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Press Releases For : January 30, 2015

Christie Delivers Undisputed Performance with Launch of 30,000 Lumen Christie Boxer 4K30 Projector

New Boxer Series of 3DLP solutions introduces the brightest, lightest, smallest, omni-directional projector in its class for rental staging and fixed installations

A combination of the most lumens, the most pixels, and 3DLP® quality combined with the smallest, lightest, yet most rugged design available in its class defines the new Christie® Boxer 4K30 projector launched today. The first offering from the new Boxer Series, the Boxer 4K30 hits the target every time while setting a new industry benchmark for rental staging and fixed installation applications including concerts, amusement parks, projection mapping projects, museums, planetariums and more.

The Christie Boxer 4K30

The Christie Boxer 4K30

The Boxer 4K30 has six 450W mercury lamps delivering 30,000 center lumens and will make its worldwide debut at the Integrated Systems Europe (ISE) show in Amsterdam, Netherlands, February 10-12 at Christie booth No. 1-H50. At a pre-launch event, held in November with rental stagers at Christie’s Canadian facility, former undisputed heavyweight boxing legend Lennox Lewis was part of the festivities and the boxing legend will continue to champion Boxer Series. Already a global hit with more than 200 units sold worldwide, the Boxer 4K30 delivers, pound for pound, the ultimate combination of power, brightness, performance and durability.

Weighing less than 150 pounds (68 kilograms), the Boxer 4K30 can be carried by two individuals and is built to deliver undisputed performance for any rental/staging fleet or permanent installation. With built-in Christie Twist™, images can be blended and warped from multiple projectors onto curved or irregular surfaces without requiring an external solution. Housed in two 3-lamp cartridges, the six long-life mercury lamp modules are easy to handle, maintain, and change and stock, which means a better return on investment and less consumables.

Users can monitor the lamp hours and serial numbers through Near Field Communication (NFC) with each lamp – simplifying the effort required to track lamp-life and the ability to make fast changeovers so the show goes on. Boxer’s Christie TruLife™ electronics package is equally at home supporting the most demanding high bit depth, high frame rate, native 4K signals as well as seamlessly supporting HD signals, with on-board upscaling making it a simple task to fit it into existing HD workflows.

“The brightness-to-size and brightness-to-weight ratios of the Boxer 4K30 is second-to-none in this lumen level of projector. This translates to not only the lightest projector at 30,000 lumens, but also reduced shipping costs and on-site handling,” said Mike Garrido, senior product manager, Christie. “This Boxer 4K30 and the Boxer Series is about our customers winning more bids, winning more repeat business, earning more money per project and satisfying the needs of the most demanding clients. Boxer is optimized to provide an unprecedented user experience and everything from ease of use to lumens to durability to shipping size to weight has been taken into account.”

“At the pre-launch event, everyone was very impressed with Boxer not only for delivering so much brightness in such a small, quiet package, but also for the fact that Boxer was loaded with exciting new features that make it very easy to use. For example, you can monitor lamp life levels using your smartphone and the projector even comes with its very own built-in toolbox,” said Jeevan Vivegananthan, senior director of engineering, Christie. “In developing Boxer, we spent a lot of time with our customers around the world observing their needs and combined with Christie’s own substantive expertise and experience in the field, reflected that in the design. We witnessed a definite user-affinity with Boxer that we’re confident will continue to grow.”

“With the Boxer 4K30 and the entire Boxer Series, the omnidirectional orientation capability means greater installation and placement flexibility. No matter where you place the Boxer projectors and whether the projector points up or down at any angle, the image maintains its integrity and uniformity throughout the performance or presentation,” Vivegananthan concluded.

The Christie Boxer 4K30 has a three-year parts and labor warranty and ships in April.

Christie Boxer Series is equipped with full connectivity including 3G-SDI, HDBaseT, Display Port, DVI-I, HDMI, VGA, and 5 BNC, plus a color LCD preview panel readout, and a complete lens suite.

Christie Boxer 4K30 at a glance:

- 30,000 center lumens for Boxer 4K30 in smallest and lightest design available

- Six 450W mercury lamps with NFC capabilities to simplify lamp management both in the projector and on the shelf

- Unmatched 360-degree operation on any axis

- Longer life lamps allow the projector to continue generating revenue with less consumables

- The smaller, lighter projector reduces both shipping costs and on-site handling

- Built-in lamp confidence with six lamps offers piece of mind during shows
Equally accepts 4K and HD signals, the latter using Christie TruLife’s on-board enhanced upscaler

- Full connectivity for digital sources and a broad range of analog sources

- Preview screen adds confidence in the quality and number of sources available to the projector

The Christie Boxer 4K30 has a three-year parts and labor warranty and ships in April.

