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Press Releases For : September 18, 2014

Shotoku To Boost Worldwide Sales Initiatives with Appointment of New Technical Sales Manager

Trevor Sword To Focus On Increasing International Customer Base

Staines, United Kingdom – Shotoku Broadcast Systems, a leading international manufacturer of advanced camera support products, has named Trevor Sword its new Technical Sales Manager. James Eddershaw, Shotoku’s sales director, made the announcement from the company’s UK office where Sword will be based.

According to Eddershaw, Sword will be responsible for advancing sales of the company’s full range of robotic camera systems, increasing Shotoku’s customer base around the world, and supporting the company’s agents.

“We are very pleased to welcome Trevor to the Shotoku family,” says Eddershaw. “His technical background and years of experience in the broadcast market make him an ideal fit for our systems-based, technology-focused, sales environment. Trevor’s affiliation comes at an ideal time, just prior to IBC, where he will meet with our customers and be available to discuss his plans for helping Shotoku’s continued move forward.”

Sword brings more than 19 years of broadcast industry experience to Shotoku holding positions with such industry leading companies as Quantel and Snell & Wilcox. In his roles as Customer Support Team Leader and Customer Support Engineer, respectively, he has supported a global customer base throughout his career. Recently he progressed into a more commercial role providing technical solutions for customers.

Sword’s previous positions have required him to prepare technical documentation for internal sales teams, and prepare and present product demonstrations to internal staff and external customers on a regular basis. He was heavily involved in designing, organizing, installing and presenting demonstrations for trade shows around the world including NAB and IBC — a huge undertaking that involved months of planning and a large amount of integration with third-party customers and their equipment.

“I am thrilled to become part of the Shotoku team,” says Sword. “Over the years, I have supported various sales teams and took on many different roles, for a variety of projects, events and sales opportunities all over the world, from France, South Korea, and Sweden to Germany, Norway, Dubai and Denmark. The experience I gained has allowed me a greater understanding of customer requirements and puts me in a great position to further global Shotoku’s presence.”

About Shotoku Broadcast Systems
Shotoku Broadcast Systems is an international leader in the manufacture and marketing of a full range of camera support products with emphasis on manual and robotic pedestals and pan/tilt heads for the television broadcast industry. The Company also provides robotic camera systems capable of interfacing with third-party equipment. Established as an engineering design firm specializing in advanced mechanics and electronic control systems, Shotoku maintains headquarters in Japan with offices in Staines, UK and Torrance, CA. The Company’s robotic camera systems are designed, developed and manufactured in Staines, UK. For further information: www.Shotoku.tv
# # #
Shotoku contact: James Eddershaw
+44 (0) 1784 224650 / mailto:info@shotoku.co.uk

Press contact: Desert Moon Public Relations & Advertising / Harriet Diener
+1-845-512-8283 / mailto:Harriet@DesertMoon.tv

California Baptist University’s Collinsworth School of Music Preaches to the Choir about DPA Microphones

Technical director for school’s music department relies on an assortment of company’s mics to solve live miking challenges

LOS ANGELES, SEPTEMBER 18, 2014 – Students at California Baptist University’s (CBU) Collinsworth School of Music are not only taught the art of making music, but the best possible way to enhance the performance aspect of their instrument or voice. That’s why their professors and mentors turn to DPA Microphones for on-stage amplification, which ensures that students gain first-hand experience with world-renowned professional equipment. With an audio locker that features a combination of the company’s d:vote 4099 Instrument Mics, d:fine™ Directional Headset Mics and a stereo pair of d:screet™ 4061 Omnidirectional Miniature Mics, the school is guaranteed an audio solution that covers the variety of music department needs for on-campus performances as well as on-the-road ensembles.

Matthew McConnell, technical director for the School of Music at California Baptist University, was familiar with DPA’s reputation of excellent quality products, but it was his test seven years ago of a stereo pair of d:screet 4061s as a live miking solution that turned him into a loyal user. Since then, DPA mics have been integrated into Collinsworth’s equipment supply, creating a new generation of enthusiasts.

