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Press Releases For : December 9, 2014

Immersive Beethoven: The Berliner Philharmoniker in 3D Sound with Sennheiser and Neumann

1Berlin, December 8, 2014 – On November 9th, the Berliner Philharmoniker gave a memorial concert to mark the fall of the Berlin Wall precisely 25 years ago. In remembrance of the victims of the Wall, the orchestra, conducted by Sir Simon Rattle, performed Karol Szymanowski’s Stabat Mater followed by Beethoven’s Ninth Symphony at the Berliner Philharmonie. Digital microphones from Sennheiser and Neumann were used to record this special event in the highest audio quality for subsequent processing in 3D sound.

Digital Right From the Start
In addition to the microphones already available in the hall, numerous microphones from Sennheiser and Neumann were used for recording the concert at the Berliner Philharmonie on November 9th 2014. Tonmeister Gregor Zielinsky, Sennheiser International Recording Applications Manager, had created the concept in close consultation with the sound engineers at the Philharmonie. Zielinsky focused on a completely digital workflow, converting the microphone signals to digital at the earliest possible point in the signal chain: directly behind the capsules.

2“In the recent past, I’ve already made several major recordings exclusively with digital microphones,” Zielinsky said. “My impression is that completely digital productions have a particular sound character, regardless of which pieces I am actually recording. The sound is always clean, detailed and differentiated. It’s a bit like looking through a freshly cleaned window rather than a dirty one. Particularly when I’m recording classical music, the production gains additional audio quality when digital microphones are used.”

3D Sound
The memorial concert was recorded using a special miking technique that enables the recorded material to be subsequently processed in 3D sound. If one looked closely, one could see a rectangular microphone array suspended from the ceiling of the hall. At the corners of the rectangle were four Sennheiser MKH 800 TWIN on MZD 8000 digital modules. The four microphones were mounted at two different heights but on the same depth plane.

3Each MKH 800 TWIN has two capsules with signals that can be accessed separately. In the concert hall arrangement, one capsule of each microphone pointed forwards while the other pointed backwards. In the subsequent 3D mix, the signals will be assigned to the front and rear loudspeakers. The MKH 800 TWINs were accompanied by four Neumann KM 133 D without SBK 133 sound diffraction spheres to allow for more brilliance. The Neumann microphones were pointed forward for the lower and upper front channels of the subsequent 3D mix. During mixdown, Gregor Zielinsky will be able to choose freely between the capsules, which permits any mixing ratio between the microphones.

Miking
“Microphones are the best filters!” is a common aphorism, and Gregor Zielinsky made his selection in accordance with this motto. The first and second violins were each miked with three Sennheiser MKH 8040. The brass section was miked with a total of four Sennheiser MKH 8090, and a further microphone of this type was used for the cymbals and triangle. The four solo vocalists (soprano, tenor, alto, bass) sang into four MKH 8090, while the chorus was miked with four MKH 8040 and two MKH 8090. Eighteen KM 184 D from Neumann were divided among the violas, cellos, double basses, bass drum and woodwind instruments. Two Neumann TLM 103 D were used for the harp.

4At Neumann, digital microphone solutions are offered in the Solution-D product family, which is made up of various digital microphones, the DMI interface (two- or eight-channel) and the RCS remote control software. The latter enables the microphones to be conveniently remote controlled. Signal and data transmission as well as signal feed, remote control and synchronisation are all performed in accordance with the AES42 standard. The DMI interface establishes the connection to the following audio devices in the signal flow.

The Sennheiser microphones were used with MZD 8000 digital modules, which were either screwed to the microphone heads in place of the XLR modules or operated at a distance on special signal-carrying extension arms or MZL 8003/8010 active cables. An advantage of this arrangement is the direct proximity of the A/D conversion to the capsule itself and the elimination of a conventional external preamplifier and the noise level this may introduce.

Redundant MADI Cabling
5Eight Neumann DMI-8 interfaces (8 x 8 channels) made the digital AES42 audio signals from the microphones available optically and in parallel in the formats AES/EBU and ADAT. A ninth Neumann interface was on stand-by as a spare. The digital outputs were connected with format converters from RME, which Synthax GmbH had supplied for the project as the German RME sales partner. The RME ADI-6432R format converter equipped with two power supply units converts up to 64 AES/EBU signals to MADI; its counterpart ADI-648 does the same with the ADAT format. In Berlin, the MADI signals output from the ADI-6432R and ADI-648 were each sent to a separate, directly controlled router (RME MADI Router), which was used as a splitter.