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Related Topics: Projectors

Christie H Series Joins Powerful and Distinguished 1DLP Roster

Christie® introduces its most powerful 1-chip DLP® projector line today with the new Christie H Series, which will have its first showing at the Integrated Systems Europe (ISE) show in Amsterdam Feb. 10-12 at Christie booth No. 1-H50.

Weighing only 52.5 pounds (24 kilograms) each, the dual-lamp Christie D12HD-H and Christie D12WU-H are suitable for both mid-to-large rental staging and fixed applications including concert halls, auditoriums, hotels, boardrooms, education, government, conference rooms and houses of worship.

The high brightness and durability is a boon for rental stagers, while fixed installation applications benefit from not only the superior image clarity and color integrity, but also the compact design, enabling the Christie H Series to be installed in portrait or landscape mode. With this announcement, Christie continues to demonstrate its commitment to the 1DLP® market, adding to a lineup that already includes Christie G Series, GS Series and Q Series to deliver an unrivaled platform of 1DLP® solutions.

“Christie H Series provides the best of both worlds in 1DLP offerings. It is both rugged and bright enough for rental staging applications but also provides rich, beautiful colors and is well-designed for the office,” said Curtis Lingard, product manager, Christie. “At less than half the size and noise factor of other projectors in this class, the Christie H Series delivers a super-quiet, clean, sophisticated look with plenty of presentation power packed inside.”

Christie H Series at a glance:

- 1DLP® with dual-lamps and 12,000 lumens
- HD and WUXGA resolutions
- Built-in warping, blending and color correction
- Super-quiet noise level – 40dBA
- Camera-based geometry correction (camera not included)
- Portrait capability and 360-degree orientation
- Optional coarse dust and fog filters for harsher environments
- Full suite of lenses and there is an adapter available for existing Christie E Series lenses
- 6-Segment color wheel providing excellent color integrity and bright, powerful images
- Easy integration with 3G SDI, HDBaseT, bottom-side HDMI connectivity, Crestron and AMX compatibility
- Optional Rigging/Stacking Frame
- Wireless dongle for presentation and control
- Black or white chassis

Christie H-Series

Christie H-Series

Christie H Series ships in April with a three-year parts and labor warranty backed by Christie’s renowned customer service.

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Vegas Dealers Can Hit the Jackpot with AV Warehouse’s HD Technology Showcase February 26 – 27 at the Las Vegas Country Club

jackpot Sponsored by Cleerline Technology Group, Blackwire Advanced Automation Solutions, Smart Audio Video Integration, LG Electronics, Wolf Cinema, Pure Link and Just Add Power, this 2-day event focuses on the latest in fiber optics, UltraHD, video distribution and networking/IP

Las Vegas, NV – January 30, 2015 – AV Warehouse, (www.av-warehouse.com) – the Southwest region member of the Catalyst AV distribution network with outlets in Scottsdale, AZ and Las Vegas, NV – is holding its first annual HD Technology Showcase February 26 – 27 at the Las Vegas Country Club.

“Today’s integrators have a chance to capitalize on commercial and residential video and digital signage opportunities using fiber technology – especially here in Vegas,” says Paul Brown, AV Warehouse principal. “Accordingly, keeping up on the latest delivery solutions is paramount to delivering the highest-quality systems. For many, it can be their calling-card.”

“To this, AV Warehouse is proud to host a showcase event that gives local integrators the opportunity to learn about the latest in fiber optics, UltraHD, video distribution and networking/IP solutions,” adds Brown.

Factory representatives from Cleerline Technology Group, Blackwire Advanced Automation Solutions, Smart Audio Video Integration, LG Electronics, Wolf Cinema, Pure Link and Just Add Power will be on-hand to take dealers through their latest offerings and offer in-depth insight. Refreshments will be served throughout the two days.

AV Warehouse_logo

Location: Las Vegas Country Club, 3000 Joe W Brown Drive, Las Vegas, NV 89109
Dates and times: February 26, 2015: 1 PM – 7 PM and February 27, 2015: 10 AM – 2 PM.
RSVP: rosie@av-warehouse.com
Additional information: 702.364.1134

About Catalyst AV
Founded in 2012, Catalyst AV is a network of 11 independent consumer electronics distributors serving the residential and professional AV channels in the U.S. Catalyst AV grants manufacturers a consistent and cohesive nationwide distribution model to more than 15,000 professional integration specialists. Catalyst AV benefits integrators by delivering all the products and support necessary to execute the demands of job specifications with confidence. The Catalyst AV Board of Directors consists of Mike Hench (Electronics Source Distributors); Steve Presti (Easy Access Distribution) and Wally Whinna (Allnet Distributing). www.catalystav.com

Masque Sound Delivers a Basket Full of Sonic Goodies in Revival of Sondheim and Lapine’s Fairy Tale Inspired Musical, Into the Woods