“Before discovering DPA Microphones, I’d tried everything to make the piano sound good live, but I wasn’t happy with any of the results,” McConnell recalls. “Since I wasn’t having much luck with anything else, I bought a stereo set of the DPA d:screet 4061 mics and thought they were fantastic, and then I just went from there. Now, I don’t have many students who haven’t used a DPA mic. I’m a firm believer in the observation factor, so if they’re seeing the mics in use and hearing them on live recordings, they can better understand the benefit of using DPA mics.”

During touring season, students discover, through firsthand experience, the advantages that come along with DPA. This includes ease of use and exceptional clarity, the same factors that McConnell initially found to be valuable.

“I bought my first d:vote 4099s because I was trying to solve a problem,” shares McConnell. “For years, I didn’t like the sounds I was getting from the string bass, so I looked around for clip-on mics and pickups, I didn’t really like any of those or how they worked. When I found the d:votes, I bought two because of the rubberized bass clip. I loved how easy it was to get the clips off the instrument as well as having some flexibility to be used with other instruments. I tried them out and thought they were great. I also loved how they sounded and how the performers could move around because it’s attached to the instrument. As a FOH guy, the sound the mics produce isn’t changing when the students move around. I get very consistent sound and levels, which makes mixing so much easier. Once I discovered how well the d:votes worked, I bought more for the cello players and then woodwinds and percussion. I thought, ‘These are great! I’m going to use them wherever I can!’ ”

When McConnell introduced the d:vote 4099s to students, they were wary that the clips would damage their personal instruments. But, once they saw how the rubber clips can easily be unclipped and repositioned on the instrument without any damage to the body, they were eager to use them. The d:vote 4099 creates an effortless solution for students who are in charge of setting up and tearing down their own equipment. Students have also learned of the mics’ accurate natural sound, balanced EQs and functionality.

“These mics really come in handy for our performances, which are largely led by students,” continues McConnell. “During the school year, students perform in large ensemble groups at churches and schools throughout Southern California. Upon graduation, we send four elite groups on a two-week tour of America’s western hemisphere, where they are tasked with setting up their own equipment. The clipping and repositioning of the d:vote is so simple that two violinists often share one mic connected to a wireless transmitter by swapping it onto their instruments between solos.”

In addition to the d:vote series, the music department has integrated the d:fine directional headsets into its mic rotation for vocal clarity. Used primarily on the conductors who often MC their own shows and stand in front of loudspeakers, a potentially problematic spot due to feedback, the school is using the mics in a unique manner.

“The d:fine headsets sound great and make it possible for the conductors to wander around and interact with people without feedback issues,” adds McConnell. “But, the truly remarkable thing about the d:fines is the way we use them for our piccolo and flute players. Since the instruments are so tiny, we had a hard time miking them. We were using overhead mics, but there was a ton of bleed from other instruments. So, we decided to outfit the musicians with d:fine headsets, and it’s been great. Since the end of it is so close to the ear where the d:fine sits, the mic ends up producing a sound that’s just like the performer hears. We also get great rejection of unwanted noise with the cardioids pattern and we’re able to really amplify the flute sound.

“Everyone’s got it in their head that you need to have a solo flute with full brass choir accompaniment behind it, but on an acoustic stage, you’re never going to hear that,” he continues. “In a studio you will, but not on a live stage without amplification. This has been the best way that I’ve found to accomplish that. The d:fine tames down the piccolo to make it musical. It’s the same thing with the flutes. I’m able to get a great sound with the d:fine on the flute, with very minimal amounts of processing on the console. The feel of the mics is great, too. With other mics, the flute players hated wearing headset mics, they didn’t like how they felt. I gave them the d:fine mics and they loved them and said they’d never want to use anything else ever again.”

