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Press Releases For : July 14, 2014

Meyer Sound Adds Oskar Meijer to European Technical Support Team

Meyer Sound has strengthened its European technical services with the appointment of Oskar Meijer as Senior Technical Support Specialist. Meijer brings a wealth of field experience working with Meyer Sound products, including the newest LEO™ Family of line array systems.

In his new position, Meijer will support Meyer Sound’s European customers in the design and optimization of loudspeaker and digital audio systems, on-site project commissioning, and after-sale customer training. He will work closely with the technical support teams in Europe and at the company’s Berkeley, Calif. headquarters.

Meijer has more than 20 years of experience in the design, configuration, and commissioning of complex audio systems, and has worked as a stage technician, ground rigger, and project manager. He has served as a lead systems technician at major European festivals such as Way Out West, Stockholm Music & Arts, and Kollenfest, as well as concerts by Ozzy Osbourne, Andrea Bocelli, John Fogerty, and Metallica.

“I have enjoyed using Meyer Sound equipment in my career, and have been a beneficiary of the company’s amazing technical support,” says Meijer. “From my experience working with LEO in the past two years, it is my honest opinion that there is no better tool in the market today when it comes to large-scale reinforcement. I look forward to bringing what I have learned to help other Meyer Sound users get the most out of their systems.”

Meijer will be based in Lund, Sweden, and can be reached at oskarm@meyersound.com.

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George Relles Sound’s New Meyer Sound LYON System Gets Stamp of Approval at Lee Brice Arena Concert

At a recent Lee Brice concert at the University of Oregon, George Relles Sound of Eugene, Ore. showcased its brand new Meyer Sound LYON™ linear sound reinforcement system. LYON gave a convincing performance that left an impression on Brice’s FOH engineer, Wayne Pauley, and affirmed owner George Relles’s investment decision.

“The LYON system was a real eye-opening experience,” says Pauley, who mixed Brice on a LYON system at the University of Oregon’s Matthew Knight Arena. “It has remarkable clarity and projection, and it seemed like everything was jumping out of the arrays right at you.”

Pauley also noticed how the linear performance of LYON changed his mixing approach. “I found I could get a well-defined mix that sounded louder than its true SPL. Everything came together so well that I was surprised when I looked over at the SPL meter.”

Relles’s purchase includes 14 LYON-M main and six LYON-W wide-coverage line array loudspeakers, adding to an arsenal that includes six 1100-LFC low-frequency control elements and a Galileo® Callisto™ loudspeaker management system.

One of the traits that first drew George Relles to LYON was its evenness of front-to-back coverage. “With some line arrays, as you get into the near field it doesn’t sound as good, so you have to cover it with front fills,” says Relles. “But with LYON, I was struck by how smooth it sounded when you got close. It was a marked difference from what I’ve heard from other systems.”

In addition to LYON’s sonic qualities, Relles adds that the system’s cost- and time-saving logistical benefits also contributed to his investment decision. “With LYON I can squeeze a lot more power into my limited truck space,” says Relles. “And when I get to the gig, flying is a breeze. I can put the LYONs in place in groups of four, lift them up, and they expand out to the preset angles, ready to lock into place. Everything goes up so quickly, it’s amazing.”

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Dennis Sands Selects Meyer Sound for Dolby Atmos Film Music Mixing Stage

Award-winning film sound engineer Dennis S. Sands has upgraded his Sound Waves SB studio with a Meyer Sound cinema loudspeaker system for mixing in Dolby Atmos. Located in Santa Barbara, Calif., Sands’s private studio is the first Dolby Atmos dubbing stage dedicated exclusively to native mixing of film music.

“I’d heard Meyer Sound systems at several well-known post-production studios,” says Sands. “I was immediately impressed with the quality of the sound, the accuracy, and the depth and richness of the entire soundtrack. It was obvious Meyer Sound was the direction to go for the studio.”