In order to ensure a redundant connection, both the control room of the Digital Concert Hall and the control room of the chamber music hall, which was assigned to Gregor Zielinsky, were supplied with MADI streams generated from AES/EBU and ADAT signals. “For an event of this kind, it’s better to be on the safe side,” said Dr. Stephan Leschka, Manager Development Electronics and Software at Georg Neumann GmbH, commenting on the sophisticated set-up. Leschka had the possibility to listen in to any signals of the four-channel MADI stream directly at the 19” rack using an RME ADI-642 and headphones.

6For clocking the digital system, the Philharmonie’s own house clock was used, which was distributed via a Rosendahl nano clock processor. All individual signals were recorded in Pyramix workstations (Merging Technologies), from which WAVE files were subsequently exported for the Pro Tools system used by Gregor Zielinsky.

In Real Time Without Parallax Errors
The video images of this musical event were recorded by a special camera developed at the Fraunhofer Heinrich Hertz Institute (www.hhi.fraunhofer.de). The OmniCam-360 camera records images in a 360-degree format. The unusual looking construction is fitted with ten compact HD cameras from the Austrian company Indiecam GmbH, which each cover an image angle of 36 degrees and are mounted in a portrait format. The OmniCam-360 system generates a resolution of 1,920 x 10,800 pixels. A total of ten HD-SDI streams are sent from the OmniCam-360 to a server fitted with HD-SDI input boards and high-performance graphic cards. The server combines the individual signals in real time to form a seamless panorama without parallax errors by using a sophisticated stitching algorithm – very different from the solutions in the consumer sector that are available for similar purposes.

7“In our collaboration with the Digital Concert Hall, it is our aim not only to ensure that subscribers have access to the images directly from the television control room but also to provide them with additional viewing angles of the events taking place, which they can then select as they wish,” explained Christian Weißig. Gregor Zielinsky was thrilled by the potential opportunities offered by the 360-degree camera, which in a way can be seen as the visual counterpart to 3D sound: “In combination with a 360-degree image, it’s no longer a question of immersive audio but of immersive media! My wish would be to have an even more authentic experience in the reproduction of music events.”

Digital Concert Hall
Even without visiting the German capital, it has been possible since 2008 to experience concerts by the Berliner Philharmoniker all around the globe. Each season, around 40 concerts from the “Digital Concert Hall” (DCH) are broadcast as a live stream on the internet, and a few days after the performance they are added to what has in the meantime become an extremely extensive archive. “Of course, a filmed concert can never completely replace a real live experience,” admitted tonmeister Christoph Franke, who, together with video director Katharina Bruner, is a key member of the DCH team. “But the additional visual component results in a different perception than one would have when simply listening to music without an accompanying video.”

8In the past, several productions have already been done in cooperation with the Heinrich Hertz Institute, and Katharina Bruner is extremely impressed with the results. “The 360-degree recording is a fantastic thing! The DCH is already equipped with incredible video possibilities but, as in other areas, we are always trying to go even further. Perhaps the new technology will take us one step closer to the real live experience.”

All men will become brothers!
Those interested can find the recording of the sold-out memorial concert online at www.digitalconcerthall.com, the website of the DCH – the images of the 360-degree camera and the audio files for 3D sound reproduction are not available online.

9The Berliner Philharmoniker also gave performances of the memorial concert marking the fall of the Berlin Wall in Halle/Saale, Warsaw, Budapest and Prague. The orchestra expressed its thanks in its own very special way to those countries that had played a major role in the peaceful German revolution of 1989: by choosing a work by a composer of each country and, of course, with Beethoven’s Ninth Symphony – with its message of re-uniting those who have been parted.

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.

Image captions
C 1: Dress rehearsal of the Berliner Philharmoniker
C 2: Tonmeister Gregor Zielinsky, Sennheiser International Recording Applications Manager
C 3: The microphone array was made up of Sennheiser MKH 800 TWIN and Neumann KM 133 D
C 4: Two Neumann TLM 103 D were placed at the harp
C 5: In Berlin, the Sennheiser microphones were used with MZD 8000 digital modules, some of which were mounted on special signal-carrying extension bars – here an MKH 8090 on an “active tube”
C 6: Perfect combination: Neumann DMI-8 and MADI converter from RME
C 7: The OmniCam-360 records images in a 360-degree format
C 8: Dipl.-Ing. Christian Weißig, Project Manager Image Processing at the Heinrich Hertz Institute
C 9: Tonmeister Christoph Franke and video director Katharina Bruner

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Planar Introduces Industry-First 98″ 4K Touch Display

The leader in 4K displays for commercial applications expands its award-winning Planar UltraRes Series family with first-of-its-kind Planar UltraRes 98” Touch

Planar UltraRes 98Touch_environmentPORTLAND, Ore., Dec. 9, 2014–Planar Systems, Inc. (NASDAQ: PLNR),a global leader in display and digital signage technology, today announced the breakthrough Planar® UltraRes™ 98” Touch LCD display, the industry’s largest 4K touch display.