Established in 2002, CBU’s Collinsworth School of Music holds students to high standards that encourage them to be the very best persons, students and musicians that they can be. In exchange for the hard work they commit, CBU musicians find a challenging program of study, an outstanding community environment and limitless performance opportunities in the United States and abroad. McConnell credits the support from Dr. Judd Bonner, Dean of the Collinsworth School of Music, for being the primary advocate in the students’ access to the DPA mics.

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

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Sennheiser’s Esfera wins IABM Design and Innovation Award

IABM D&I Awards Winner finalOld Lyme, CT, September 17, 2014: Sennheiser’s Esfera surround microphone system has been recognized with an IABM Design and Innovation Award. At the awards ceremony held on September 13th during the IBC in Amsterdam, the audio specialist received the award within the Audio category.

“We feel extremely honoured that the IABM’s independent panel of experts has selected Esfera for the Audio award,” said Claus Menke, Head of Portfolio Management Pro for Sennheiser’s Professional Division. “Immersive audio is one of our focus areas, an area which truly creates a difference for the viewers’ TV experience. Esfera makes the lives of broadcast professionals a lot easier. The system enables them to efficiently capture authentic ambience using just two audio channels, and to convert this audio information to 5.1 at any point in the workflow, whether live or in post-production.”

The Esfera surround microphone system:

IABM AwardThe Esfera system consists of the SPM 8000 two-channel microphone unit and the SPB 8000 processing unit. The microphone unit features the typical advantages of RF condenser microphones: natural and detailed sound, transparency, ruggedness and high resistance to adverse climatic conditions. The processing unit uses an algorithm perfectly matched to the microphones to generate a 5.1 surround signal with sampling rates of up to 96 kHz. An integrated compressor ensures a broadcast-friendly signal. For ease of operation, the processing unit uses four directly selectable presets. These can be modified via an Ethernet interface to adapt to local conditions, including the settings for the gain of the individual channels, front and surround focus, surround delay, rotation, filters and cut-off frequencies, compressor, make up gain, output gain, limiter and windshield compensation.

About the IABM:

Sennheiser_Esfera_systemThe IABM, is the authoritative voice of the broadcast and media technology supply industry worldwide. Its wide range of services to members encompasses market research and intelligence, training, expert representation at standards bodies and broadcasting unions, executive networking opportunities, and preferential purchasing. A presence at every major broadcast tradeshow, the IABM also provides a valuable channel for communication among broadcast manufacturers, government, and regulatory bodies. Additional IABM activities include awards programs for innovation and scholarships designed to stimulate the development of the broadcast and electronic media industries on an international basis. For more information, please visit www.theiabm.org.

About Sennheiser:

The Sennheiser Group, with its head office in Wedemark (Hanover Region) is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2013 the family company, which was founded in 1945, realised a turnover of around 590 million euros. Sennheiser has more than 2,500 employees worldwide and operates its own factories in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Lichtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico and the USA, as well as by long-term trading partners in many other countries. The company Georg Neumann GmbH, Berlin (studio microphones and monitor speakers) and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres) are also part of the Sennheiser Group. You can find further up-to-date information about Sennheiser online at www.sennheiser.com.

Image captions:
1: Sennheiser’s Claus Menke (l.) accepting the award from Peter White, CEO of IABM

2: Immersive surround sound and workflow efficiency: the Esfera 5.1 surround microphone system, consisting of a two-channel microphone unit and the 5.1 processing unit

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ARGOSY Presents Video Interview with Producer/Mixer/Songwriter (and Financial Advisor) Glenn Rosenstein to Celebrate Company’s 20th Anniversary

Eldon, MO (September 18, 2014) — ARGOSY Console is very pleased to release their new video interview with renowned producer/engineer/mixer/songwriter – and financial advisor — Glenn Rosenstein, the first in a series of video interviews with their outstanding customers, as part of the celebration of the company’s 20th Anniversary.

