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Press Releases For : February 3, 2015

Kensington Addresses the Challenges of Securing Enterprise BYOD with Its Industry-Leading Physical Security Solutions; more than 132 Million Feet of Computer Locks Sold


Leading Analyst Paper Validates the Need for Security Locks as First-Line-of-Defense in Overall Security Strategy

Redwood Shores, CA, February 3, 2015 – Kensington, a worldwide leader in delivering smart. safe. simple. computing accessories, today announced it has sold more than 132 million feet of computer locks, enough to stretch around the world. In September, the company revealed it had sold 20 million units of its comprehensive family of security products for mobile devices and PCs, a figure representing a 70 percent market share. As the trend of Bring Your Own Device (BYOD) continues to build momentum, Kensington is well-positioned to capitalize on the growing concern around computing and security issues.

Research shows that the BYOD phenomenon continues to grow. In a recent IDC survey of U.S-based IT buyers, fully one-third said their company had already instituted a formal BYOD policy, and another 19 percent said they expected to institute a formal policy in the near term. The survey also revealed that informal support is notably higher and that while BYOD comes with many positive features, it poses daunting security challenges for even the best IT organizations.

In a recently published Analyst Connection, “The Role of Physical Security in a BYOD World,” (January 2015) IDC addresses the proliferation of BYOD and the role that physical security plays in an overall security strategy. IT departments are expected to secure a variety of notebooks and desktops, as well as phones and tablets running a wide range of operating systems. Left to their own devices, many people fail to follow even the most simple and straightforward security measures. As mobile devices proliferate, IDC expects physical security, such as device locking mechanisms, to become equally important in this domain. The paper, available on Kensington’s web site at kensington.com/IDCBYOD, outlines available solutions and best practices for implementing physical security.

“With more than two decades of experience providing security products, Kensington has a keen understanding of the first-line-of-defense requirements for protecting laptops, tablets and smartphones,” said Louie Yao, Global Product Marketing Manager, Kensington. “The demand for physical security and BYOD security peace-of-mind will only continue to grow for devices and the data they store. BYOD is becoming increasingly prevalent, as are the heightened number of data breaches among industry-leading brands. We continue to lead innovation in this market, most recently with the introduction of the new MiniSaver Mobile Lock, the thinnest security lock for Ultrabooks and tablets, and the new patented Cleat Locking Design. Kensington will continue to build on what has become known as the industry standard for physical security.”

Kensington is the market leader in locking-slot specifications, locking technology and physical device locks. With more than 20 million security locks sold and integrated into over 1 billion notebooks, projectors and tablets since 1990, Kensington is the de facto standard in security slot technology. For more than 20 years, Kensington has delivered security products to businesses, large and small, including leading retailers, telecommunications companies, health providers and global financial institutions — as well as the technology manufacturers that supply them.

Over its history, Kensington has delivered security products that are compatible with nearly every major device manufacturer — including Dell®, HP®, Lenovo®, Toshiba®, and Samsung®. In fact, 95 percent of all business laptops, incorporate the Kensington Security Slot.

Tweet this: @Kensington Set to Capitalize on #BYOD and the Role of Physical Security Device Security – download the IDC Analyst Connection kensington.com/IDCBYOD

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About Kensington

Kensington, a leader in smart. safe. simple. computing accessories is the recognized industry standard trusted by enterprises around the world. Kensington’s mobile security product offerings include laptop and mobile security locks providing a new generation of front-line protection for mobile devices. In addition, Kensington offers accessories including power adapters, chargers, mice, keyboards, trackballs, universal docking stations, desktop accessories, carrying cases and iPad/iPhone/iPod accessories. Headquartered in Redwood Shores, California, Kensington is the technology division of ACCO Brands (NYSE: ACCO), a world leader in branded office products, with products marketed in more than 100 countries across the globe. For more information, visit http://www.kensington.com or call Kensington toll-free at 1-800-235-6708.

Kensington is a registered trademark of ACCO Brands. MiniSaver, cleat, smart. safe. simple. is a trademark of ACCO Brands. Patents pending. All other registered and unregistered trademarks are the property of their respective owners.