The Planar UltraRes 98” Touch combines a multi-touch, multi-user experience with native Ultra HD resolution, making it possible to interact across a large screen area with crystal-clear detail and precision. With 32 simultaneous touch points, the display is designed for a wide variety of resolution-rich, collaborative applications including meeting rooms, training facilities and command and control centers. It is also ideal for eye-catching interactive digital signage that engages viewers and is rugged for public space reliability.

“Planar has been first to market with a variety of new 4K display solutions, and the Planar UltraRes 98” Touch represents another industry milestone,” said Becky Connors, product marketing manager at Planar Systems. “With its multi-touch support, enhanced durability and sleek design, the display sets the bar for interactive commercial experiences, demonstrating our ongoing commitment to offering the best in 4K technology.”

The Planar UltraRes 98” Touch expands Planar System’s leadership in the ultra-high definition category, which includes Ultra HD touch and non-touch offerings in 28”, 58”, 65” and 84” sizes. Among the benefits include:

  • Seamless touch experience: The Planar UltraRes 98” Touch provides 32 simultaneous touch points, 500-nit brightness, and flawless 2D and 3D viewing. The 98” diagonal is without seams, offering the largest touch surface area without bezel disruption.
  • Stunning clarity: With a native 4K resolution of 3840 x 2160, the Planar UltraRes 98” Touch brings the highest level of clarity in text and fine detail for touch users viewing at close distances.
  • Maximum durability: Planar’s ERO™ (Extended Ruggedness and Optics™) optical bonding technology offers added protection for safeguarding the Planar UltraRes 98” Touch in high-traffic and long-term use applications. The bonded glass screen also improves optical performance and touch accuracy by eliminating the air gap between the protective glass and LCD screen.
  • Sleek design: The Planar UltraRes 98” Touch offers an elegant design with an attractive, logo-free, narrow bezel. Using the Planar Profile™ Mounting System, it installs just 4” from the wall, making it compliant with the Americans with Disabilities Act.
  • Advanced power management: The Planar UltraRes 98” Touch utilizes the latest-generation LED backlight technology and passive cooling to achieve maximum energy efficiency. It consumes less than 0.5 watt of energy in standby mode, and incorporates a fanless, whisper-quiet design free from disruptive background noise.

The Planar UltraRes 98” Touch will be available starting in December 2014 through Planar’s global network of authorized resellers. Additional information is available at www.planar.com/UltraResTouch.

About Planar

Planar Systems Inc. (NASDAQ: PLNR) is a global leader in display and digital signage technology, providingpremier solutions for the world’s most demanding environments. Retailers, educational institutions, government agencies, businesses, utilities and energy firms, and home theater enthusiasts all depend on Planar to provide superior performance when image experience is of the highest importance.  Planar video walls, large format LCD displays, interactive touch screen monitors and many other solutions are used by the world’s leading organizations in applications ranging from digital signage to simulation and from interactive kiosks to large-scale data visualization. Founded in 1983, Planar is headquartered in Oregon, USA, with offices, manufacturing partners and customers worldwide. For more information, visit www.planar.com.

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Carlos Elizalde and Rúckatan End 2014 on a High Note with HARMAN’s AKG Microphones

AKG_CarlosElizaldeSAN RAMON, California — Percussionist/singer/songwriter Carlos Elizalde refuses to let 2014 go gentle into that good night, with a string of performances in December to close out one of his most successful years to date. As always, Elizalde is relying on his world-class array of HARMAN’s AKG microphones for his final performances of 2014.

Elizalde is the leader of Rúckatan, a San Ramon, California-based Latin, reggae and world music band, where his vocals and stage presence deliver a message of positivity—something everyone can use around the holidays. On Saturday, December 13 and Sunday, December 14, Rúckatan will be sharing a bill with Richard Bean & Sapo, the Sal Rodriguez Band, Jesse Flores and more at the Alemany High School Hall in Mission Hills, California.