Glenn Rosenstein started his career in his native New York City at the Power Station Recording Studio, and then Sigma Sound Studios, where he became a highly sought-after mixer and remix engineer, working with artists such as U2, Madonna, Talking Heads, The Ramones, Lisa Lisa & Cult Jam and many others. As a producer, mixer and engineer, Glenn’s projects have won 3 Grammy Awards, garnered 5 Grammy nominations, and have won both an Oscar and a Golden Globe award. His music production & mixing credits for film & television include top shows such as The Sopranos, Married to The Mob, Charmed, Beverly Hills 90210, All My Children and Buffy the Vampire Slayer. His music production and mixes continue to be diverse, working with artists from Ziggy Marley, Livingston Taylor and Andrew St. James to James Taylor, Carly Simon, The Soft White Sixties, and Bif Naked. In addition to music production, Rosenstein is also a partner in Wealthpoint Financial Group in Brentwood, TN.

And whether its making great records or great financial deals, Rosenstein recognizes the importance of having a great workspace, “As a record producer, I got used to the privilege of having a certain level of quality gear at my disposal, so I wanted to take it all with me into the financial world,” says Rosenstein. “My Argosy Aura desk gives me a sense of comfort and familiarity, with great design and ergonomics. It enhances my workflow, whether in music or financial services or whatever else I do.”

See the entire interview with Glenn Rosenstein at: http://www.argosyconsole.com/transformed/contest.html.

About ARGOSY
ARGOSY is the leading designer and manufacturer of high-end technical furniture for leading recording control rooms, post-production houses, film facilities and high tech venues worldwide. The company prides itself on responding to clients’ individual application-specific needs using a variety of custom materials and unique finishes, with careful attention to aesthetic design and ergonomic details. Since 1994, Argosy products have been installed at thousands of award-winning facilities in countries worldwide.

Build your own Dream Studio by visiting www.argosyconsole.com

ARGOSY® and Dream Studio® are registered trademarks of Argosy Console, Inc.

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Pensado’s Place and Vintage King Announce Sponsors as They Prepare for Gear Expo in Nashville

Trawick_Pensado_GearExpo

Leading manufacturers, organizations and audio educators pledge their support for the second annual Gear Expo

FREE event to be held in the Berry Hill neighborhood of Nashville at Vintage King Audio on
Saturday, September 27, 2014, from 10 a.m. until 4 p.m.

LOS ANGELES, CA, September 16, 2014 — On Saturday, September 27 (10am-4:00pm), the Berry Hill neighborhood of Nashville will be the place to be if you have anything to do with professional audio, home recording or simply making music. Gear Expo 2014 – a creation of Pensado’s Place, the acclaimed weekly educational web series, in conjunction with Vintage King Audio, a leader in professional audio sales, studio consulting, and comprehensive gear servicing – is the second annual event, affectionately known as “Nashville’s Pro Audio Block Party.” Simply put, Gear Expo 2014 is one of the biggest gear and music-making expos in America. Attendees will once again be able to demo gear, talk directly with manufacturer reps, watch live interviews, mingle with celebrity guests, ride the Gear Expo tour bus, win prizes, enjoy local food trucks and meet Dave Pensado and Herb Trawick of Pensado’s Place.

The list of title sponsors comprises some of the most prominent names in professional audio, M.I. and audio education, including Audio-Technica, Avid, The Blackbird Academy, Chandler Limited, Rupert Neve Designs, M1 Distribution, sE Electronics, Genelec, Gobbler, iZotope, Moog, Neumann, Triad-Orbit, Recording Connection, Electric Thunder Studios, G-Technology, Slate Media Technology, Studio 202, Ultimate Ears, Vintage King, and The Recording Academy® Producers & Engineers Wing®.

“Once again, Dave and I, along with Vintage King, are raising the bar and bringing to Nashville the biggest, blow-the-doors-off, pro audio block party that Music City has ever seen,” stated Herb Trawick, Gear Expo Executive Producer and Co-host/Executive Producer/Creator of Pensado’s Place. “Of course we could not hold such an event without the help and support of our loyal sponsors, each of which is a leader in their field, and together we are going to have a blast while providing hands-on educational information and demonstrations that you cannot find any where else.”

