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


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Looking forward to seeing you on the new site!

A virtual press conference from Sound & Video Contractor

Press Releases For : January 30, 2015

New Clay Paky Stormy Fixtures Join Slipknot Tour

A67G0465Masked rockers Slipknot are making headlines with a fifth album release, the addition of new band members, their Knotfest concert series and the launch of the “Prepare for Hell” tour – and Clay Paky Stormys are along for the wild ride.

The band just marked the debut of their fifth studio album, “.5: The Gray Chapter,” which was quickly followed by performances October 25 and 26 at their own Knotfest in San Bernardino, California. They began headlining the “Prepare for Hell” North American tour afterwards.

Trevor Ahlstrand, lighting designer/production designer for Slipknot, is using a package of 30 Stormys, obtained from Christie Lights, on the shows. The new Stormy uses the latest LED technology while retaining all the charm of the classic strobe. He has positioned a few on each piece truss and several in a row on the floor.

“The show is very asymmetrical with random sticks of different heights jutting out in random places and set elements of a carnival theme,” he says. “The thing with this group is that they have nine members, three of whom are drummers, so they’re very percussive. I use strobes to accent a lot of the underlying drum parts in their music; trying constantly to be creative in how I would use the strobes keeping it interesting and different from song to song.”

But Ahlstrand confesses that he’s “always had a problem with using scrollers on strobes. I don’t like to blast on lights all the time, and I don’t want to abuse the audience all night. So I try to use scrollers to get a different feel but could never seem to get them all working right.”

He looked at several LED fixtures then discovered that “Stormy had the feel of an old-school Atomic 3000 with a scroller on it. But it was way more intense. I could get any color you can think of, and when you hit it full blast it was so bright – you didn’t see anything else. I get all the benefits of a classic strobe with all the control of an LED.”

Reached during rehearsals with the band Ahlstrand reports the Stormys were performing “amazing so far – no technical issues. My fear with LEDs is balance with color, but the Stormys are all dead on with each other. They’re extremely bright and fast – I hit whatever color I want at any time. And I program them the same way I would anything else.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, added, “We’re very excited about our new Stormys and pleased to see that they’re working well for Mr. Ahlstrand and the band.”

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

About Clay Paky
Headquartered in Seriate (Bergamo), Italy, Clay Paky SPA has a history of designing and manufacturing innovative professional show lighting. The company was founded in 1976 by entrepreneur Pasquale Quadri who anticipated the enormous impact the evolution of technology would have on the show and entertainment worlds.

For more information on Clay Paky products, please contact:
Francesco Romagnoli francesco@claypaky.it
Davide Barbetta webmaster@claypaky.it

# # #

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High-Profile Polytechnic Institute Installs Dual Yamaha NUAGE Systems

Renssalaer NUAGE Studio 1

Founded in 1824, Rensselaer Polytechnic Institute (RPI) in Troy, New York is the nation’s oldest technological research University. The private research University recently installed two Yamaha NUAGE Advanced Production DAW Systems provided by Parsons Audio LLC (Wellesley, MA).

The NUAGE systems are used primarily by RPI staff, students, and available to external clients. “We read a lot of press on the NUAGE System while researching alternatives to our recording and mix system,” states Todd Vos, Audio Systems Lead, The Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) at RPI. “Once we determined NUAGE might be the way to go, we were given two really great demos by Parsons Audio which closed the deal.”

Both Vos and fellow engineers Jeff Svatek and Steve Mclaughlin determined NUAGE had the tightest DAW to control surface integration. “We were attracted to the programming flexibility of VST architecture, and were basically sick of the DigiDesign workflow, exclusionary software/hardware model, master section functionality (or lack thereof), and sonic shortcomings, Vos says. It all came down to timing; we were ready to move on shortly after the NUAGE System had been released, it was garnering decent feedback from users, so we pursued it.”

“NUAGE presents Nuendo to the operating engineer in a manner reminiscent of a traditional audio console, no small feat, Vos continued, the line between controller and DAW is really blurred, this layout was incredibly attractive to us and the price point was amazing. But the biggest upside of our decision to move
recording and mixing operations onto the NUAGE/Nuendo platform was the bump in fidelity. The edge of our LAWO network has these fabulous LAWO mic pres; sadly the sonic bottleneck of the system was ProTools. Now that we are running Nuendo with NUAGE, I am hard pressed to identify where things are being mutilated (negatively speaking); it was immediately apparent to us, Nuendo is just a significantly better sounding DAW.”