Sands’s monitoring system is anchored by three Acheron® 80 screen channel loudspeakers and two X-800C high-power and X-400C cinema subwoofers each. Perimeter and overhead reinforcement comprises 14 HMS-10 and 10 HMS-12 surround loudspeakers with IntelligentDC technology, while a Galileo® loudspeaker management system with one Galileo 408 processor supplies drive and equalization. The system was designed and installed by Ron Lagerlof of Los Angeles-based Visioneering Design Company in consultation with Andy Potvin of Dolby Laboratories.

“It’s easy to see why Dennis was pre-sold on Meyer Sound,” says Lagerlof. “The loudspeakers have extremely low distortion and accurate phase response. You hear exactly what’s there, and nothing else.”

Since installation, Sands has finished native Atmos film score mixes for “Mr. Peabody & Sherman” and the 2014 “Godzilla” reboot. He has also completed a 7.1 mix of “Maze Runner” and television mixes for the “Cosmos: A Spacetime Odyssey” series.

Originally built as a private dubbing stage for director Andrew Davis, Sands’s studio was designed by film sound legend Tomlinson Holman. The room features a 12-by-20-foot screen, a Euphonix System 5-MC DAW controller, a Euphonix CS3000 digitally controlled analog console, and four linked Pro Tools systems. A Focusrite RedNet 6 MADI bridge connects the Dolby Atmos RMU (Rendering and Mastering Unit) to a BSS SoundWeb London DSP system, which is used primarily for signal routing when switching from Atmos to 5.1 or 7.1 monitoring.

“People who have worked with me in the room before are very impressed with the improvement,” reports Sands. “Reactions have been uniformly positive. For me, the monitoring decision was a no-brainer. Everything I do here translates beautifully onto the dubbing stage.”

Dennis Sands has credits on nearly 300 feature films as a score mixer or re-recording mixer, earning four Academy Award nominations and winning two Cinema Audio Society Awards, including one for Lifetime Achievement.

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Cross Pointe Church in Georgia Upgrades to Meyer Sound MICA & 1100-LFC

Located inside a former Boeing missile factory building in Duluth, Ga., Cross Pointe Church has taken its worship experience to a new level with its recent upgrade to Meyer Sound MICA® line array loudspeakers and 1100-LFC low-frequency control elements. The new system replaces its trusty nine-year-old Meyer Sound CQ-2 loudspeaker system, which will continue to serve in a second Cross Pointe campus that will open in late 2014.

Alfred Burgess, pastor of worship and creative arts, reports that the MICA loudspeakers’ power and clarity was immediately noticeable. “After the first Sunday, our lead pastor Dr. James Merritt came up to me and said, ‘I’ve just had the best speaking experience of my life,’” says Burgess. “MICA has the coverage and the clarity we want, and now it’s really enjoyable to sit out here and listen.”

The new system includes main hangs of seven-each MICA loudspeakers, which provide uniform coverage for most of the 1,700-seat worship auditorium. Four UPM-1P loudspeakers and a single UPA-1P loudspeaker provide front and center fill, respectively, while four 1100-LFC loudspeakers arranged in left and right cardioid pairs supply low end. A Galileo® Callisto™ loudspeaker management system with two Galileo Callisto 616 array processors supplies drive and optimization.

System design and installation was handled by Tom Larrison of Norcross, Ga.-based Blue Hat Design, with assistance by Scott Clark and Joe Kimsey.

Burgess is also impressed by the 1100-LFC loudspeakers. “The low end is really amazing. It doesn’t just rumble at you like some other subwoofers. The sound is powerful, yet tight and clear.”

The new MICA installation is complemented by Avid Profile and D-Show consoles at FOH and montiors, respectively, Waves and McDSP processing plug-ins, and Shure PSM 1000 in-ear monitoring systems.

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RTW Announces Legacy Trade-In Program

Initiative Offers Exchange of Used RTW Devices at Exclusive Pricing

COLOGNE, JULY 14, 2014 – RTW, the market leader in visual audio meters and monitoring devices, has announced an extensive trade-in program. Customers will have the opportunity to exchange their existing inventory of legacy RTW devices for latest-generation products, which provide loudness metering in compliance with worldwide standards, at attractive pricing.