NEW YORK — When Sound Designer Darron L West and Associate Sound Designer Charles Coes were given the challenge of creating a dynamic audioscape for Fiasco Theater’s production of Into the Woods, presented by Roundabout Theatre Company in association with McCarter Theatre Center, they turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, to supply a custom audio equipment package for the wildly theatrical, fairy tale inspired musical.IntoTheWoods - No One Is Alone

Directed by Noah Brody and Ben Steinfeld, Stephen Sondheim & James Lapine’s Tony Award®-winning musical, Into the Woods, weaves together the stories of Cinderella, Little Red Riding Hood, Jack (and his beanstalk), and a childless baker and his wife as they quest to achieve their greatest wishes. With only 10 actors, one piano and boundless imagination, Into the Woods includes dazzling classic songs such as “Children Will Listen” and “Giants in the Sky.” Audiences are asked to mind the wolf, heed the witch and honor the giant at this extraordinary musical about the power of wishes and what happens when they really do come true.

In this actor-driven production, the sound designers’ main challenge was to create a soundscape that would support the actors, bringing their dialogue front and center, and ensuring clarity as they convey the story to the audience. “This production was about transparent reinforcement and supporting the artists as they are doing their work on stage,” says Coes. “All of the sound effects are created using the instruments and other objects on set, so we were tasked with finding interesting ways to mic those objects to create reverb and other effects that would help turn the production into something magical and remarkable. Masque Sound was wonderful at once again providing us the equipment we needed to achieve our vision.”IntoTheWoods - Little Red, Wolf

Another challenge that the designers faced was with the layout of the theatre itself. The Laura Pels Theatre has an excellent house system, but it can be difficult to reach deep under the balcony to the last couple of seats. To accomplish this, the sound designers enhanced the theatre’s existing house system with a Meyer Sound PA system, provided by Masque Sound.

“We elected to use Meyer M1D speakers because of their relatively tight vertical pattern, which allowed us to throw sound deep into the under balcony,” says Coes. “We also used those same cabinets in their more conventional line array form as a center cluster so that we could cover the orchestra and the balcony. We chose the Meyer speakers because they are tried and true, and very compact. Despite the very low ceiling height of the theatre, we were still able to get enough boxes in to cover the room without protruding too far into the visual picture.

In addition, the designers used a pair of Meyer 500-HP subwoofers, which allowed them to get enough gain before feedback on the stage’s majestic piano walls. “On the stage right and left, the piano walls are giant frames constructed with grand piano harps, minus the wood,” Coes adds. “The harps are tuned, contact mic’d and heavily processed and played by the actors for various ‘magic’ effects throughout the performance.”IntoTheWoods - Baker, Wife, Witch

At the heart of the custom audio equipment package provided by Masque Sound was the DiGiCo SD9T Live Digital Console. “We had done the show at The Old Globe in San Diego on a DiGiCo SD10 and wanted to find a way to stay in the world of DiGiCo when we moved into New York City, so we approached Masque with the idea and they helped us make it happen,” says Coes. “Working with an SD9T brought the software price down without sacrificing sound quality. It is incredibly flexible, has enough channels for this show, doesn’t take up many seats and has a rental cost that the producers really liked. Specifically for this show, in which the actors are frequently trading lines and changing characters, the DiGiCo theatre software made those transitions incredibly easy to handle.”

In addition, one of the interesting components to the custom audio equipment package provided by Masque Sound was the use of the new Shure ULX-D® Digital Wireless System. “Scott Kalata at Masque Sound suggested the ULX-D, and since we knew that there were enough channels to cover our vocals, we gave it a shot,” adds Coes. “We used four of the new receivers for the vocals. They are incredibly transparent, cost-effective and sound fantastic. We are really glad that Masque Sound made them available to us.”

For microphones, Masque Sound provided 12 channels of vocal wireless, four channels of instrument wireless, along with two Sennheiser SKP Series plug-on transmitters mounted on to the show’s piano equipped with DPA 4021s, which gave the piano great volume and clarity without getting in the way of the piano player who frequently spins around.

“Masque Sound has been incredibly supportive and helped us put together a wonderful system that sounds great and does everything we needed it to do for a very reasonable budget,” concludes Coes. “As always, all of the equipment was delivered in fantastic working condition and on-time. In addition, our team, Walter Tillman (A1), Gillian Walker and Richard Lund (A2s), did a great job.”

Into the Woods premiered in May 2013 at the McCarter Theatre in association with the Fiasco Theater. The Off-Broadway production, presented by Roundabout Theatre Company, began preview performances on December 18, 2014 and officially opened on January 22, 2015 at the Laura Pels Theatre in the Harold and Miriam Steinberg Center for Theatre (111 West 46th Street). This limited engagement was recently extended through April 12, 2015.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is led by President Stephanie Hansen and the firm’s third generation owner, Geoff Shearing. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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Related Topics: Audio, Audio Processing, Loudspeakers

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.

-END-

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/

-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

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.

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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.

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