Renssalaer NUAGE Studio 2

The first EMPAC NUAGE System is 32-faders plus a Master section with a JL Cooper Panner. The second NUAGE System has a 16 fader unit, Master section also with a JL Cooper Panner. Both systems are connected to a large LAWO NOVA 73 MADI network via PC-based DAWS running either 96 or 192 channel RME MADI cards with two UAD QUAD accelerators, SSD record drives and a Black Magic SDI link to the facility’s Harris router for post work.

While the two NUAGE Systems are used in support of all EMPAC productions, both internal and external to campus including video shoots, music production, film post, event documentation, media research, archival and restoration–Vos said “a music engineering curriculum will start next fall at RPI that I imagine will be using the NUAGE production spaces as well.”

Good news started rolling in over holiday break as music magazines, radio stations, blogs, and awards organizations selected a number of albums produced at EMPAC. Ben Frost’s AURORA, Vicky Chow and Tristan Perich’s Surface Image, David Brynjar Franzson’s The Negotiation of Context, and Michael Gordon’s Rushes were all commissioned by EMPAC, developed through the artist-in-residence program, and recorded either in full or in part at EMPAC. The highest honor was given to Frost, whose record was chosen as the No. 1 avant-garde album of the year by Rolling Stone.

For more information on 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.

DPA Microphones Are The Perfect Accompaniment For Lamia

Lamia Bedioui with DPA dfacto  (1280x903)

Tunisian singer Lamia Bèdioui is renowned for her unique vocal style that combines extensive range with a huge amount of sensitivity and acoustic detail. Taking her influences for a variety of cultures and musical traditions, Lamia is highly respected on the World Music circuit and much in demand as a collaborator with other musicians.

In recent months, Lamia has been recording her second album, Athamra. For this project she switched entirely to DPA microphones because she and her sound engineer, Andreas Kamenidis, felt DPA was the only brand capable of delivering the clear, clean signal she wanted.

Currently based in Greece where she has lived since 1992, Lamia’s repertoire embraces ballads, opera-style singing, improvisation, acoustic music, storytelling, rhythm, dynamic range and rich harmonic variations. Capturing such diversity is an enormous challenge, but Kamenidis thinks DPA is easily up to the task.

“We have 12 DPA microphones in total – a wired d:facto™ Vocal Microphone for Lamia; five d:vote™ 4099 Instrument Microphones that are mainly used on acoustic guitar and traditional instruments such as the kanun, Cretan lyra, oud, mandolin and lute; a d:screet™ 4090 Omnidirectional Microphone for instruments, vocals and as overhead and a d:screet™ 4091 Omnidirectional Microphone for frame drums and various percussions. We have completed our line-up with four d:fine™ Directional Headset Microphones, which are used by Lamia when she is storytelling and by the rest of the band for backing vocals. These mics are also ideal for capturing small wind instruments that are in close proximity to the face, for example the kaval, flute, jaws harp and kazoo.”

Kamenidis adds that the DPA microphones have now been used to record vocals, instruments and percussion for Lamia’s new album and also to replace previous recordings that were not done with DPA and were therefore not up to the standard Lamia wanted.

“The signal is so clear now,” Lamia adds. “The sound is very focused, fresh and alive. I really like the accuracy and precision we are achieving with these microphones – even a rough recording made with DPA is potentially good enough to fit into the mix. Everyone in the band is enjoying the new recording sessions, especially me as now I can truly recognise my voice.”

Kamenidis is using DPA for both live and studio work, and says they are ideal for both situations.

“They allow us to capture the pure, analogue sound of the band’s instruments,” he says. “The d:vote 4099 Instrument and d:fine Headset Microphones are particularly versatile because they offer close miking, stable mounting, easy patching and dispatching and crystal-clear sound capture.”

Kamenidis adds that Lamia takes great interest in her sound and how it is technically achieved.

“When we first met, I realised her demands were very high and I was surprised to hear her describing in very clear detail exactly what she wanted,” he says. “At that stage she wasn’t happy with the sound she was getting. She was using different equipment in different environments, and this inevitably affected the end results. She couldn’t find the proper balance and was therefore unable to achieve her desired sound.”

Kamenidis created a technical rider for Lamia that addressed all of her touring and recording needs 100%. Investing in DPA microphones was key to getting her sound right.

“I explained that she should only invest in equipment that told the ‘truth’, equipment that could support and highlight her skills and ideas, equipment that she could trust. That is why I recommended DPA.”

As a singer, Lamia was particularly keen to have a vocal mic that didn’t colour the sound of her voice. Kamenidis recommended DPA’s d:facto Vocal Microphone because it offered an exceptionally natural sound, superior gain before feedback and high separation from nearby sound sources.

“Lamia also wanted the opportunity to move about and to give the audience a very clear view of what was happening on stage,” he adds. “DPA’s d:fine Headset Microphones allow her this freedom of movement and give the audience a nice sense of an unplugged show. And in real ‘unplugged’ conditions, we are able to use our DPA microphones to silently record the performance.”