Through October 31, 2014, customers can return any number of functioning devices from the RTW Peakmeter, PortaMonitor, DigitalMonitor or SurroundMonitor ranges and purchase the same amount of new devices in any configuration at an extra discount of 10 percent. For additional details, customers are encouraged to call their dealers or systems vendors. They can also contact RTW directly.

“With the recent release of the new TM3-Primus, as well as our continuous license offerings for our TouchMonitors, we felt this was a good way to give customers the opportunity to upgrade to our latest products and innovations,” says Andreas Tweitmann, CEO, RTW. “The RTW trade-in program will help our customers experience new tools at a cost-effective price point.”

For more information about RTW’s trade-in/trade-up program, please visit www.rtw.de.

About RTW
RTW, based in Cologne (Germany), has nearly 50 years of experience in designing, producing, and marketing advanced recording-studio equipment, leading and innovating the market for high quality audio metering and monitoring tools. RTW operates a worldwide distribution and service network. For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130.

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MPR System Brings Series Surge Protection to Vertical Power Strips


Fairfield, NJ–– Middle Atlantic is expanding its Modular Power Raceway system to include surge protection capabilities with two exclusive benefits. The introduction of Series Protection™ modules for the MPR Series marks the industry’s first vertical power strip to offer series type non-degrading surge protection and its first fully configurable power solution to do the same.

The new Series Protection™ modules will also provide series type surge protection to all cascading modules in each circuit. A patent-pending technology, Series Protection™ is the fastest-responding series type surge suppression currently available.

The Modular Power Raceway system allows integrators to configure their own ETL-listed vertical power solution using off-the-shelf parts. Integrators now have the option of incorporating reliable surge protection into their custom power design. When installed as the first circuit within the power strip, these modules will extend that series type surge protection to all connected units that follow. In addition, the module sits on top of raceway channel, which allows circuit wiring between modules and unimpeded connection to the termination.

The new MPR modules join the Middle Atlantic family of rackmount and RackLink™ power products leveraging Series Protection™ technology. Modules are available in 15 or 20 amp configurations with outlet options being controlled or on when connected.

For technical specifications and in-depth information about Middle Atlantic Products, please see click to www.middleatlantic.com, or call 1.800.266.7225.

Middle Atlantic Products has been part of the Legrand group since its acquisition in 2011.

Legrand is the global specialist in electrical and digital building infrastructures. Its comprehensive offering of solutions for use in commercial, industrial and residential markets makes it a benchmark for customers worldwide. Innovation for a steady flow of new products with high added value and acquisitions are prime vectors for growth. Legrand reported sales of close to $5.8 billion in 2012. Legrand has a strong presence in the North American market, with a portfolio of well-known product lines that include Cablofil, Electrorack, Middle Atlantic, NuVo, On-Q, Ortronics, Pass & Seymour, Vantage, Watt Stopper and Wiremold. The company is listed on NYSE Euronext and is a component stock of indexes including the CAC40, FTSE4Good, MSCI World, ASPI and DJSI (ISIN code FR0010307819). www.legrand.us

DPA Shows Its New d:screet™ Necklace Microphones At IBC 2014

DPA Microphones has always been renowned for its ability to deliver superb audio, even in the most challenging conditions. Now, thanks to a new range of body worn microphones, the company has overcome the biggest challenge of all – how to give control of mic placement to non-technical actors or reality show contenstants without compromising sound quality.

DPA’s solution, which will be on show at IBC 2014, is the d:screet™ Omnidirectional Miniature Necklace Microphone – a cleverly designed mic that houses a legendary d:screet 4061 Omnidirectional Miniature Capsule in a soft rubber necklace.


“These microphones are perfect for situations where fast costume changes are necessary – or for reality TV shows where the contestants have to place microphones without help from a trained audio engineer,” says DPA’s CEO Christian Poulsen. “The necklace design ensures that the microphone sits in exactly the same place on the body every time, so there is no need for EQ-ing between different recordings.”