© 2015 Kensington Computer Products Group, a division of ACCO Brands. All rights reserved.


http://www.kensington.com/us/us/n/3699/1211/kensington-addresses-the-challenges-of-securing-enterprise-byod-with-its-industry-leading-physical-security-solutions – .VNEBU2TF_ZU

Worth the Wait: LA’s Regent Theater Is Reborn With HARMAN Professional Audio System

HARMAN_RegentLOS ANGELES, California — All things come to those who wait, as Mitchell Frank can attest. Owner of the newly revived Regent Theater in downtown Los Angeles, it took Frank almost 10 years of dreaming about it, acquiring a long-term lease for it in February 2012, then waiting through 19 months of construction before the Regent finally reopened last November as a premier venue in LA’s reemerging downtown music scene. Originally built in the 1920s, the 1,100-capacity venue has been renovated with an eclectic combination of preserved historic architectural details and up to the minute furnishings and amenities – including a HARMAN Professional audio system based around JBL VTX Series line arrays and Crown I-Tech HD Series amplifiers.

Frank took an unusually hands-on approach in the sound system upgrade – in fact, the system install was done in-house, without the services of an outside contractor. Frank relied on the help of JBL’s Paul Bauman, but already had a clear vision of what he wanted for the Regent, having worked for many years as, among other things, a concert and event producer and currently owner of Spaceland Productions. “I’ve always been a fan of the VERTEC® line arrays. When I first learned about the top of the line JBL VTX Series I knew we wanted to be first in line to have the rig installed here.”

The Regent Theater’s VTX complement includes six V20 line array elements and four STX 828S dual-18-inch subwoofers on each side of the stage, augmented by four JBL AC26 2-way compact speakers for front fill, two PRX735 3-way full-range speakers used as side fills and an even dozen VRX915M 2-way 15-inch stage monitors. Six Crown I-Tech 4x3500HD amplifiers power the main left/right line arrays, three Crown I-Tech 12000HD amps drive the subwoofers and four 4x3500HD amps handle the stage monitors.

The Regent has a main floor that slopes to the stage and a newly built second-floor mezzanine level and Frank finds the VTX arrays deliver wide, even, controlled coverage to both levels. “The VTX line arrays are relatively compact, but really powerful and clean and it’s amazing how much space they can cover, and do it so well. We did not have to install separate speakers for the mezzanine.” Frank notes the Regent hosts an eclectic variety of music and the speakers, subs and amps can go from pounding yet completely undistorted deep bass on the venue’s dance music nights a to delicate, nuanced and sonically layered ‘high-fidelity’ presentation for acoustic-based acts.

The Crown amplifiers also helped to simplify the system design. “The I-Tech 4x3500HD is incredible. The amplifier’s built-in processing and ability to be matched to the VTX arrays and the stage monitors saved us space because the loudspeaker management technology is all in the amps. We didn’t have to add outboard hardware for this functionality and JBL HiQnet Performance ManagerTM software provides a great control and monitoring interface.”

Frank is doing some final fine-tuning of the venue with acoustic treatment. “We’re dampening up the room just a bit and just kind of tightening it up, but it’s been pretty much ready to go. We’ve had 10 shows already and everything sounds great.”

Paul Bauman noted, “The advantages of the HARMAN JBL VTX and I-Tech HD system really shine in applications like the Regent Theater. Until the advent of these products it would have been impossible to implement a sound system in this kind of venue that was this streamlined in configuration, yet could be so precisely fine tuned. The performance of the VTX/I-Tech HD system has immediately taken the Regent to being one of the premier music venues in LA.”

“The combination of VTX and I-Tech HD is like a one-two sonic punch,” Frank added. “It’s so clear, and each frequency range is nicely slotted and defined. With this JBL and Crown system, I finally feel like I’m in the 21st Century!”

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

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TNDV Provides Turnkey Mobile Production for Debut of “Skyville Live” Music Series

Multiple camera feeds, real-time social media integration and three live streams among the key production initiatives for the live music series

NASHVILLE, February 3, 2015 — Mobile production specialist TNDV lent its video and audio expertise to the debut of Skyville Live, a new monthly music series streamed exclusively online to audiences worldwide from Skyville Live studios located the heart of Nashville. The series provides music lovers with an unprecedented live music series, bringing together today’s hottest stars in a unique and interactive way in front of an intimate audience—usually around 100 attendees.