Lamia’s new album will be released in April 2015. For more information about Lamia and her music please visit http://www.lamiabedioui.com/

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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 provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all 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, please visit www.dpamicrophones.com

Press Releases For : January 29, 2015

SEC Sports College Adds Fiber Communications

Annapolis Junction, Maryland — Great athletes, phenomenal coaches, and a few strands of fiber optics are keeping the University of Kentucky in the game.

As one of 14 elite colleges participating in the newly formed Southeastern Conference (SEC) Network, the university recently underwent a sports facility upgrade that included FiberPlex fiber optic communications in order to originate more content for the ESPN network.

UofK“There’s a lot of information passing through those fibers,” says Tim Mays, SEC Network Producer/Director for the University of Kentucky, Lexington, referring to a new portable audio/video booth kit that uses FiberPlex WDM multiplexers and LightViper optical audio transport systems for sending and receiving 24 channels of audio; eight channels of intercom; and four streams of video down one fiber pair.

The multiplexer, known as a wavelength division multiplexer, was critical for relaying additional channels of audio and intercommunications between the university’s main control room and sporting events held in fields and on courts across campus. FiberPlex’s WDM-16 multiplexes 16 channels onto optical cable by transmitting each channel at different lightwaves, yielding data rates ranging from 155 megabits to 3 gigabits (or more) per channel for a possible aggregate data rate of 48 Gbps on a fiber pair.

“We’re seeing a slow migration from triax cable to fiber in the field, especially at this level where there’s more demand for original material,” says Jason Kress, Project Manager for Take One, an AV systems integrator in Hendersonville, Tennessee, who provided University of Kentucky with the new portable booth kit and optical multiplexer.

SEC schools are producing more content locally as a result of the new SEC Network launched in August by ESPN and the conference to bring college basketball, baseball, football and soccer to a wider viewership. SEC games are now showing on the SEC Network as well as ESPN’s family of networks.

In order to provide 24/7 coverage of the nation’s most elite conference, ESPN established guidelines for SEC colleges contributing live action sporting coverage and content.

“If we were going to achieve the look and feel of ESPN, we needed to have at least two announcer positions, preferably three, and sometimes a sideline reporter. We needed to have monitors in front of them so they could see the replays, and all that had to be transported back to the control room along with a multitude of other feeds. And, it had to be done in a fashion that is efficient and makes them sound good, and certainly not like it’s coming out of a transistor radio,” explains Mays.

With distance, bandwidth and cost issues limiting the practical use of copper triax coax cable for high-bandwidth multimedia use, the university implemented fiber optic multiplexing as a practical intra-campus network solution.

For many of the links between the control room and sports venues on campus, Mays was able to add the FiberPlex WDM multiplexer directly onto existing single-mode fiber optic runs that had been put in place for data communications as part of an IT install years ago.

“Universities are actually good candidates for wavelength division multiplexing because they were one of the first to adopt fiber optics for data communications years ago. To get video and audio over those preexisting fibers, all they have to do is add on a pair of multiplexers (versus trenching and/or directional boring to add more fiber). The multiplexers will simultaneously split and combine multiple high bandwidth systems, bi-directionally, onto those same fibers,” explains Kyle Rosenbloom, National Sales Director for FiberPlex Technologies, which makes optical converters and multiplexers for AV, medical, industrial and other applications.

Fiber optic communications is a cornerstone technology for ESPN, which transports all collegial sporting coverage and content over a fiber backbone from SEC venues to its broadcast center in Charlotte. The multimedia sports entertainment giant is also working with Google Fiber to carry the SEC Network over the last mile to viewers in those select markets that have fiber connectivity.

ESPN and SEC Network expect to carry more than 1,000 SEC football, basketball, baseball and other sporting events annually, getting into 60 million+ homes nationwide.

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Digigram Ready for Phase-III Expansion of India’s Radio Broadcast Market

MONTBONNOT, France — Jan. 29, 2015 — Digigram today announced its readiness for India’s “Phase-III” expansion of the country’s FM radio services, which will allow for the launch of more than 800 new FM channels in nearly 300 cities across the country. Ideal for the many new facilities that will require cost-effective audio transport solutions, the company’s IQOYA *LINK is a full-duplex encoding and decoding solution that provides uncompromising performance for IP-based studio-to-studio and studio-to-transmitter links. The IQOYA product line already is being sold, installed, and serviced in India by Digigram partner Technomedia Solutions Pvt. Ltd and equips some of the major media groups, including Sun TV.