The d:screet Necklace Mic is already being used in the Danish adaptation of Big Brother and DPA anticipates plenty of interest from other reality TV productions. The mic comes in black, white and brown and in lengths of 47 or 53 com (18.3 or 20.9 inches).

At IBC 2014, DPA is exhibiting alongside its Dutch distributor Amptec on booth 8.D70. At 5pm every evening it will be holding a prize draw, which will give one lucky show visitor the opportunity to win a DPA d:screet Miniature or d:fine™ Headset Microphone. At that same time, the company will challenge one of its mics to see exactly how much stress it can withstand. Could it be used as a drumstick, for example? IBC visitors need only come along to 8:D70 at 5 pm to find out.

While there, they can also see DPA’s new heavy-duty d:screet™ 4060 Omnidirectional Miniature Microphones and classic d:screet 4060 Omnidirectional Miniature Mics with reinforced cable relief, making them even more durable for demanding use. These microphones satisfy market demand for high-quality sound combined with a highly-durable housing and cable.

“Incorporated on all d:screet Miniature Microphones, our new robust strain relief version brings much needed reassurance to people who are not used to handling miniatures,” Christian Poulsen adds.

The heavy-duty 4060 microphone is ideal for people who require even more security and for whom the visual appeal is of less importance. It is perfect for placement in rigorous filming situations, such as incorporated into a combat suit for a fight scene or under a horse saddle in a period piece. Featuring a stainless steel housing, sturdy cable relief and a thicker 2.2 mm (.09-inch) cable, both enhanced versions are exceptionally durable and ideally suited to the rigors of broadcast productions.

DPA will complete its IBC 2014 line-up with its new d:fine™ 66 and 88 Headset Microphones, which are ideal for broadcast productions with vocal performers who need to move freely without obstructions from a handheld mic or one on a stand.

Combining the flexible mechanics of DPA’s modern d:fine ear mount solution with the sound qualities of the legendary 4066 Omni and 4088 Cardioid headworn mics, the new d:fine™ 66 and 88 Headset Microphones join the original d:fine as well as the traditional 4066 and 4088 Miniature Headset Microphones under the company’s d:fine family. With so many sound handling and size options to choose from, DPA’s d:fine family now addresses every need that actors, musicians and singers face when working in a live television environment.

“There is a growing need for durable body worn microphone solutions with excellent sound reproduction for stringent use in live environments and similar settings,” Poulsen adds. “When we launched the d:fine Headset Microphones we believed that they would define a new generation of headsets. They have certainly met our expectations, which is why we have decided to expand the d:fine Headset Microphone series with this brilliant solution to give users a broad assortment of styles and features.”

For more information please visit DPA at IBC 2014. Hall 8, Stand D70.

-ends-

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

TNDV Upgrades Production Quality for University Graduation Ceremonies

Mobile production specialist captures, magnifies and streams Vanderbilt and University of Virginia commencements in HD

NASHVILLE, July 14, 2014 — Mobile production is most often associated with the world of sports and large entertainment events, but a growing contingent of non-broadcast organizations are looking to outside production teams to increase quality and expand audience reach.

TNDV recently brought its mobile production expertise to the campuses of Vanderbilt University in Nashville and the University of Virginia in Charlottesville, achieving these goals and more for their spring graduation ceremonies. TNDV transitioned both commencement productions to HD for the first time, vastly improving image magnification quality for the large attending crowds. The company also streamed the live ceremonies worldwide to ensure families, friends and alumni could tune in from anywhere.

According to Nic Dugger, owner and president of TNDV, an increasing number of his clients across education, government and corporate verticals are recognizing the quick return on investment that comes with upgrading the production quality and taking the event to an external audience.

“Universities like Vanderbilt and University of Virginia realize that commencement is the most crucial day to a student’s life,” said Dugger. “Graduation day sets the mood and tone to the student’s relationship with that university forever, and potentially influences future donations and ongoing involvement. They want every student’s family to be able to experience the event with them, whether onsite or online, with the visual and audio quality required for total immersion. It takes a professional mobile production crew and technology infrastructure to make that happen, especially when you are serving two very different audiences.”