In addition, Rúckatan will be playing a free show at the R-Place Music Club in Livermore, California, on Saturday, December 20.

“I’m really looking forward to closing out 2014 with a bang!” Elizalde noted. “My AKG microphones have supported me so well throughout the year—and in many years before. It’s a luxury to be able to perform night in and night out with the knowledge that your microphone system will back you up 100 percent.”

Elizalde is the proud owner and avid user of an extensive AKG system, highlighted by his WMS4500 wireless microphone setup, which includes a D7 reference dynamic vocal microphone. Elizalde also uses an AKG IVM4500 in-ear monitor set and a D7 microphone for percussion.

Elizalde also recently added an AKG C214 large-diaphragm condenser microphone to his inventory. “I am using the C214 for an overhead to mic all of my LP hand percussions,” Elizalde added. “It’s really an incredible microphone!”

For more information on Rúckatan, please visit www.ruckatan.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 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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JB&A to Distribute Adder Technology Products through the CDW Website

AdderLogoLoRez

JB&A Captures Additional Adder Market Share with New Channel

New York, December 9, 2014:Adder Technology, the industry leader in high performance keyboard, video and mouse (KVM) products, today announced that its distribution agreement with JB&A has been expanded to include ordering and fulfillment of Adder’s connectivity products through the CDW (NASDAQ: CDW) website. As such, Adder’s media networks, extenders and keyboard, video and mouse switch solutions, including the AdderLink Infinity, will be immediately available through CDW’s website.

For 30 years Adder has delivered IP-based high performance KVM (keyboard, video and mouse) solutions to the entire broadcast workflow chain, with unparalleled flexibility and reliability.  Working with partners like Adder and CDW, JB&A is able to customize end-to-end workflow solutions to meet the evolving needs of the media and broadcasting industries throughout North America.

“Including Adder’s products on the CDW website will not only elevate the Adder brand, but will make its products more widely available,” said Jeff Burgess, JB&A CEO. “JB&A is well positioned to manage the fulfillment and delivery of Adder products ordered through this new channel.”

“We are pleased to be working with a highly focused distribution partner like JB&A, as they continue to expand awareness and availability of Adder’s products and services throughout North America,” said Tim Conway, vice president, Adder Corp. “CDW is widely respected as a national solution provider offering an extensive product portfolio. Now, Adder customers can purchase our IP connectivity products directly from the CDW website.”

About Adder Technology

Adder Technology is a leading developer and thought leader in connectivity solutions. Adder’s media networks, extenders and keyboard, video and mouse switch solutions enable the control and distribution of IT systems around the world. The company distributes its products in more than 60 countries through a network of distributors, resellers and OEMs. Adder has offices in the United States, United Kingdom, Germany, the Netherlands, Spain, Sweden, China and Singapore.

Adder’s user base includes markets such as Retail, Financial, Industrial, Medical, Broadcast, Air Traffic Control, Digital Signage, Military and Server Management. Adder manufactures products under its own brand as well as for a number of OEM customers and its products are marketed and supported by a global network of resellers and distributors. For more information please visit www.adder.com.

About JB&A

Founded in 1996, JB&A is a leader in the field of Digital Media and Video Technology. We are dedicated to bringing the most innovative and complete Digital Media Management, IPTV, Streaming, Digital Projection and Connectivity solutions to market. JB&A is staffed by industry experts.

JB&A provides support in every step of the pre and post sales process. JB&A is a unique mix of Consultant, Channel Partner, Solutions Provider and Distributor with an ecosystem of certified, tested and proven products and workflow solutions. For more information, visit www.jbanda.com.

###

 Media Contact for Adder Technology

Tricia Hawkins

Bob Gold & Associates

+1-310-320-2010

tricia@bobgoldpr.com

 

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Sound Devices Announces Promotion of Ed Capp to Vice President of Sales

Company Veteran Brings High Level of Technical Expertise and Leadership to New Position

REEDSBURG, WI, DECEMBER 9, 2014 — Sound Devices, specialists in audio and video products, announced today that Ed Capp has been named Vice President of Sales. In his new role, Capp will oversee and manage the Sound Devices global sales team, further promoting the company’s entire range of products while continuing to strengthen the Sound Devices reseller and distributor network.Sound Devices-Ed_Capp (more…)

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AVnu Alliance Announces First Certified Audio Endpoint Reference Platform

XMOS AVB Audio Endpoint Receives AVnu Certification.