“With this Phase-III expansion of its radio broadcasting marketplace, India will effectively enable community radio coverage in all cities with populations of 100,000 or more,” said Philippe Delacroix, president and CEO at Digigram. “In order to provide localized information and programming to local audiences, new privately owned broadcast facilities will require affordable and reliable audio transport solutions for studio-to-studio and studio-to-transmitter links. IQOYA *LINK meets this demand, enabling the distribution of digital audio over IP networks and delivering the audio quality and continuity critical in professional broadcast applications.”

Developed in collaboration with major European telcos and now deployed around the world, the IQOYA *LINK ensures 24/7 reliability, audio format flexibility, and ease of use — all at an attractive price point for new radio broadcast operations. Equipped with Digigram’s rock-solid FluidIP(TM) codec engine with multiple failover options, as well as redundant dual streaming and smart mechanisms that guarantee a reliable transport of audio and associated ancillary data, the IQOYA *LINK maximizes uptime.

The Digigram IQOYA *LINK system has earned honors for its reliability and robustness, both in terms of hardware and software, in challenging environmental conditions, and it boasts a mean time between failures (MTBF) of more than 70 years. With strong EMC resilience and a hardware bypass of inputs to outputs in case of power failure, the IQOYA *LINK is uniquely resilient to the potential complications typical of monsoon season. These characteristics and the product’s power-saving fanless design also suit the product for deployment in remote locations, where maintenance and repair can be difficult.

While Technomedia Solutions offers IQOYA *LINK systems as part of its product portfolio, the company also offers studio engineering operations services that include installation and operation of the systems within the larger broadcast workflow. A number of other vendors and their local partners also will supply Digigram technology to India’s burgeoning broadcast market. The company’s range of sound cards is integrated into radio automation systems and other solutions for the modern broadcast facility.

Further information about Digigram and the company’s products is available at www.digigram.com or by phone at +33 4 76 52 47 47.

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About Digigram
Positioned at the convergence of professional audio and video with IT, Digigram offers IP-based solutions that enable users worldwide to increase their competitiveness through change.

The company’s products enable the reliable capture, production, and delivery of high-quality audio and video over IP networks. Its innovative IP audio codecs, professional sound cards, and audio processing software are used by thousands of journalists, broadcasters, and audio engineers worldwide. Digigram’s all-IP video product line provides advanced contribution and distribution solutions to broadcast, IPTV, Web TV, and OTT operators. The company also delivers key audio/video technologies and OEM solutions to software vendors and manufacturers.

For more than 25 years, through constant innovation and the development of fruitful partnerships, Digigram has been influential in energizing the industry, raising standards, and pushing forward technological development.

Further information on Digigram and its product portfolio is available at www.digigram.com.

All trademarks appearing herein are the property of their respective owners.

Photo Link: www.wallstcom.com/Digigram/Digigram-IQOYA-LINK.jpg
Photo Caption: IQOYA *LINK and *LINK/LE Audio-Over-IP Codec

Archimedia Announces Atlas Player Support for 4K 60p and HDR Content on Any Display

DELRAY BEACH, Fla. — Jan. 28, 2015 — Archimedia Technology, a company whose applications bring precise multiformat viewing to the professional’s desktop, TV, UHDTV, and SDI infrastructure, today announced the release of Atlas 3.1.1, the newest version of its full-featured precision media player. Atlas now makes it possible to watch 4K 60p content encoded in practically any format from all kinds of sources and manufacturers on all kinds of displays. That capability is a breakthrough for anyone in the media and entertainment industry — from technorati to producers to executives to archivists to lawyers — who until now had no way to view 4K 60p and high dynamic range (HDR) content outside of the edit suite where it was created without first transcoding it to a smaller format to suit hardware limitations.

“We continually look for ways to expand our customers’ media format independence to meet their business objectives, and playing 4K content at higher frame rates is quickly becoming an imperative. Major content owners have begun specifying 4K 60p for master deliverables of new content, yet they are hard-pressed to screen that content once it arrives,” said Josef Marc, Archimedia’s chief marketing officer. “Atlas solves that problem for everyone in the industry by presenting high-frame-rate and HDR content on any display to the best of its native ability. Atlas reduces or eliminates the cost of buying and maintaining viewing environments for the wide range of video formats that media professionals use in their jobs today.”

Atlas is unique in that it incorporates a professional-grade scaler that presents any frame size or media format to full screen on any HDMI, DisplayPort, SDI, or Quad Link display with frame-accurate precision up to 4K 60p. The comprehensive range of formats supported includes the latest IMF, HEVC, and AS-11 DPP formats; more than 100 caption/subtitle formats required by law around the world; DPX, TIFF, and EXR frame sequences; encrypted DCP; and Dolby” audio codecs.