Skyville Live Master Control

Beyond bringing its Elevation truck to the event, TNDV provided crewing and streaming services for the premiere event, which featured performances from Gladys Knight, Martina McBride and R&B artist Estelle. TNDV’s turnkey services incorporated a significant, interactive social media element to the program, using Renewed Vision’s Pro Presenter 5 software to generate a real-time administered Twitter feed in full-screen and lower-third formats.

“The debut of Skyville Live required a turnkey mobile production service to support several live, broadcast-quality web streams, along with a full crew to capture multiple camera angles for future use in post-production,” said Nic Dugger, owner and president, TNDV. “This shoot required a great deal of creative skill to capture the intimacy of the performances, and utilized our technology, expertise and crewing to achieve the desired production results.”

The eight-camera shoot captured the event from three perspectives for the live webcast, which was supported using TNDV’s signal encoding infrastructure on board Elevation; and multiplatform streaming delivery from Blue Scout Media, a CDN based in Texas. Viewers could switch between the live performances, captured using six Hitachi HD1000 cameras; a robotic camera following the production team working on Elevation; and a separate robotic camera to capture the performances from the backstage vantage point. All HD streams delivered a live multichannel audio mix produced on board Elevation.

TNDV additionally employed its Aja KiPro video recorders and ProTools audio recording system to capture the feeds for post-production. All multi-camera, multi-tracked content was delivered to Skyville Live producers following the event, with the goal of distributing a program to media outlets in the near future.

TNDV’s mobile production experience with programs such as Bluegrass Underground, a live performance series seen on PBS, and CMT Backstage were among the key reasons the Skyville Live team selected TNDV to deliver a full range of services beyond a standard mobile production shoot.

“We needed a full-service company like TNDV to capture the true essence of what Skyville Live is about: bringing a mix of iconic acts, popular artists and emerging stars performing in an intimate setting to a worldwide audience using digital media platforms,” said Wally Wilson, Executive Producer, Skyville Live. “With music being at the forefront of the Skyville Live online experience, high-quality audio is one of the most important elements we looked for when considering production partners.”

ABOUT TNDV: Television

Formed in 2004, TNDV: Television represents the culmination of over 22 years of broadcast and live production for Nic Dugger, owner and president; and his staff of full time engineers. TNDV produces events from small single-camera productions all the way up to multi-million dollar international TV events, and takes pride in building custom solutions for challenging productions of any size, in any situation. Recent projects include the live concert productions at the NCAA Final Four, the Re/Max Long Drive Challenge on ESPN, and for the first time in broadcasting history TNDV produced the 2014 Hat Trick of Country Music Award show red carpet specials, including the CMA Awards, the CMT Awards, and the ACM Awards. Please call 615-585-6528 or visit www.tndv.com for more information.

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Matrox Products to Drive Video Walls and Deliver Video Wall Content throughout Integrated Systems Europe 2015

Matrox multi-display graphics cards, video wall controller boards and H.264 encoders will be featured in action by Advantech, Bilfinger Mauell, Scala and VuWall

Matrox® Graphics Inc. today announced that a variety of Matrox products will be featured on third-party stands at ISE 2015 (Amsterdam RAI, Feb. 10-12). Matrox C-Series™ multi-display graphics cards will be used with Scala digital signage software to play content developed by Pixel Inspiration. Matrox Mura™ MPX video wall controller boards will be used by Advantech and VuWall to drive a variety of video wall configurations. Matrox Maevex™ 5100 Series H.264 encoders will be used by Bilfinger Mauell and VuWall to encode video over IP for delivery to their video wall controller systems. The Matrox products will also be featured on the Matrox stand 11-F68.


Advantech Europe B.V. — Mitsubishi stand 2-A24
Advantech integrates industrial video wall control systems which can incorporate up to 10 Matrox Mura MPX capture and display boards. The AVS-540 pre-configured system fits up to five PCIe x16 Mura MPX cards, allowing for a maximum of twenty video source inputs and twenty high-quality outputs. For example, in a factory control room, inputs could be connected to surveillance system NVR machines, to CCTV cameras monitoring equipment, to operator workstations running various applications and to servers running SCADA software for display on a video wall. At ISE, Advantech will show a live demonstration of the AVS-540 being controlled by VuWall video wall management software.