The celebration will have in attendance special guests, including John McBride (Martina McBride, Blackbird), Jacquire King (Kings Of Leon, Tom Waits), Ryan Hewitt (Red Hot Chili Peppers, The Avett Brothers), Chuck Ainlay (Miranda Lambert, George Strait, Mark Knopfler), Kuk Harrell (Rihanna, Beyoncé), Leslie Braithwaite (Pharrell Williams, Jay Z), Justin Niebank (Rascal Flatts, Sheryl Crow), Vance Powell (Jack White, Beck) and many more.

The official “Pensado/Vintage King Gear Expo Tour Bus” will be taking visitors back and forth to the legendary Blackbird Studio all day long. As one of Vintage King’s biggest supporters, Blackbird has hosted historic sessions with artists such as Neil Young, the White Stripes, Bruce Springsteen and more. Giving guests another opportunity to check out new and vintage gear hard at work, partygoers will be able to see John and Martina McBride’s studio in all its glory.

The Gear Expo staff includes:
• Dave Pensado — Co-host of Pensado’s Place, GRAMMY®-winning mix engineer, Teacher
• Herb Trawick — Gear Expo Executive Producer and Co-host/Executive Producer/Creator of Pensado’s Place
• Shevy Shovlin — Gear Expo Producer and Chief Marketing Partner and Sales, Advertising for Headroom for Days
• Chad Evans — Gear Expo Co-Producer and Vintage King Nashville national sales rep
• Stephanie “Spitfire” Willis — Gear Expo Co-Producer

For more information, visit: http://gearexponashville.com/

Pensado Vintage King Gear Expo Nashville 2014
Date: Saturday, September 27, 2014
Time: 10:00 AM – 4:00 PM
Location: 2826 Dogwood Place, Nashville, TN 37204

ABOUT PENSADO’S PLACE
The hour-long weekly web series Pensado’s Place was created nearly four years ago. Co-hosted by legendary mix engineer Dave Pensado (Beyoncé, Christina Aguilera, Kelly Clarkson, Mariah Carey, Elton John, Michael Jackson and more) and show creator Herb Trawick, Pensado’s Place includes interviews with top music industry artists, engineers, producers, mixers, and record executives, as well as in-depth tutorials in production, engineering and mixing. Pensado’s Place has positioned itself as “the most influential show for audio engineers,” mixers and producers (Forbes Magazine) in just three years. Pensado’s Place is more than just a show, as it highlights the very best in the industry of music, gaming, sound identity on film, and audio equipment, with a presence in live events. As a leading educational resource, Pensado’s Place is helping build the next generation of audio greats. http://www.pensadosplace.tv/

ABOUT VINTAGE KING AUDIO
Vintage King Audio is a leader in professional audio sales, studio consulting, and comprehensive gear servicing. No matter the scope of a client’s needs or goals — from selecting a new microphone to designing a studio from the ground up — Vintage King distinguishes itself with standard-setting customer service, which begins with the company’s knowledgeable, industry-experienced staff. For more information, visit: http://www.vintageking.com/about-us

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GC Pro Chosen to Design Extensive A/V Setup at New Flagship Guitar Center Store in Manhattan’s Times Square

TimesSquare_Photo1

— Guitar Center looks in-house to its professional division, who helped design and install the A/V complement for the new superstore, with the help of GC Pro Affiliate Program member Malvicino Design Group —

WESTLAKE VILLAGE, CA — Guitar Center recently opened the doors on its new flagship location in New York City’s Times Square with a star-studded opening weekend and a level of spectacle right at home in what is arguably Manhattan’s busiest and most conspicuous district. Guitar Center’s 262nd retail location is an ultra-modern musical instrument and technology center covering over 28,000 square feet. In-store elements include Guitar Center’s Platinum Club (showcasing high-end luxury guitars, along with a live performance venue and control room); a Fender custom shop where unique guitars are featured; a full DJ experience department; a boutique pedal selection in a stunning 360-degree display; and 28,000 square feet of guitars, drums, keys, DJ, recording, live sound and more. The store also now serves as the permanent home to two legendary pieces of rock history: Eric Clapton’s iconic “Blackie” Fender Stratocaster and ES-335.