This combination of features means that now all media professionals in technical and nontechnical jobs can watch 4K 60p content on everything from a laptop to a UHDTV, with external sound files for those concerned with DPX, TIFF, and EXR formats; embedded and external captions and subtitles; and the whole gamut of video, audio, and file formats for broadcasters, OTT providers, and webmasters. In addition, lawyers, customer support personnel, marketers, advertisers, and copyright administrators — such as the Library of Congress — who provide legal protection for 4K 60p content can see the content, too.

Atlas is also capable of professionally scaling HD, 2K digital cinema, UHD, and 4K to even larger sizes for exhibitions — such as playing a movie on the side of a building at a film festival or awards ceremony — or for fitting unusual frame sizes into SDI-legal sizes to suit other equipment’s limitations. This feature is also useful for checking what 4K 60p will look like on the mind-boggling variety of screen sizes found in today’s tablets, smartphones, and computer monitors.

Atlas with 4K 60p support is a free upgrade for Atlas 4K and Atlas 4KSE owners, who can download the upgrade from their Archimedia users’ support portal at support.archimediatech.tv. For new customers, there is no price increase for 4K 60p, so outstanding quotes remain valid. Standard broadcast-grade test patterns are included with every Atlas media player, and Archimedia can deliver custom 4K test patterns upon request. Archimedia’s personal tech support comes standard with every player to help customers deal with the unforeseen challenges of today’s multiscreen workflows.

Archimedia’s “Getting Started With Atlas” videos demonstrate the features that a professional media worker needs to support UHD in an HD world. The four-minute version is available at https://www.youtube.com/watch?v=yV5gejK4TFY, and a 17-minute version with chapter links is available at http://www.archimediatech.com/#!getting-started-with-atlas-video/c24g4.

More information about Archimedia and its products is available at www.archimediatech.com.

# # #

About Archimedia
Archimedia Technology specializes in the processing, conversion, and playback of mastering formats, including JPEG 2000 and HEVC, for the professional broadcast, digital cinema, and video archival industries. Its technology and applications bring precise multiformat viewing to the professional’s desktop, TV, UHDTV, and infrastructure. Archimedia’s products fulfill a critical piece of the production and archival workflows, encapsulating complex file interchange and quality control processes for mastering and archive formats into practical solutions that give end users a new level of access to their assets. More information is available at www.archimediatech.com.

All trademarks and registered trademarks mentioned herein are the property of their respective owners.

Photo Link: www.wallstcom.com/Archimedia/Archimedia-Atlas-4K60p.jpg
Photo Caption: Archimedia Atlas playing Netflix’s El Fuente in 4K 60p, an industry forward example.

New Quantum Solutions Integrate the Cloud Into Multi-Tier, Hybrid Storage Architectures for Demanding Data Workloads

Q-Cloud Offerings Enable Customers to Tailor Cloud to Their Environments, with No Changes to Existing Applications or Processes

SAN JOSE, Calif. — Jan. 27, 2015 — Quantum Corp. (NYSE: QTM) today announced three new solutions that integrate the cloud into multi-tier, hybrid storage architectures for demanding data workloads. Rejecting the generic one-size-fits-all approach common among many other cloud offerings, the new Q-Cloud(TM) solutions enable customers to leverage Quantum’s intelligent data management software to store data in the cloud when it makes the most sense for a given workflow or application. Q-Cloud Archive and Q-Cloud Vault incorporate the power of the public cloud as an off-site tier within a Quantum StorNext 5 workflow environment, while Q-Cloud Protect for AWS enables customers using Quantum’s DXi(R) deduplication appliances to replicate data to the Amazon Web Services (AWS) cloud. With all three offerings, customers can realize the full benefits of the cloud without having to make changes to existing applications or processes.

Finally, a Way to Integrate Cloud with Existing Workflows: http://youtu.be/tBKh1wNqqBI

Today’s Cloud: Compelling Advantages but Limited Adoption in Demanding Workflows
By providing advantages such as shifting capital expense to operating expense, reducing management time and enabling users to scale up or down as needed, the cloud is clearly transforming traditional IT strategies. However, the cloud has played a limited role for organizations with complex, data-intensive workflows — for example, capturing and evaluating satellite images, producing and distributing high-resolution video, and collecting and analyzing network traffic for cybersecurity defense. These demanding workflows require reliable, secure, high-performance infrastructure that is tightly integrated with applications — which most cloud offerings don’t provide. In addition, the inherent latency of the cloud and the significant costs that can arise in accessing large amounts of data in the cloud create challenges for customers in managing what data is stored there.