Bilfinger Mauell GmbH — Mitsubishi stand 2-A24
Bilfinger Mauell ME multiView X omnium provides monitoring and operation management of visualization systems in control rooms, network operation centers and data centers. It captures diverse sources including applications, desktops, cameras and graphics signals directly from such sources as PCs and DVRs via an IP network. Matrox MaevexAV-over-IP encoders will be used to stream Full HD 1080p60 video at low-bandwidth over an IP network for display on a video wall.

Scala B.V. — stand 8-F195
Scala software will be used to play content developed by Pixel Inspiration on a 2×3 digital signage wall powered by a Matrox C680 graphics card. Scala has a passion for creating intelligent digital signage solutions that move products, consumers, and employees. Driving more than 500,000 screens worldwide, Scala solutions increase sales, improve brand loyalty, optimize the customer experience, and reinforce business objectives.

VuWall Technology — stand 8-H330
VuWall collaborative visualization software will drive a 3×3 digital signage video wall powered by Matrox Mura MPX cards. VuWall software takes advantage of the latest Mura Network API to provide a timeline tool to program and manage simple transitions and an intuitive scripting tool that lets user quickly create more complex and dynamic scenes. Matrox Maevex AV-over-IP encoders will be used to stream Full HD 1080p60 video at low bandwidth over an IP network for display on the video wall. Matrox Avio fiber optic KVM extenders will be used to extend video, keyboard and mouse from a centrally located, racked system to an operator station.

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

Haivision Continues EMEA Expansion with New Customer Wins, Expanded Headquarters in Germany, and Increased Sales and Channel Support

New Customers Include Airbus, CAE, London Metropolitan Police, Macmillan Publishers and RSM International

Haivision, an enterprise video technology company, today announced continued momentum in EMEA (Europe, the Middle East and Africa) with a number of new customers, expanded headquarters in Germany and increased sales and channel support in the United Kingdom, Netherlands, and France. Haivision will be exhibiting the company’s enterprise media and streaming solutions at Integrated Systems Europe (ISE) 2015 at the Amsterdam RAI from February 10-12 (stand 6-M174).

Across the globe, Haivision video solutions power a wide range of video applications for enterprise, education, medical, broadcast, and government organizations. In the last year, Haivision has provided a growing number of companies in the EMEA region with enterprise-grade solutions for broadcast backhaul, training and assessment, enterprise communications and intelligence, surveillance and reconnaissance (ISR).

New customers include Airbus, CAE, DNB Bank, Exact Software, London Metropolitan Police, Macmillan Publishers, Press Association, Nordia Bank, NPAS (National Police Air Service), RaboBank, Red Bee Media, RSM International, Sagem, Swedbank and UPM. The recent expansion of the German headquarters and sales leadership additions have also reinforced Haivision’s commitment to enhancing international support for its channel partners and customers.

“There has been tremendous demand for enterprise video solutions in the EMEA market,” said Mirko Wicha, President and CEO of Haivision. “With our expanded headquarters in Germany, we’re bringing increased sales support and research and development to give our customers the best support and experience so they can work better with video.”

About Haivision

Haivision delivers end-to-end solutions for streaming, encoding, recording, managing, and distributing secure video and interactive media within the enterprise, education, medical, government and broadcast industries. Recognized as one of the most influential companies in video by Streaming Media, Haivision is headquartered in Montreal and Chicago with regional offices in Austin, Tx; Atlanta, Ga.; Portland, Or.; Washington D.C. and Hamburg, Germany. With a global sales and support organization, Haivision distributes its products through value-added resellers, system integrators, distributors, and OEMs worldwide. More information is available at www.haivision.com.

Twitter: www.twitter.com/haivision
Facebook: www.facebook.com/haivision
LinkedIn: www.linkedin.com/company/haivision

Haivision Press Contact:
Jennifer Gazin
PR and Communications Manager
Tel: +1 (514) 334-5445

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Sony PXW-X180 Is “Note Perfect” for Music Benefit Concert Film and Documentary

Notes for Notes®” has a unique mission:  designing, equipping, and staffing free after-school recording studios inside Boys & Girls Clubs. These “drop-in” recording studio environments give youth aged six to 18 the opportunity to explore, create and record music – from engineering and theory to instrumentals and songwriting. The non-profit organization recently held its annual benefit concert with Santa Barbara-based Seymour Duncan to support its efforts, assembling a power line-up of music greats, including Joe Bonamassa, Jimmy Vivino & the Basic Cable Band, Laith Al-Saadi, Robben Ford, Rich Robinson, Peter Noone, Shari Puorto and Seymour Duncan.

