Graphics Inc. today announced production company Groupe Pixcom Inc. has successfully installed Matrox Avio F120 fiber-optic KVM extenders, which have been running flawlessly since day one. Pixcom has eliminated system background noise and heat in their video editing studios by centralizing systems in a separate machine room with Avio transmitter/receiver pairs, letting video editors maintain real-time control over high-resolution dual-display desktops and peripherals.

Matrox Avio at Pixcom Studio

Moving into new offices, Pixcom required new fiber-optic KVM extenders to securely centralize high-performance workstations up to 100 meters from their video editing studios. Pixcom chose Avio over competitors for its comprehensive feature set, including zero-latency 10Gbps transmission over a single fiber-optic cable. Ease of integration, supported distance (10 km or 6.2 mi), 4K-readiness, and a compact, rack-mountable design also factored into Pixcom’s decision.

“By meeting all of our extension needs in a single box connected by a single fiber-optic cable, Avio let us reduce clutter in the workspace and cut down on the wiring required,” said Dominic Gagné, a member of Pixcom’s technical services team. “Avio is a robust technology we can rely on… to the point where we can even forget it’s there!”

To read the complete story, visit Pixcom Centralizes Video Editing Workstations with Matrox Avio KVM Extenders.

About Matrox Graphics Inc.
Matrox Graphics is a global manufacturer of reliable, high-quality ASICs, boards, appliances, and software. Backed by in-house design expertise and dedicated customer support, Matrox products deliver stellar capture, extension, distribution, and display. Engineering high-quality products since 1976, Matrox technology is trusted by professionals and partners worldwide. Matrox is a privately held company headquartered in Montreal, Canada. For more information, visit www.matrox.com/graphics.

Emmy Award-Winning Studio Works Mouseless, Keyboardless with Yamaha NUAGE

Jereco Studios and Yamaha NUAGE

BUENA PARK, Calif.—Jereco Studios is located in Bozeman, Montana, a small town located outside of Yellowstone National Park, and home to a unique, dense film and music community. The four-time Emmy® award-winning, commercial sound recording studio offers sync-to-film ADR and voice-over recordings with remote link up via ISDN or SourceConnect. Jereco is equipped for 5.1 and 7.1 Digital Surround Sound, Dolby E, DTS, and many other formats. In addition, the studio provides a full line of quality live sound reinforcement services and equipment rental packages.

Jeremiah Slovarp, producer/engineer and President of Jereco Studios, has been working up until now on a Yamaha 02R96v2. In early 2013, he began searching for a new, modern work surface. “Yamaha Commercial Audio Systems had posted its first NUAGE photos and articles on their web site, and I knew this system was what I was looking for,” states Slovarp. I admit, I miss the old console, but am moving ahead with the new Yamaha NUAGE. The 02R96 still works after almost 14 years, which is a real testament to Yamaha’s design and build quality.”

“In the fall of 2013, the Club Cubase newsletter announced NUAGE would be on display with technical and sales team members from Yamaha present at Poll Sound in Salt Lake, Utah, Slovarp says. It was too late for me to book a flight, so I drove the seven hours from Bozeman to Salt Lake the night before so I could be the first one at Poll Sound the following morning. I was met on demo day by the Poll Sound staff and Yamaha’s Chris Hinson and Randy Weitzel. Because I was early that morning, I had the console to myself for a good two hours while Chris and the Poll Sound staff took turns showing me around and answering questions.”

JeremiahMixingNuage

Before he left Montana, Slovarp packed up a few projects to use as workflow samples on the demo NUAGE at Poll Sound. “I think this was a great experiment and gave me the opportunity to work on the console with my own work and workflow preferences. I was particularly impressed that Chris was taking notes on my hiccups and recommendations, and passed those notes on to the NUAGE development team, some of which have shown up in the latest software updates. The integration of my existing workflow into a new platform that felt so much like my natural workspace in Nuendo really was seamless. The deep integration and control of the DAW on the console is truly complete and unique.”

Slovarp has been using Nuendo 2 since 2002, keeping up with every revision and update. He said the most important thing he appreciates about NUAGE is that it has enabled him to put down the keyboard and mouse. “I feel like I can get back to mixing, pushing faders, turning knobs, and just working on a creative console. After an eight or ten hour day, my hands would be in pain from all the manual movements I had to make being dependent on mouse editing and clicking. With the advent of all the cool and amazing new digital DAW based mixing tools and equipment, I think the industry, in general, has regressed from the art of mixing and working with consoles and large format hardware. But with NUAGE, I appreciate the deliberate move Yamaha has made to enable engineers to get back to mixing and editing as an art form.”

For more information on Jereco Studios, visit www.jerecostudios.com.

For more information on Yamaha NUAGE, visit www.yamahaca.com.

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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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