The Power of Quantum’s Multi-tier, Hybrid Approach
Taking into account both the benefits and challenges of the cloud, Quantum’s approach is to enable customers to combine public cloud storage with on-premise storage in a multi-tier, intelligently managed, application-centric architecture. Rather than treat the cloud as a passive repository or the answer to all needs — as is common among many providers — Quantum integrates the cloud as an active tier in a hybrid storage infrastructure driven by application requirements. This comprehensive approach provides customers with an optimal mix of performance, access, scale and efficiency and is the basis for not only today’s Q-Cloud announcements but also innovative new cloud offerings Quantum is currently developing.

Q-Cloud Archive and Q-Cloud Vault: Easy, Flexible and Reliable
Q-Cloud Archive and Q-Cloud Vault are public cloud storage services delivered by Quantum, with Q-Cloud Archive providing fast, on-demand access to data in the cloud and Q-Cloud Vault offering “cold storage” for long-term data retention and disaster recovery. Key features and benefits beyond general cloud advantages include:
* Full integration as a tier in StorNext 5-managed workflows, with automated, policy-based data movement
* No additional hardware, separate applications or programming needed
* Agility in addressing changing workload demands
* Reliability of global public cloud infrastructure
* Straight-forward pricing and billing directly from Quantum
* Secure, encrypted data in transit and at rest
* Quantum world-class service and support

StorNext(R) customers can also use Q-Cloud Archive and Q-Cloud Vault in conjunction with Quantum’s Lattus(TM) extended online storage, including moving data from a Lattus object storage technology-based private cloud on premise to Q-Cloud.

Q-Cloud Protect for AWS: Extending DXi Data Protection to Amazon Cloud
Offered as a subscription service through the Amazon Marketplace, Q-Cloud Protect for AWS enables customers to replicate from either a physical or virtual DXi appliance on premise to a virtual DXi instance in the AWS cloud. Key features and benefits include:
* Easy access to the Amazon public cloud and its benefits, with no changes to applications or processes
* Cost savings enabled by the most efficient method of data deduplication
* Support for U.S. federal government customers using AWS GovCloud
* Secure, encrypted data in transit and at rest

Availability
Q-Cloud Archive is available immediately in the Americas, EMEA and APAC, while Q-Cloud Vault will be available in the second half of this year. Q-Cloud Protect for AWS will be available next quarter.

Supporting Quotes
* John Stevens, Director of Engineering, MTI Film
“One of the main reasons we chose Quantum’s Lattus extended online storage as the foundation for our private cloud was the intelligent data management provided through its seamless integration with StorNext. By adding a public cloud tier also managed by StorNext, Quantum gives us the ability to drive even greater efficiencies in our content workflows.”

* Jason Kranitz, Vice President of Sales, Integrated Media Technologies Inc.
“With Q-Cloud Archive and Q-Cloud Vault, customers get the benefit of StorNext 5 being both workflow-guided and tier-aware. This is key to leveraging the cloud where it makes sense and in the most effective way possible, particularly in highly demanding data environments.”

* Dave Simpson, Senior Analyst, Storage, 451 Research
“It’s important to view the cloud as another storage tier option rather than a place where all data should reside. That’s the approach Quantum has taken, building on its expertise in managing and protecting data within and across storage tiers. In addition, the new Q-Cloud offerings enhance the value that both StorNext and DXi provide, not only to existing Quantum customers but also to other users that have been hesitant about incorporating the cloud.”

* Geoff Stedman, Senior Vice President, StorNext Solutions, Quantum
“Effective data management is about putting data in the right place at the right time with the right technology, guided by a customer’s workflow or application. That’s why we designed our new Q-Cloud solutions to be deployed in broader, intelligently managed hybrid architectures that enable customers to optimize the use of both on-premise and cloud storage in the most efficient and cost-effective way possible.”

Additional Resources
* For more about Quantum’s Q-Cloud solutions: www.quantum.com/solutions/cloud-services/index.aspx
* Read Bassam Tabbara’s blog on how the cloud is transforming traditional data centers: http://qntm.co/QCloudInnovation
* View a SlideShare deck describing Q-Cloud Archive: www.quantum.com/qcloudarchiveslideshare

About Quantum
Quantum is a leading expert in scale-out storage, archive and data protection, providing solutions for capturing, sharing and preserving digital assets over the entire data lifecycle. From small businesses to major enterprises, more than 100,000 customers have trusted Quantum to address their most demanding data workflow challenges. With Quantum, customers can Be Certain(TM) they have the end-to-end storage foundation to maximize the value of their data by making it accessible whenever and wherever needed, retaining it indefinitely and reducing total cost and complexity. See how at www.quantum.com/customerstories.

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Quantum, the Quantum logo, Be Certain, DXi, Lattus, Q-Cloud and StorNext are either registered trademarks or trademarks of Quantum Corporation and its affiliates in the United States and/or other countries. All other trademarks are the property of their respective owners.