Interview with Martin Gore (Depeche Mode) for Notes for Notes' This is Eleven documentary

Interview with Martin Gore (Depeche Mode) for Notes for Notes’ This is Eleven documentary

Notes for Notes also got some support of its own from Sony’s PXW-X180 pro camcorder, which was used to capture the concert for an upcoming promotional film about the benefit. Separately, Notes for Notes also used the Sony camcorder to shoot interviews with noted artists about their personal music –life moments for a documentary called “This is Eleven.” Here, N4N’s Philip Gilley, N4N CEO/co-founder; Seamus Frawley, Director; and Rocker Meadows, the DP for this project, talk about their experiences shooting both pieces with the Sony PXW-X180.


Shooting live events always presents a unique set of production challenges. What did you encounter on this project, and how did the X180 help?

Seamus Frawley (SF): We were shooting in a concert environment where we didn’t have any control over the lighting, where our subjects were going to be, or even where we could be positioned. First and foremost, this event was about raising money for the organization. The people that paid to see the show wanted to enjoy the show without having their experience interrupted by a film crew. It was really important that we didn’t negatively impact that experience.

Rocker Meadows (RM): The size of this camera and the length of the reach of the zoom were fantastic. The fact that it has focus stops was great. The image quality was great, the ability to turn the gain up and be able to get shots in low light – all that helped us do what we needed to do.


Did you evaluate other cameras before choosing the PXW-X180?  

RM: We looked at a range of cameras, including larger-format models. A camera is a tool. I’ve been doing this nearly 30 years as a cameraman and I would never pick any one camera for every job. A camera for me is always dictated by the parameters of the project.  For this project, the X180 was the perfect tool for what we were doing.   This camera is simple to operate, and very user-friendly. You can put a follow focus on it because it has the lens stops. It has all the right buttons in familiar places. You can put it on a tripod and get really good, balanced audio in. You can upload the content into a format that’s almost instantly digestible by the editing team.   When we started to evaluate cameras for this project, one question that came up [about the X180] was “why is Sony making a one-third inch camera. Isn’t everybody else going bigger?” That might be true, but in this case, for what we do, a one-third inch chip was a great choice. I would not have wanted a bigger chip because it makes everything related to grabbing images that you don’t have control over much more difficult. It requires you to have bigger lenses, it means focus is shallower – everything is much harder. So while the industry may be moving away from one-third, [Sony] is making a product that really fills the bill here.


What did you like about the camera?

RM: The images weren’t too “contrast-y.” You see deep enough into the shadows and the highlights held really nicely. We didn’t have to pump up the gain so much, which is great because eventually you end up losing detail in your shadows because you’re trying to get some kind of lighting control over the image. It worked out really well. I was able to get images that were very pleasing, especially in a situation where we didn’t have much control. That’s always a challenge and I think that this camera is great for that type of shooting.   The camera menus themselves are very well-designed. I could find where I wanted to go even though I wasn’t totally familiar with the layout. I could easily navigate my way toward where I wanted to go and what I wanted to do.


Were you able to be flexible and inconspicuous, while still getting the shots you needed?  

RM: Yes, the cameras handled very well. Their size was great for this type of job where you have to be fast-moving and out of the way; a little non-descript. You don’t want to be there with a gigantic rig; you want to be incognito and still get amazing pictures. This is a great tool for that.


What type of footage were you shooting for these project?  

RM: We were shooting concert footage [for the promotional film] ; a lot of run-and-gun type of production; and interviews [for “This is Eleven]. For the concert, we used three X180’s: one each at stage left and right, and then one at the FOH soundboard basically centerstage in the middle of the venue.


Talk about the different shooting conditions.  

RM: The first night was a concert. It was all interior shooting. It was typical concert lighting so we had to deal with everything from the very bright highlights to areas with virtually no light at all. We had some musicians in the spotlight and others in varying intensities of other colored lights.   There was a lot of variable color temperature. The lights would go brighter and dimmer at any old time they felt like it. We could never depend on one constant lighting situation.  It was all tungsten lighting so all the lights started as tungsten at 3200 kelvin and they were colored with different gels. We balanced the cameras at 3200, and shot some of it in the median gain setting, but mostly with the iris a little bit closed down; not completely wide open.   The interview footage was shot inside a recording studio in Santa Barbara. For that we used LED lights that were balanced to 5600. That lighting was much more balanced and even because we had control over it.