For the complicated task of helping design, manage and install the A/V components to meet the needs of such a technology-specific space, Guitar Center sought an organization with the right expertise to get the job done, on budget and on time – luckily, they had one in-house: Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users. Throughout the project, GC Pro worked with Affiliate Program member Horacio Malvicino and his firm Malvicino Design Group, who designed and installed the detailed A/V setup.

“Guitar Center management asked to have GC Pro involved in order to ensure a proper customer experience from an audio-visual point of view,” stated GC Pro Vice President Rick Plushner. “We were honored and excited to be asked. Times Square is the crossroads of the world, where people from all over the planet come to visit and shop. Horacio came in early on in the project and knew exactly what we were trying to accomplish, and he designed the backbone and the technology infrastructure in a superb way.”

A multi-screen Panasonic video display graces the outside of the building on 44th St., composed of screens sourced through GC Pro. Upon entering, visitors begin to descend an escalator, immersed in the sights and sounds of an excited crowd waiting for their star to take the stage. A complement of QSC speakers and a Q-Sys system, along with a massive LED display screen, helped create this effect. “It’s as if you’re a rock star coming into a stadium to perform, and so we were asked to help create that experience,” stated Plushner.

Within the store is the Platinum Club, which features a live stage and full control room for multi-track A/V recording and production. GC Pro furnished an Avid S3L console and JBL monitors/loudspeakers for the live space, with an Avid S6 console in the control room. “There’s a whole host of digital and analog outboard gear in there as well, with proper monitoring,” added Plushner. “It’s a real control room to do proper recording, and we’re excited about what opportunities that’s going to bring for the company.”

Malvicino stated, “I’ve been lucky to work with GC Pro on several major design and installation jobs over the years, and it has been a great experience for me personally and professionally. This Times Square GC project presented some new opportunities and challenges, and I’m proud to have been able to help bring make their vision a reality.”

For more information, please visit www.gcpro.com.

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Singer-Songwriter Jeff Campbell Uses Bose® L1® Model II System for a Variety of Performance Venues

JeffCampbell

Whether for solo or full-band performances, Campbell’s L1 system offers the versatility, sound quality, reliability and portability that he needs on the road

Framingham, Massachusetts – San Francisco-based singer-songwriter Jeff Campbell has been playing hundreds of shows a year in dozens of cities and continues to build a loyal following through his energetic performances. Recently selected as the winner of Guitar Center’s National Singer Songwriter 2 Competition out of over 13,000 entrants, Campbell was given the chance to record a five-song EP with GRAMMY®-winning producer John Shanks and perform on Jimmy Kimmel Live. “I’ve been lucky, and I’m doing well,” states Campbell. “In between my larger gigs, a lot of my shows are smaller, more intimate affairs – cafes, coffee houses, house concerts, corporate events and the like. And I need to schlep a guitar and a sound system to these venues.” For his P.A. needs, he has found the right solution in the L1® Model II system from Bose® Professional Systems. Campbell has been all over the country with his L1 system, playing both solo and full-band shows to the delight of his growing fan base.

“I had been using P.A.’s that I was piecing together myself, but commonly had feedback problems,” he recalls. “I acquired a Bose L1 model II system with the ToneMatch® audio engine and B2 bass module, and all of a sudden everything was different – I was performing more confidently, and things just sounded great.”

Campbell is a fan of the system’s small profile and portability. “In terms of touring, I’m able to fit all of the Bose components, plus my other gear, in my trunk,” he notes. “So now when I’m on the road I have my trusted sound system, for all of my smaller gigs. If I’m by myself, I can carry the whole thing in two trips, because it’s compact and super light.”