“Safe Harbor” Statement: This press release contains “forward-looking” statements. All statements other than statements of historical fact are statements that could be deemed forward-looking statements. Specifically, but without limitation, statements relating to 1) benefits and value to customers from using Quantum’s Q-Cloud solutions, including Q-Cloud Archive, Q-Cloud Vault and Q-Cloud Protect for AWS, 2) customer demand for and Quantum’s future revenue from such solutions, 3) the availability of such solutions and 4) Quantum’s plans for future products and solutions, are forward-looking statements within the meaning of the Safe Harbor. All forward-looking statements in this press release are based on information available to Quantum on the date hereof. These statements involve known and unknown risks, uncertainties and other factors that may cause Quantum’s actual results to differ materially from those implied by the forward-looking statements. More detailed information about these risk factors are set forth in Quantum’s periodic filings with the Securities and Exchange Commission, including, but not limited to, those risks and uncertainties listed in the section entitled “Risk Factors,” in Quantum’s Quarterly Report on Form 10-Q filed with the Securities and Exchange Commission on November 7, 2014 and in Quantum’s Annual Report on Form 10-K filed with the Securities and Exchange Commission on June 6, 2014, especially those risks listed in this section under the headings “Our operating results depend on a limited number of products and on new product introductions, which may not be successful, in which case our business, financial condition and operating results may be materially and adversely affected.” Quantum expressly disclaims any obligation to update or alter its forward-looking statements, whether as a result of new information, future events or otherwise, except as required by applicable law.

Calrec Audio Launches New Optimized Summa Processor Rack and Modular MADI Solution

HEBDEN BRIDGE, U.K. — Jan. 27, 2015 — Calrec Audio today announced two new developments in the company’s product range. The first is a 4U console core with a new look. Benefiting from significant hardware improvements, the core is used for the Summa and Artemis Light consoles. Calrec will also display a new single-slot modular MADI card with SRC.

The new core offers many benefits over its predecessor, including improved green credentials. Not only does it have faster and more efficient processors, it now operates with 5 percent lower power consumption and fewer fans, which are more easily accessible for maintenance. The new fans also have automatic speed control and ambient temperature-sensing, which enable them to run 8 decibels quieter at 25 degrees Celsius. There is even less noise at lower temperatures, and the fans operate at lower, less noticeable frequencies.

The new rack’s cleaner design has clearer status LEDs and labelling, with the added functionality of the Control Processor LAN sockets being independently configurable via the user interface. This provides simpler configuration of third-party controllers such as Calrec’s Assist.

Also being announced is a single-slot modular MADI card that fits into the 3U modular Hydra2 box. Not only does the new card offer 64 bidirectional channels, but it also includes a sample-rate converter.

“Calrec continues to design and develop new products that meet the changing needs of broadcasters,” said Jim Green, Calrec’s U.K. sales manager. “We have made these improvements to our console core and designed the MADI card to meet the high standards of quality and innovation that our customers expect from us.”

These new products will make their debut in the U.K. at BVE, on Calrec’s stand D20, and in the U.S. at the 2015 NAB Show, stand C2755. More information about Calrec and its products is available at calrec.com.

# # #

About Calrec Audio Ltd.
Calrec Audio is exclusively dedicated to excellence in audio mixing for on-air and live production. A broadcast specialist for 50 years, Calrec has developed a range of digital consoles relied on by the world’s most successful broadcasters. For putting sound in the picture, broadcasters put their trust in Calrec. More information is available at calrec.com.

All trademarks appearing herein are the property of their respective owners.

Photo Link: www.wallstcom.com/Calrec/Calrec-Summa_Processor_Rack.jpg
Photo Caption: Summa Processor Rack

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Leading Dutch Live Solutions Provider Mertens AVR adds SSL Live to Product Portfolio

GRONINGEN, NETHERLANDS – Mertens AVR, which has long been an important player in the Dutch live sound rental and production services market, has purchased an SSL Live. L500 console to serve as the premier mixing solution for its clients. Currently in use for a four-month-long national comedy tour, Mertens’ Live console has also been reserved for an extensive project list of classical music concerts that takes them well into the spring. The console was supplied to Mertens by SSL Live Distributor for the Netherlands, Audio Electronics Mattijsen.

According to Chris Mertens, owner of Mertens AVR, the company rents only the industry’s leading brands to provide clients with high-quality infrastructure for projects, from corporate events and expos to theatres and concerts/tours, throughout the Netherlands and Belgium. Since the company offers full system equipment and services, including all lighting, audio and trussing, Mertens says that the capacity and functionality of the SSL Live. L500 allows him to reach an even broader scope of customers.