How did the camera adapt to different lighting – bright lights, low lights. How did it perform under varying elements?  

RM: The camera performed great. The general rule is you protect for your highlights to keep things from clipping. So it was very easy to set the camera up for that. It handled the bright lights really well and it has good latitude going into the shadows. It handled the changing intensities and the colors very well. It makes a very pleasing picture.


It was compact, high quality, flexible – everything you wanted in one camera for this project?

RM: Absolutely. For this project, something that was small, compact, lightweight and made a great picture was the perfect combination. This camera delivered all that exceptionally well.   I found the ergonomics to be very good. Two of our cameras were on tripods for the concert, and I used one on a monopod. Because this camera is so nice and nimble, I was able to manage that easily. If it had been a larger format camera, I couldn’t have done it. But even on the monopod I could go all the way to the end of the lens. I could stabilize myself against a pillar or even just hold the camera on the monopod and it still worked really well. I don’t think you could do that with many other cameras.


Any final thoughts on the concert and using the Sony PXW-X180?  

Philip Gilley (PG): It’s very exciting for me and for us as an organization, to not only do what we do but to also have the opportunity to introduce an exciting new technology like this camcorder to our team and even to the youth we serve. We’ve always been focused on audio but video is an equally important component as well, and this project let us dance in both worlds and perhaps expand into making accompanying music videos.   This is the fourth year we’ve done this type of concert, and we’ve really raised our game each time, both in terms of what we’re able to raise financially, and also our level of production value.  A big part of putting together next year’s show is being able to show potential artists this year’s lineup, what we did and how well we’re able to showcase the artists’ talent. And then we can attract talent for the next show with a great-looking, visually exciting piece. Using such an advanced but easy-to-use camera like this is invaluable in that process.


What are your plans for the footage you shot?

PG: We’ll put together a few different pieces that we can use not only as a marketing tool, but as an archival piece for our organization. It’s just so rewarding to be able to highlight the stories of our youth. We sent one of them from Nashville out to California to be part of the concert’s opening, playing a set with Jimmy. It was his first time on a plane, and his mom’s first plane trip in 30 years! Now we have great footage of him at his very first concert performing with rock stars to a sold-out crowd. It was so crucial for us to have awesome footage to document that and we couldn’t have done that without Sony’s help and these cameras.


NOTE: With the initial phase of production on the documentary complete, Notes for Notes is gearing up to shoot more footage and is exploring using a crowdfunding campaign to help fund the remainder of the production. The team there says, the finished piece is sure to amaze and all that can be said at this point is that “it goes to 11!”  To learn more about Notes for Notes® and the upcoming documentary please visit notesfornotes.org.

Justin Ruka Joins Alcorn McBride as Support Technologist

RukaAlcorn McBride is pleased to announce that Justin Ruka has joined the company as a Support Technologist. His hiring follows other recent additions to the growing staff roster at Alcorn McBride, the leading manufacturer of show control, audio and video equipment for the themed entertainment.

Scott Harkless, Alcorn McBride’s Director of Sales, met Justin at an event held by the Themed Entertainment Association (TEA). The TEA is an international non-profit association representing the world’s leading creators, developers, designers and producers of compelling places and experiences. Justin was a member of the association’s NextGen program which helps students and recent graduates break into the industry.

“We are very happy to welcome Justin on board,” says Harkless. “He has the perfect combination of personality and talent, making him an ideal match for our unique company culture. We are grateful to the TEA for making this connection and expect him to be a big asset to our team.”

A 2013 graduate of Lakeland College with a B.A. in Computer Science, Ruka worked in a number of positions at the Walt Disney World Resort in Orlando before joining Alcorn McBride as a Software Engineering intern last fall. His internship led to his full-time appointment as Support Technologist.

As a self-described creative technologist and futurist who loves the themed entertainment industry, Ruka says his new post combines many of his favorite pursuits. “After graduation, I had hopes of making my way into a creative, technology-oriented role in the themed entertainment industry,” he says. “I’ve had the opportunity to work in one of the most visited entertainment destinations in the world, Walt Disney World Resort, and I was privileged to be on the opening operational team of ‘Harry Potter and the Escape from Gringotts’ in Diagon Alley at Universal Studios Florida. Now, I’m proud to have joined the wonderful and talented team at Alcorn McBride.