TNDV built a true mobile production facility for each event, staffed with producers, directors, and a complement of switcher, graphics and playback operators. The staff positioned multiple Hitachi HD5000 cameras around the venues, feeding back to its Inspiration truck. On board, the signals were sweetened with graphics and audio, and routed to large LED screens on either side of the stage. Throughout the productions, TNDV staff monitored multiviewer feeds both on board and outside the truck, the latter of which lent a professional production atmosphere for attendees.

The team also positioned an array of audience microphones throughout the crowd to capture the energy of the event for online audiences. This replicated the in-person experience for those who couldn’t make the ceremonies. Additionally, all camera feeds from the ceremonies, as well as special events surrounding the commencements, were recorded to Aja KiPro banks for future university use.

For Dugger, the tricky nature of producing graduation ceremonies is that unlike a live performance, the emphasis is not on a single artist or small group of performers. Everyone involved is on equal footing, from guest speakers to the entire student body.

“The challenge across both the image magnification and live stream is to make sure that every student gets the recognition they deserve,” he said. “Every student’s name needs to be seen and heard clearly. Taking the leap to HD production makes that experience far more immersive, and ultimately more memorable. And these productions were truly what you would see for a full-blown live broadcast.”

ABOUT TNDV: Television
Formed in 2004, TNDV: Television represents the culmination of many 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 productions include the live concert productions at the NCAA Final Four, the 2013 Re/Max Long Drive Challenge on ESPN, and the inaugural season of Sing for Your Supper on PBS. Please call 615-585-6528 or visit www.tndv.com for more information.

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Martin Audio MLA™ Breaks Record At Glastonbury

Martin Audio’s groundbreaking Multi-Cellular Loudspeaker Array (MLA) system has made Glastonbury history by delivering the highest sound levels to the audience without exceeding noise pollution levels beyond the perimeter.

Making its Glastonbury debut, the system deployed on the Pyramid Stage was impressive in every respect, employing cabinets from the entire MLA™ range of loudspeakers. This comprised a total of 72 MLA for the main hangs, eight MLA Compact for stereo infill at the pit barrier and four delay positions of 14 MLA each. The latest addition to the range, the MLA Mini was also featured, providing stereo infill behind the FOH control structure and onstage coverage of artists’ guest viewing platforms. A massive broadside array of 38 MLX stretched across the entire width of the stage to provide sub-bass support to the entire system.

The company’s unique MLA technology enables very fine control of how each array covers its designated audience area. Their own amplifier and DSP channel, a total of six in each MLA independently control acoustic cells housed within each cabinet. This control allowed RG Jones system engineer Mark Edwards to specify exactly what SPL and frequency response was required across the audience, with the intelligent software automatically controlling the array to produce that result. This amounted to just a 6dB drop off over the 985 ft. long audience area, with incredibly even frequency response.

“We used our proprietary computer software to figure out how to drive each cell in each array to direct sound just at the audience, and then cut it off sharply just beyond the audience to dramatically reduce noise pollution,” says Martin Audio’s R&D Director Jason Baird. “As a result, headliners including Arcade Fire and Metallica could play at 104-105dBA – this is the first time such high levels have been achieved in the history of Glastonbury as noise limits are really strict.”

More than 150,000 fans listened to headline acts Metallica, Arcade Fire, and Kasabian, as well as The 1975, Elbow, Rudimental, Nitin Sawhney, and Dolly Parton, mixed on the MLA system.

Having persuaded the festival production in 2007 that RG Jones Sound Engineering was the right company to run audio services on the Pyramid Stage, Simon Honywill said, “I believed that MLA was the right system for the Pyramid since I first heard its extraordinary fidelity and learned about its unique abilities. Having used it at the past two Glastonbury Abbey shows, it was natural to suggest to Dick Tee and his team that it should take its rightful place on this iconic stage. I think it has more than proved itself here – I spent a considerable amount of time out in the audience and have never heard the field covered so well. And people in the crowd were openly complimentary about the volume and clarity too.”

There was also effervescent praise from the stream of FOH engineers over the weekend.