Beaverton, OR & Bristol, UK – December 9, 2014 – XMOS and AVnu Alliance®, the industry consortium driving open standards-based deterministic networking through certification, is proud to announce the first AVnu-certified Audio Video Bridging (AVB) audio endpoint reference platform. The XMOS software-defined solution has passed all testing for certification and will now bear the AVnu-certified Logo.

The newly AVnu-certified XMOS AVB hardware and software reference platform is an affordable, scalable and production-ready solution that allows customers to quickly and easily build a wide range of AVB-enabled audio products, from single speakers and microphones to complex multichannel mixing desks and multi-port conferencing systems.

“AVnu certification reinforces XMOS’s leading position in the audio market, adding AVB standards-based networked audio connectivity to our already established USB Audio 2.0 solutions,” said Paul Neil, Vice President Product Management, at XMOS. “AVB standards have huge benefits for our customers; by selecting XMOS our customers can add the enhanced functionality that AVB provides and through software development quickly create a portfolio of AVB enabled products. We chose to pursue AVnu certification to provide our customers fast time-to-market with a proven, flexible, scalable networked audio connectivity solution.”

“Thanks to XMOS and all of our members pursuing AVnu certification, we are able to offer choice, flexibility and reliability to end users looking for plug-and-play products,” said AVnu Alliance President, Rick Kreifeldt. “XMOS has made it even easier for professional audio networking manufacturers to add AVB to product lines, which in turn expands the AVnu-certified ecosystem of devices. We are excited to continue announcing AVnu-certified devices while expanding certification and interoperability testing for automotive, video and consumer electronics in 2015.”

Because the AVB functionality of the XMOS audio endpoint reference platform is defined in software, running on the company’s family of multicore microcontroller semiconductor devices, customers can create the exact feature set required for their products. Already in use by leaders in the field such as Revolabs and Pivitec, the reference platform enables transport of A/V streams across mixed-use networks with a very high quality of service. Its software-configurable nature also means that it can be used as the basis for multi-standard systems that carry a variety of data types, and interface with a variety of legacy systems, such as CANbus in the automotive and industrial markets.

AVnu Alliance has built robust and comprehensive testing requirements for products based on the market requirements. AVnu Certification is open for switches and professional audio products at its appointed testing house, University of New Hampshire InterOperability Lab (UNH-IOL). Any member may enter a product into certification testing.

About XMOS

XMOS is an innovative fabless semiconductor company with its headquarters and main development center in Bristol, UK, and with an additional development center in Chennai, India, plus sales offices and distributors supporting customers around the globe. The company’s wide range of intelligent xCORE™ multicore microcontrollers allow engineers to create the exact hardware system needed for their application, all in software. This makes xCORE multicore microcontrollers ideal for demanding embedded applications in audio, automotive, consumer, industrial and robotics products, where other microcontrollers struggle. XMOS provides xTIMEcomposer™ Studio, a free-to-use development system that makes it simple to design complex embedded systems all in software.

About AVnu Alliance

The AVnu Alliance is a community creating an interoperable ecosystem of low-latency, time-synchronized, highly reliable networked devices using open standards. AVnu creates comprehensive certification programs to ensure interoperability of networked devices. The foundational technology enables deterministic synchronized networking based on IEEE Audio Video Bridging (AVB) / Time Sensitive Networking (TSN) base standards. The Alliance, in conjunction with other complimentary standards bodies and alliances, develops complete solutions in professional AV, automotive, industrial control and consumer segments.

 

Press Contact

Caster Communications, Inc. 401-792-7080

Alex Crabb alex@castercomm.com cell: +1-401-318-3339 

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Matrox at BVE 2015 — Product Preview

Video streaming and recording appliance, multi-camera recording app and 4K video monitoring card will be featured

At BVE 2015 (ExCel London, Feb. 24-26, stand J19), Matrox® Video will showcase the popular Monarch HD™ video streaming and recording appliance, the new VS4Recorder Pro™ multi-camera recording app and the Matrox Mojito™ 4K quad 3G-SDI, 4K video monitoring card for use with Adobe® Creative Cloud™.

Also on display will be the Matrox MicroQuad™ multiviewer, the Matrox Convert™ DVI Plus HD-SDI scan converter and the Matrox MC-100™ dual-SDI to HDMI mini converter.