“Technology is the perfect complement to my fascination with the themed entertainment industry, as it is being used more and more in both high-end destination and local attractions.”

About Alcorn McBride:
Founded in 1986, Alcorn McBride is the leading manufacturer of show control, audio and video equipment for the themed entertainment industry, and a rapidly growing provider of audio and video systems for retail environments and transportation applications. Staffed by some of the industry’s best engineers and backed by outstanding customer support, the company has demonstrated great agility in bringing new designs to market. A hallmark of Alcorn McBride products is their durable, zero maintenance design. The company’s products provide consistent, reliable operation for audio and video playback applications worldwide. For more information, visit www.alcorn.com.

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Cabletime unveils new MediaStar synchronisation feature at ISE 2015

Cabletime Synchronisation FeatureWith just one week to go before Integrated Systems Europe (10-12 February 2015, RAI, Amsterdam) opens its doors, Cabletime has announced that it will be launching and demonstrating a significant new product feature – synchronised live video streaming. The new enhancement to the company’s popular IPTV distribution solution, MediaStar, will provide intelligent and auto-adaptive synchronised play-out of any live video stream regardless of the number of screens being used.

“This is a significant development, which we are excited to be showing for the first time at ISE,” said Mike Cuckow, Sales Director, EMEA Asia Pacific at Cabletime. “There has long been an issue around accurately synching video and audio delivered over IP to multiple screens. The feature, which will be incorporated in all new products, and will be easily upgradeable by existing users of MediaStar, will ensure that both the video and audio on multiple screens are fully harmonised.”

Digital signage and support for 4K
Along with presentations (on booth 10-P116) of the new synchronised live video streaming feature, Cabletime will also be demonstrating its digital signage platform which now supports 4K, multi-zones and advanced browsing.

New MPEG Encoder
The new, competitively priced MediaStar Multi-Format Encoder (785-I) will be shown for the first time at ISE. This robust, solid state standalone unit has an MPEG2/H264 and HLS encoding capability and a unique auto-select input facility for all baseband, component, HDMI and SDI sources. Its compact size, low power consumption and input flexibility makes it the ideal solution for use in live events, theatres and presentations as well as for mobile camera applications. The 785 also features Power over Ethernet, so no PSU is required when connected to PoE switches and measures just 215 x 133 x 35 mm.

LDAP Security
Updates to Media Manager, Cabletime’s core schedule, control and monitoring software, will also be showing, including the latest security solution supporting LDAP/Active Directory; and changes to delegated administration rights, enabling a Global System Administrator to selectively delegate sub administration capability to regional offices, departments or individuals.

The Cabletime team is hosting a drinks reception on its booth (10-P116) on Tuesday 10th February at 4.30pm; and also welcomes visitors to charge their smartphones and refresh themselves with English tea, freshly ground coffee and fresh milk throughout the show.

The MediaStar range provides TV/AV and multimedia distribution products primarily for medium to large enterprises, which require future-proof, stable and proven solutions for live TV, corporate communications, multicasts, music TV, training and digital signage.

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Highland Park Baptist Church Prepares for the Future with Danley Speakers and Ashly Processing and Amps

HighlandPark_Church_InteriorCOLUMBIA, TENNESSEE: As it approached its hundred-year anniversary as a congregation, Highland Park Baptist Church in Columbia, Tennessee sought to revamp its four hundred-seat sanctuary. It hired Church Interiors of High Point, North Carolina to help design and organize the work, which included structural and aesthetic improvements, as well as a new Sharp/Extron video system based around three huge LED screens and a cutting-edge sound reinforcement system. Now, Danley Sound Labs horn-loaded loudspeakers and subwoofers deliver musical and highly intelligible sound, with power and processing supplied by rock-solid Ashly Audio amplifiers and digital signal processors. The sound system is zero compromise, exceeding Highland Park’s hopes for fidelity and quality while still meeting their budgetary requirements.