“And, of course, the sound,” he adds. “I’ve never had so much positive audience response than after I started using the L1 system. Often fans will come up after the show and say something like, ‘I could hear everything, but it wasn’t too loud,’ which I think is a great compliment. And the L1 system acts as my monitor too, so I’m hearing exactly what the audience is hearing. Every time I use it, I get somebody coming up to tell me how great it sounds, and my band notices that we don’t get any feedback issues happening. The other thing is the pre-amps in the ToneMatch engine are so good. I use passive pickups in my acoustic guitars, and I’m able to just plug in and go, with no outboard preamp, and it sounds incredible. It’s just seamless. It’s taken so much of the stress and pressure out of my smaller gigs, and added so much positivity. We can focus more on the performance. It’s a really brilliant machine. I’m lucky to have it.”

For more information on Campbell, including upcoming live dates, please visit www.jeffcampbellmusic.com.

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Clay Paky Hits the Road with Journey and the Steve Miller Band’s Summer Tour

Journey and the Steve Miller Band are in the midst of their 2014 summer tour, and Clay Paky Sharpys are along for the ride that will take them to 30 cities across the U.S. and Canada.

The tour unites two of the iconic groups that helped define The San Francisco Sound. In careers spanning 40 years, Journey has sold 80 million albums worldwide and the Steve Miller Band more than 30 million records.

Tour Tech East Ltd. in Dartmouth, Nova Scotia is providing lighting support for the tour supplying 34 Sharpys and 20 Sharpy Washes. Senior account executive Tracey Ploss has worked with Journey and the band’s lighting designer Kevin “Deuce” Christopher for eight years.

“Last year Deuce used a couple of Sharpys, but this year he specifically wanted Sharpy Washes for the tour so we added them to our inventory,” says Ploss. “We’ve made a significant investment in the Clay Paky fixtures.” Sharpys are very popular with Tour Tech customers for their output, size and low power consumption. Fixtures are currently out with Styx and Foreigner, and the Calgary Stampede deployed a large number for its famed rodeo.

Deuce, who has been lighting designer for Journey since 2004, says he “probably doubled” the number of Sharpys in his new tour rig. “There are 12 on the side trusses and four each per overhead truss for a total of 12 more. Plus one each on ten US Towers that top a wall of 20 Sharpy Washes,” he explains. “A video display, comprised of PRG/Nocturne V-28 and V-9 LED panels, is directly behind the band above the towers. It looks like there’s a wall of light with the video display resting on top.”

He says he “wanted to do something a bit different” in creating an interesting background for the band, “but the budget didn’t call for elaborate custom sets. So Tour Tech helped me deliver the desired effect without going custom.”

Tour Tech fulfilled Deuce’s idea of using black A-Type, 30×30-inch x 8-foot truss turned upright on casters. “At the bottom of each bay there is a wooden insert. Each Sharpy fixture is placed on the insert – all of the fixtures actually sit in the truss and none on top,” says Deuce. “Using the truss as set pieces housing the lights allows us to have a tidy pack in the truck, ease of placement and removal from stage, and convenient movement for set changes with our three-band bill.”

The Sharpy Washes enable him to “go from a very narrow beam for nice graphic geometry to a wide beam for a silhouette look on the band and wash out in the audience.” Their light output also had to be able to stand out against the video display.

The Steve Miller Band’s lighting designer, Andrew Richter of IOD Group in New York, has used Sharpys and Sharpy Washes “extensively” the last two years. “The pure power from such a fast and compact fixture makes it ideal for all but long-throw, wide-beam applications. I prefer the Washes in a mid-stage position for our non-shared rig due to their speed and depth of color rendering.”

The scenic design for the band calls for Richter to block off the Sharpy Washes on the rear lower truss with a fiber optic drop and a full stage drop designed by Stanley Meyers for “Jet Airliner” in which the Sharpys play a key role.