Matrox Monarch HD is a small, easy-to-use H.264 encoder designed for professional video producers who need to simultaneously stream a live event and record a mastering-quality version for post-event editing. From any HDMI input source such as a camera or switcher, Matrox Monarch HD generates an H.264-encoded stream compliant with RTSP or RTMP protocol. While encoding the video at bitrates suitable for live streaming, Matrox Monarch HD simultaneously records a high-quality MP4 or MOV file to an SD card, a USB drive, or a network-mapped drive. The Monarch SDK, an HTTP-based API, includes documentation and sample code that let AV and broadcast equipment developers write applications to configure and control Monarch HD streaming capabilities, giving them a very straightforward way to include a high-quality webcasting service as part of their overall product offerings. Monarch HD can also be integrated with a Crestron® controller, which allows operators to easily start and stop streaming and recording from within the familiar Crestron interface.

Matrox_Monarch_HD_angled_180x92

VS4Recorder Pro is designed for use with Matrox VS4™ quad HD capture cards. Each VS4Recorder Pro system frame-accurately captures up to four video and audio inputs to create files for use with popular editing apps from Adobe, Apple and Avid and for archiving. H.264 is provided in either MOV or MP4 wrappers. AVI files can be created using the high-quality Matrox MPEG 2 I-Frame codec. MOV QuickTime files can be created using DV, DVCPRO, DVCPRO50 and DVCPRO HD. VS4Recorder Pro also functions as a multiviewer, offering pristine video quality even when monitoring interlaced sources on progressive computer monitors. VS4-based systems are also ideal for multi-camera live production streaming with Telestream® Wirecast® for Windows® or StudioCoast vMix software.

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Matrox Mojito 4K is a quad 3G-SDI, 4K video card for use with Adobe Creative Cloud professional video editing tools on Windows platforms. It provides 10-bit H.264 intra-frame rendering and enables realtime monitoring and output of video footage at resolutions up to 4096 x 2160 and at frame rates up to 60 fps (4Kp60). Users can ingest, edit, render and export in full 4K.

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About Matrox Video
Matrox Video is a technology and market leader in the field of 4K, HD and SD digital video hardware and software for accelerated H.264 encoding, realtime editing, audio/video input/output, streaming, A/V signal conversion, capture/playout servers, channel-in-a-box systems and CGs. Matrox’s Emmy award-winning technology powers a full range of multi-screen content creation and delivery platforms used by broadcasters, telcos, cable operators, post-production facilities,
live event producers, videographers and A/V professionals worldwide. Founded in 1976, Matrox is a privately held company headquartered in Montreal, Canada. For more information, visit www.matrox.com/video.

Yamaha NUAGE Less Of A “Grind” For Audio Post Facility

Grind_Music and Sound NUAGE

BUENA PARK, Calif.—Grind Music and Sound is a professional audio post-production facility located in Los Angeles, California. Their specialty is sound design & mixing for adventure sports and documentary films and television. With two studios, one mix/sound design room and one composition/editorial room, the Company recently installed a Yamaha NUAGE Advanced Production DAW System purchased through Hollywood Sound Systems. Co-owners Michelle Garuik, who works mainly in the mix room, sound designing and mixing, and Sangtar Heer who writes in the composition/editorial room, use the NUAGE Room for his albums’ mix.

“We were researching DAW controllers and mixing consoles for the studio and first became aware of NUAGE through the Internet and magazine advertisements a year ago, which led us to the Yamaha Commercial Audio web site, states Garuik. Our first physical contact and demo with NUAGE was at AES in LA. Besides watching the public demonstrations at the Yamaha booth, we were given a private demo by Yamaha’s Marcel Mauceri.” The duo were introduced to John Conard from Hollywood Sound Systems, and the next week given an intensive demo with Hollywood Sounds audio tech, Brett Grossman, and Yamaha’s District Manager David Lees.

“NUAGE’s deep integration with Nuendo was an immediate draw for us, says Garuik. It is much more than faders, pan-pots and the usual four to five things you find on most controllers. Anything you need to do in Nuendo, you can access on NUAGE. Also, the fact that it is a Yamaha Commercial Audio product was another plus for us. Having mixed on Yamaha consoles in the past, we were already familiar with the build quality and support.”

The co-owners had been looking at consoles and DAW controllers for some time and nothing really fit all their needs until NUAGE. “The tactile surfaces give us so many solutions for our different ways of working, Garuik says. After mixing in the box for years, it is great to have instant access to deep features in Nuendo with just a touch of a button. It’s also nice to have different ways to perform tasks enabling us to work faster and more intuitively. The mixing integration with Nuendo is fantastic in speeding up our workflow. With project deadlines having faster and faster turnarounds, NUAGE lets us meet the demands of our partners and makes mixing even more fun.”