One of the biggest draws of the weekend was Metallica, engineered by Mick Hughes: “MLA is a new system to me, a new experience. I was surprised how easy it was to get the mix I wanted out of it. When I first used it I thought ‘whoa’ there’s some serious horsepower here. It just sounded really alive; I wouldn’t shy away from using it again.”

One of the most enigmatic performances was from Lana Del Ray, engineered by Max Bisgrove: “In half a song, I could get out what I needed from the MLA system. Great clarity, great power, it’s by far my favorite Glastonbury mixing experience so far.”

Dave McEwan, FOH sound engineer for Nitin Sawhney, remarked: “Glastonbury was the first time I’ve used the big MLA, and I’m really impressed – great imaging, 3D, even 4D sound. You can dive in and enjoy, it’s another sort of PA! I’m hoping to use this at the Royal Albert Hall for Nitin in September. I love it; it’s a great product, a super sounding system, lush and hi-fi, with lots of depth.”

The 1975’s engineer, Jamie McLuckie, adds: “At some festivals you have to tweak the bottom end, but MLA was nice and easy. The system sounded fat, with nice clarity and nice high end too. I couldn’t really fault it.”

For John Carroll, MD of RG Jones Sound Engineering, Glastonbury has been the affirmation of what he’s known for some time: “Martin Audio’s MLA is the next generation and there’s nothing out there to match it. Our continued support from Martin Audio is second to none.”

Summing up, Jason Baird says: “It was my career highlight back in 2008 working on our very first Glastonbury, but with MLA this year, it’s been topped. To see the massive audiences in complete unison front to back enjoying the performances, combined with the constant stream of smiling faces at FOH, it’s been the showcase for everything that Martin Audio and MLA stands for.”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

New Tobin Center for the Performing Arts Chooses Robert Juliat Followspots

When San Antonio’s Tobin Center for the Performing Arts opens in September, its H-E-B Performance Hall and Alvarez Family Studio Theater will boast Robert Juliat Cyrano and Buxie followspots, respectively.

The new Tobin Center rises behind the façade of the former San Antonio Municipal Auditorium along the famed River Walk downtown. The 1,750-seat multi-purpose house will be the home of the San Antonio Symphony and other resident companies; its inaugural 2014-15 season will feature such diverse performers as comedy legend Bill Cosby, radio icon Garrison Keillor and “The Prairie Home Companion” and the Scottish Ballet’s production of “A Streetcar Named Desire.”

The four-level H-E-B Performance Hall is the largest of the Tobin Center’s performance spaces; it has installed four Cyrano 2500W HMI followspots whose narrow beam angle makes them the perfect fixture for long throw distances. The Alvarez Family Studio Theater is a black box-style space with multiple seating arrangements; it has acquired a pair of Buxie 575W MSD ultra-compact followspots, which deliver a powerful punch in a small package.

Technical Director Stefan De Wilde was familiar with Robert Juliat followspots from his tenures with Disney and Cirque du Soleil. DeWilde confidently selected the followspots, stating that Robert Juliat followspots “were the industry standard for top-of-the-line fixtures,” he says. “They were the most flexible, light-weight units with high output and extremely high quality. The Tobin Center is booked through 2017 so these lights will get a lot of use. We need products that will hold up under a lot of use and still provide a beautiful, powerful output of light.”

The Cyranos were an ideal choice for the large H-E-B Performance Hall. “We needed a long throw, flicker-free unit since we will accommodate broadcast level television production,” notes De Wilde. “The design was also important. The Cyrano’s color changer is mounted on the center of the fixture, which is more ergonomic for the operator, and the fixture is balanced.”

Likewise, the compact Buxies were a good fit for the Alvarez Family Studio Theater because of their “small footprint, great output and quiet operation,” he reports. “This is a small theater. I can mount the Buxies on a tripod, put them in a spot tower or clamp them to the catwalk railing. They have beautiful optics and will last a long time thanks to their high-quality construction.”

The Robert Juliat followspots were obtained from the Texas Scenic Co.

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