“The ‘Jet Airliner’ stage drop consists of a large central jet aircraft pointing upward with layers of smaller aircraft in a Japanese rising sun homage,” Richter explains. “I really wanted to create a sense of the jet in motion. My long-time colleague/programmer Scott McCowan and I worked on several different intensity chases and color bumps to a less than desirable effect. Ultimately, we thought of the old anime/manga ‘speed racer,’ where the primary subject is stationary and the windows show movement quickly zipping by.”

They achieved a similar effect by deploying Sharpys from a side position so they “graze the drop with the imagery of lines of clouds zipping downward past the static aircraft wings and fuselage creating movement,” he says. “It’s the perfect synergy of the right light and brilliant programming to create the vision I wanted without video, without animation wheels but using purely the speed and position recall accuracy that only a Sharpy can deliver.”

“I’ve had the pleasure of working with Deuce over his last few Journey tours – he’s always thinking of new ways to bring their performance to life for the audience. I knew the Sharpy Wash would be a nice addition for them and I was very excited that he liked it so much. Tracey and the Tour Tech East team are also great to work with, so the entire project has been a pleasure for A.C.T,” commented A.C.T Vice President, Automated Lighting, George Masek.

For Journey, Kevin Cassidy is the crew chief, Rob Kern production manager, Armando Figueroa in charge of power distribution and control, Oscar Carnales lighting tech, and Cole MacDonald FOH systems tech. Scott McCowan programmed the Steve Miller Band show.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “This is a very ambitious and impressive tour and both designers are doing a great job at deploying our fixtures to their fullest.”

A.C.T Lighting is the exclusive North American distributor for Clay Paky.

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NUGEN Audio AES Product Preview

Visit NUGEN Audio at AES137, Exhibiting in the AES/Avid Pavilion (more…)

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Sennheiser adds an interpreter console to its Tourguide portfolio

Old Lyme, CT, September 16, 2014: With the new SL Interpreter console, audio specialist Sennheiser expands its Tourguide conference and presentation system with a complete solution for controlling language interpreting channels.

SL_Interpreter_isofrontAs a self-contained unit for simultaneous interpreting, Sennheiser’s SL Interpreter brings together all the key functions of an interpreting console. When combined with the rack-mount SR 2020 Tourguide transmitter and Tourguide receivers for the audience, it delivers scalable language interpreting solutions that ensure simple installation and user-friendly operation.

“Whether you’re doing a small product presentation or an international conference with hundreds of participants, SL Interpreter will impress with its flexibility and ease of use,” explained Vanessa Jensen, Senior Product Specialist, Integrated Systems at Sennheiser.

In combination with the digital Tourguide 2020 receivers (available in both bodypack and stethoset versions), SL Interpreter creates an interpreting solution that is easy to operate and quick to install. For more demanding applications, SL Interpreter and Tourguide 1039 bodypack receivers are the best combination to ensure optimum speech intelligibility, even in environments with heavy RF traffic.

A flexible complete solution – ready in next to no time:

SL_Interpreter_backSL Interpreter handles the floor language plus one relay language. If more translations are needed, up to four interpreting consoles can be combined in order to provide simultaneous interpreting in up to four languages.

As usual, two interpreters can work at each SL Interpreter console, which enables them to take turns at interpreting. Each interpreter can individually adjust the audio settings directly at the console. In addition to controls for volume, treble and bass, the new Sennheiser interpreting console has a mute function and “cough” button to briefly mute the microphone. As a complete solution, SL Interpreter can be set up easily and quickly. All that is needed is to connect a headset (or a microphone and a pair of headphones) and the language interpreting solution is ready to use.

The Sennheiser SL Interpreter is available now.

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 2,500 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, Hongkong, 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 up-to-date information about Sennheiser is available on the internet at www.sennheiser.com.

Captions:
1: The SL Interpreter console completes Sennheiser’s Tourguide portfolio

2: The new SL Interpreter console turns Tourguide into a genuine all-round talent

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