Garuik said the ability to store different setups for their individual project needs is a huge plus. Mixing a 5.1 television documentary has a very different setup than mixing a music album, and the ability to switch quickly and seamlessly between those setups was paramount in their decision. The pair has been using Nuendo daily since its inception, first introduced to it at AES in 2000 where their journey began with version 1.0, and using Cubase since the early 90’s.

With Garuik specializing in mixing action/adventure sports projects, some of Grind Music and Sound clients include: Red Bull, FOX Sports, CBS Sports, NBC Sports and Specialized Bicycles. “Our first television mix on NUAGE was for FOX Sports Training Day “Team Alpha Male” episode, and it went amazingly well.
Grind set up the system with assistance from Hollywood Sound’s Grossman on a Friday, spent Saturday programming quick keys and setting up their system preferences, and on Monday, mixed the 22-minute episode.

“The mix went very smoothly, and having access to 16 faders at once, really sped up mixing for me. The master unit rocker wheel was a dream to edit with; cleaning up edits was faster with less clicking. I was also very impressed with the monitoring integration of NUAGE and the I/O Nio500-A16 unit. The sound was impressively clear.”

In the first two weeks Grind has had their system, they have mixed two shows for FOX Sports, two National Parks educational videos, and a Specialized Bicycle promo. They are also mid-mix on an upcoming documentary for HBO.

“At the end of the day, I feel extremely comfortable on NUAGE, like I had been working on it for years.”

Heer is currently editing and mixing a live DVD concert video on NUAGE of his 2014 Punjabi Virsa North American tour.

For more information on Grind Music and Sound, visit www.grindinc.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.

Bose® Expands RoomMatch® Utility Loudspeaker Offerings

RMU_FAMILY

Company adds three small-format loudspeakers to its RoomMatch® Utility series, all featuring RoomMatch® array modules’ mid/high sonic character, for high-quality foreground music, under-balcony, zone-fill and vocal-range floor monitor applications

Framingham, MA – Bose® Professional announces three new RoomMatch® Utility (RMU) loudspeaker models: the RMU206, RMU108 and RMU105, joining the RMU208 small-format sound-reinforcement loudspeaker in the series. Featuring RoomMatch® array modules’ mid/high sonic character, these RMU models are designed either to complement a RoomMatch full-range array installation or to be used on their own for high-quality foreground music, under-balcony, zone-fill and vocal-range floor monitor applications in performing arts centers, civic auditoriums, houses of worship, secondary education and college auditoriums, dance clubs, retail, hospitality and more. Now consisting of four models (available in black or white), the RoomMatch Utility series ranges in size from double 8-inch woofers to single 5-inch woofer designs, allowing optimal, consistent coverage for almost any venue size.

RoomMatch Utility loudspeakers include the same Bose EMB2 compression drivers as RoomMatch full-range array modules, rather than the small dome tweeters or compression drivers found in conventional zone-fill loudspeakers (which can tend to provide significant harmonic distortion and reduced vocal clarity). The Bose EMB2 compression driver features a 2-inch titanium diaphragm and patented phase plug to reduce distortion and allow the use of a lower crossover frequency to improve vocal clarity, even at highest foreground-music levels. The RMU models’ implementation of the EMB2 drivers helps ensure consistent, high-quality sound throughout venues that require multiple sizes of loudspeakers, while saving installation time and expense by simplifying the equalization process.

The new RoomMatch Utility series models include the following:

The RMU206, which is optimized for under-balcony fill applications with a unique angled baffle enclosure design to minimize the projected height for typical under-balcony and low-ceiling, zone-fill applications. Two 6-inch woofers provide good LF response while the 120° x 60° high-frequency waveguide provides wide coverage and may be rotated for flexible coverage options. The RMU108, which is the most versatile RoomMatch Utility model with a blend of compact size, excellent sound quality, and flexible mounting options.

The RMU108 is similar to the RMU208 but with a single woofer, sharing the multi-angle enclosure profile and high-frequency waveguide. One 8-inch woofer provides good LF response while the 90° x 60° high-frequency waveguide provides high-output level, controlled coverage and may be rotated. The RMU108 models adds additional inserts to the enclosure bottom to allow mounting optional stand adapters or wall brackets.