“Highland Park’s old sound system had an undersized sixteen-channel board and frustratingly uneven coverage,” explained Wayne McKinney, sales engineer with Church Interiors. “They have solidly traditional services with a strong choir, piano, and organ, but they’re looking to incorporate more contemporary elements. They needed the new sound system to deliver better coverage and intelligibility for their existing program material and to facilitate (and not hinder) their anticipated growth.” Although McKinney was able to repurpose or reuse some of the old system’s components, such as a CD player, a CD recorder, and several up-to-date wireless microphones, most of the system had to be replaced.

HighlandPark_Church_Speakers“We ran several models and found that Danley loudspeakers and subs gave us much better coverage with significantly fewer boxes than the alternatives,” continued McKinney. “The performance would be better, particularly in terms of pattern control, and the cost would be lower. You can’t beat that. Moreover, the fewer Danley boxes give an overall cleaner look. It’s neat and tidy. Because the sanctuary has an over-balcony and an under-balcony, we used a delay system to supplement the main cluster.” Two flagship Danley SH-50s provide main seating coverage from above the stage, with a Danley TH-118 subwoofer mounted in the organ chamber for low-end support. Two delayed Danley SH-Micros cover the lower balcony while three cover the upper balcony.

Two Ashly 4.8SP four-by-eight Protea™ DSP system processors handle the output from an Allen & Heath GLD 112 console to deliver the perfect dynamics and frequency domain characteristics for the Danley loudspeakers and subwoofer. Six dual-channel, 1,000-watt-per-channel Ashly KLR-2000 amplifiers and three dual-channel, 1,600-watts-per-channel Ashly KLR-3200 amplifiers power the system. “I’ve been a fan of Ashly processing and power for over twenty years,” said McKinney. “They’ve always maintained excellent build quality and always come through with knowledgeable, fast customer service. The Ashly KLR-Series amplifiers give the Danley system the punch it needs at a very competitive price point. The Ashly processing is super easy to use, and all of the algorithms are transparent.”

With its newly renovated sanctuary up and running, Highland Park Baptist Church is well positioned for its next century of service.

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 40-year old company is headquartered in Webster, New York U.S.A. www.ashly.com

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology. www.danleysoundlabs.com

Press Releases For : February 2, 2015

Tropical Oasis Houses API 1608 in Studio Getaway

Gileah_Chris_TaylorDESTIN, FLORIDA: Destin, Florida, already a destination getaway, is now even better thanks to the efforts of Ocean Reef Resorts owner and recording artist Chris Taylor, who recently added a private studio to the Miramar Beach location. He and his wife, Gileah, wanted a place to record music and experiment with sound without leaving their beach-side home and they knew API could help them create such a unique space. The idea was especially attractive because it eliminated the need for them to travel to Nashville or Los Angeles as they had in the past to achieve high-quality recordings.

The new studio is set apart not only because of its location, but also because the Taylors want it to remain private for as long as possible. “The resort is a family-owned business but this is just going to be for me and my wife. Hopefully it won’t ever have to become a commercial space.” Instead, Taylor hopes that if others come to use the studio, they will find it relaxing and rejuvenating. “We’d like to host writers’ retreats for specific people down at the beach. It’s really, really cool to just hang out, and it’s beautiful inside.” The space is currently unnamed, though the Taylors unofficially refer to it as “War Horse Studio.”

Taylor started considering the API 1608 for himself around 2007. “I was tracking a record of my own at EMI in Nashville and Allen Salmon had a lunchbox® and some of the [API] EQs. I thought it was really powerful and from then on I started noticing API everywhere!” By the time Taylor tested the 1608 at Vintage King’s demo facility in Nashville, he knew he’d need one of his own. “The time frame and the footprint on the 1608 impressed me more than others I was considering, but it was really as simple as using one. It’s easy to work with and that’s the whole goal!” The 1608 is not Taylor’s only piece of API gear; he also has an 8-slot lunchbox and a JDK R22 compressor, and he says ease-of-use is a shared trait among his API equipment. “With the lunchbox, I have EQs and compressors loaded in, and recording is as easy as just turning it on.” He adds, “You can tell the 1608 is a solidly built piece of gear. It’s like having a Range Rover parked out front.”

For more please see chrisandgileah.com and oceanreefresorts.com

ABOUT API (AUTOMATED PROCESSES, INC.) Established 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608, and THE BOX recording consoles, as well as its classic line of modular signal processing equipment.



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