“I’ve been looking for quite a while for a desk that had enough inputs and outputs to allow us to take productions one step further,” he explains. “I feel I’ve found the solution with the L500. It is an entirely new type of desk; the next generation of digital mixing consoles. It doesn’t matter what kind of sound system you have, the console’s versatility and compatibility means it will always work perfectly with your set up. It really is the product I have been waiting for, which made my decision an easy one. We already have several projects lined up for the L500 this year, which is very good.”

“Chris Mertens and the entire team at Mertens AVR are well-established professionals in the live sound market,” says Tim Harrison, SSL’s Area Sales Manager. “Their extensive customer base provides an unparalleled opportunity for the continued growth and success of both Mertens and the SSL Live console. We are truly excited to add Mertens AVR to SSL’s Partner Network.”

www.aem.nl/
www.mertens-avr.nl/
www.solidstatelogic.com/live

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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PixelFLEX Installs World’s First Two-Millimeter Convex LED Video Wall

NASHVILLE, TN — The world’s first 2mm convex LED video wall was installed by PixelFLEX in the new VIP Lexus Lounge at Nashville’s nationally acclaimed and award winning Bridgestone Arena.

The Lexus Lounge

The Lexus Lounge

The Lexus Lounge was recently added to Bridgestone Arena to transform the VIP experience of visiting fans. The private 450-member club boasts the PixelFLEX FLEXUltra LED wall that is 47 feet in width and 7 feet in height behind the bar, displaying a panoramic, high definition view of Nashville Predators games and other entertainment events held within the facility.

“Our mission at Bridgestone Arena is to be the number one sports and entertainment venue in the United States, and the building of the Lexus Lounge and all that it encompasses fits right along with that,” said Chris Junghans, Senior Vice President of Corporate Development for the Nashville Predators. “As an entire space, the Lexus Lounge is unlike anything else the region has to offer. Everything the Lounge provides in-game, including the one-of-a-kind visual experience the convex LED wall brings to the space, offers our clients a unique viewing opportunity of sports and entertainment events that is unique to us here in Nashville.”

Architecture firm Populous designed the vision, with local general contractor Knestrick on the project. AVL consultant Wrightson, Johnson, Haddon & Williams, Inc. sought out PixelFLEX for the one-of-a-kind convex LED video wall.

“The Lexus Lounge vision was to have an ultra VIP area where a patron could experience the hockey game or any other event via a panoramic, high definition screen,” explained PixelFLEX Chief Operations Officer Monty Rains. “The original specifications called for multiple projector screens. Given the fact that the owner wanted this screen to be the centerpiece of the VIP experience, we suggested using a curved LED screen for impact and lower cost of ownership. Creating a 45-foot wide convex-curved LED screen in 2mm pitch was a substantial challenge. To our knowledge, it had not been done before in such a tight pitch in a convex configuration. Not only did we have to craft the frames to the radius of the proposed wall, but also the general contractor had to precisely construct the wall to the specifications of the design. I think the result speaks for itself.”

The VIP room is operated by an automated Crestron Media presentation system that is controlled via a touch screen. A Blackmagic 4k camera assists in making it possible to give fans in the lounge a panoramic view of the ice during games. The room also hosts 33 Samsung Commercial LED televisions and numerous QSC speakers and subwoofers, all of which were implemented by Nashville-based Elite Multimedia Installs.

In addition, 30 PixelFLEX FLEXLite 6.9mm LED tiles were installed at Bridgestone Arena’s SoBro Nissan Entrance due to downtown Nashville’s growth on the south side. As the entrance grows in use and popularity, the digital signage will remain an interactive and exceptional space for arriving fans, adding life to a previously underutilized area.

Nissan SoBro Entrance

Nissan SoBro Entrance

All those involved in the install of the Lexus Lounge and its vast amenities have succeeded in an immense opportunity to impress and entertain fans.

“Everyone that enters the Lexus Lounge, from members to their clients, friends and family, are in awe of the LED video screen and how it lights up the entire space while, at the same time, offering a completely clear picture of what is going on in the arena bowl,” said Junghans. “Every single piece of the Lexus Lounge was built with the idea of the space being a one-of-a-kind opportunity for our guests, and the inclusion of the LED board is no different, it is a key feature of the space.”

 

For more information on PixelFLEX and its growing line of lightweight LED video screens, visit PixelFLEXLED.com. Follow PixelFLEX at www.Facebook.com/PixelFLEXUSA and @LEDCurtain.

For more information on the Bridgestone Arena Lexus Lounge, visit BridgestoneArena.com.

For the full portfolio stories, visit the Lexus Lounge and the Nissan SoBro Entrance.

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