The RMU105, which is the most compact RoomMatch Utility model and is intended for use in high-quality background music and zone-fill applications that require excellent audio, minimal physical size, and high design aesthetics. The RMU105 is one of the smallest loudspeakers to use a compression driver, rather than dome tweeter, for exceptional output-to-size ratio. A single 5-inch woofer provides vocal-range output and a 100° x 100° high-frequency horn provides consistent coverage with either vertical or horizontal mounting.

These models join the RMU208, which is the highest output model of the RoomMatch Utility series and is intended for use in high-quality foreground music, under-balcony and zone-fill applications. Additionally, the multi-angle enclosure allows use in vocal-range floor monitor applications. Two 8-inch woofers provide extended LF response while the 90° x 60° high-frequency waveguide provides high-output level, controlled coverage and may be rotated for flexible horizontal or vertical mounting.

Alan Shirley, Product Line Manager, Sound Reinforcement Loudspeakers, stated, “Bose Professional is excited about extending the sound quality of large-format RoomMatch arrays to attractive point-source loudspeakers for smaller spaces. Breaking the paradigm used by similar products in this class, the full RoomMatch Utility line brings a unique combination of high output, consistent tonal balance across models, and aesthetics to stand-out installations.”

The RMU208 is currently available, and the RMU206, RMU108 and RMU105 will be available January 2015.

Please visit http://pro.bose.com for more information.

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FOH Engineer Paul Ramsay Uses Waves MultiRack and Waves Plugins on Kasabian’s Current Tour

Ramsay

TEL AVIV, ISRAEL — Renowned live FOH engineer Paul Ramsay (known for his work with such artists as The Who, Annie Lennox and Skunk Anansie) uses Waves MultiRack, Waves Extreme Servers, and Waves plugins on English rock act Kasabian’s current tour.

Ramsay notes, “I started working with Waves plugins on Roger Daltrey’s solo 2011 U.S. tour. I had a DiGiCo SD7 with a pair of Waves SoundGrid servers. It all went really well, and I was very happy with the results. I didn’t take any external outboard like I normally do with a SD7, other than a TC M6000. I’ve been mixing on DiGiCo consoles since the start of 2003, first with the D5, then with the SD7 when that came out. I think they are the best-sounding consoles and by far the best surface to mix on, hands down. The backup is second to none. Now, with integrated Waves plugins, I use no outboard gear at all other than a Lake for system EQ. I used to always carry my trusty rackmounted TC M6000 and TC 2290 along with a selection of valve compressors and high-end outboard EQs, ending up with a large double rack of outboard. Now with Waves, I carry no outboard FX. With the kind support of Waves Live Product Specialist Fabrizio Piazzini, I was introduced to the Waves IR Live, which has enabled me to use the impulse response of the TC M6000 and a bunch of other quality reverb units. I’ve been using Waves IR Live for all my reverbs, using the same favorite programs I would have used on a rackmounted M6000 or Lexicon 960L and sounding just as good, with all the recall in the snapshots for each song.”

Ramsay continues, “My favorite vocal compression plugin is Waves CLA-2A, which gives a good emulation of a nice, smooth compressor—the kind you don’t notice even when it’s working hard. On my main vocals I have the Waves C6 Multiband Compressor, which responds quickly to take out any peak frequencies in the singer’s voice without EQing them out, including when the singer cups the end of the mic capsule and changes the whole sound of the mic. The Waves H-Delay Hybrid Delay sounds great for a quick go-to delay, emulating what I would have used externally with no loss of quality. I use three instances of the H-Delay in total, all recalled on the snapshots for each song, flicking between mono delays and ping-pongs. When Kasabian tour behind an album, we must be able to emulate the album’s effects. On their new album 48.13, there are various distortions on the vocals. Getting a good vocal distortion in a live setting can be tricky though: rack-mounted multi-effects always sound too digital and processed, and stomp boxes are just too saturated for the sound I’m trying to emulate. With Waves, I use the Waves REDD.17 to get a nice, pleasing grit to the vocal without sounding too over the top, and I can just drop this on certain phrases, as required, via a macro on the SD7. I also use the Q10 EQ with the telephone preset and tweak the filters a bit until I have a great-sounding telephone-type vocal.”

Ramsay concludes, “Working with MultiRack and Waves plugins, I can now find an effect or insert to emulate any sound without having to call my sound vendor or bring out a vast array of outboard units in a number of racks. So the artist is happy, I’m happy, and the production manager is happy as he saves on truck space and freighting costs.”

Visit http://www.waveslive.com for more information.

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