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Press Releases For : September 16, 2014

Recipe for Success at City Winery Napa: Gourmet Food, Wine, and Meyer Sound

Following the successes at its Meyer Sound-equipped New York flagship and Chicago locations, City Winery recently selected a MINA™ line array loudspeaker system to help bring a quality live experience to its food- and wine-loving clientele in Napa.

Like all other City Winery locations, the philosophy behind the new 350-seat, cabaret-style listening room in the historic Napa Valley Opera House is a meticulous attention to sensory delight. The sound system is no exception acoustically or visually, according to Ed Greer, City Winery’s chief production officer.

“Because we focus on singer-songwriters, we needed a PA that is extremely accurate acoustically, that can deliver with complete transparency,” says Greer. “The MINA arrays achieve that goal, and their sleek profile also fits with the elegance of the room. Any system we install in City Winery will be Meyer Sound. We don’t consider anything else.”

The dual arrays of eight-each MINA loudspeakers are supplemented by two 1100-LFC low-frequency control elements, with front fill and underbalcony delay provided by eight UP-4XP loudspeakers. System drive and optimization is courtesy of a Galileo® Callisto™ loudspeaker management system with two Galileo Callisto 616 processors, and artist foldback is supplied by eight MJF-210 stage monitors.

“This room is quite live, and acoustical treatments were limited by historical preservation rules,” notes Nate Stephens, production manager for the venue. “But the MINAs provide exactly what this room needs—they reinforce the sound from the stage, and don’t create a whole new sound with brute force. The transparency and linearity of the MINAs make a seamless transition from on-stage to amplified sound.”

Stephens reports that the MJF-210 stage monitor has made an impression on the visiting artists. “The gain before feedback on the MJF-210s is fantastic,” he says. “I have to do almost nothing with either the graphic or channel EQs to get the sound the artists want. I just put it up, and they say it’s perfect.”

FOH is mixed at center balcony on a 48-channel Yamaha M7CL digital mixing console. Monitors are mixed from FOH for small acoustic acts, and a 32-channel M7CL console is available to mix monitors for full bands. Notable artists that have performed at City Winery Napa include Bruce Cockburn, Graham Nash, David Grisman, and Lila Downs.

Music and hospitality entrepreneur Michael Dorf opened the first City Winery in New York in 2008 with a Meyer Sound M’elodie® line array loudspeaker system, and the Chicago location employs a JM-1P arrayable loudspeaker system. Another Meyer Sound system is slated for a Nashville location, opening in early October.

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Neil Portnow, President/CEO of The Recording Academy® to Give Friday’s Opening Keynote at AES137 Convention

NeilPortnow

New York, NY, September 15, 2014 — On Friday, October 10, 2014, the 137th Audio Engineering Society Convention at the Los Angeles Convention Center in Los Angeles will feature a keynote address by Neil Portnow, President/CEO of The Recording Academy® (internationally known for the GRAMMY Awards®), which includes The Academy’s Producers & Engineers Wing® (P&E Wing), composed of more than 5,500 producers, engineers, remixers, manufacturers, technologists, and other related music recording industry professionals. Taking place from 12 – 1 p.m. in Special Events Room #403, Portnow’s presentation will discuss how The Academy and its P&E Wing — via education and dialog — address the challenges and opportunities currently facing recording professionals, as well as targeted advocacy initiatives The Academy is developing to address some of these concerns.

During the course of his career, Neil Portnow has become a leading figure in the music and recording industry, liaising with music makers, corporate executives, political figures and worldwide brands. He has served as President of The Recording Academy since December 2002, and was named President/CEO in September 2007. As President/CEO, Portnow works closely with The Academy’s Board of Trustees and its Chair, local Academy Chapter boards, as well as The Academy’s senior management team to advance The Academy’s goals and mission — including the creative and strategic vision and operations of The Academy and its related entities (the GRAMMY Awards®, the Producers & Engineers Wing, The Latin Recording Academy®). He also serves as President/CEO of The Academy’s charitable affiliates, MusiCares® and the GRAMMY Foundation®, and he is Chair of the Board of The GRAMMY Museum® at L.A. LIVE in downtown Los Angeles. He represents The Academy to its constituents, to its partners, and to music fans, and serves as an industry leader on issues relating to the music industry — including participation in national caucuses, conferences, roundtables and keynotes; and key domestic and international industry-related organizations. And in keeping with The Academy’s position as an advocate for its constituents, Portnow develops and manages strategic advocacy positions at the national, state and local levels — both governmental and within music and its related industries.

For information on how you can get your FREE Exhibits-Plus badge (pre-registration required), as well as further Registration, Hotel, and Technical Program information, visit the AES137 webpage at http://www.aes.org/events/137/.

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Sound for Picture Track at the Upcoming 137th AES Convention in Los Angeles Offers Expertise of Film and TV Audio Professionals

— Panels and presentations will focus on the new frontiers of immersive sound and object-based mixing, as well as a session with award-winning women sound mixers of Hollywood —

New York, NY — The 137th Audio Engineering Society Convention, set for Thursday, October 9, through Sunday, October 12, 2014, at the Los Angeles Convention Center in Los Angeles, California, will feature a special track, “Sound for Picture,” chaired by acclaimed film sound engineer Brian McCarty (On Golden Pond, The Big Lebowski, Dick Tracy, others). The Sound for Picture Track at past AES Conventions has been both timely – recent events have looked at soundtrack loudness issues – and popular, evidenced by the standing-room-only crowd that audio specialists from the reality show “Deadliest Catch” drew at last year’s New York event. This year’s Sound for Picture track will look deeply into how cinema sound is becoming immersive, with the arrival of object-oriented audio platforms like Dolby’s Atmos®. It will also reflect the widening of the sector’s diversity with a panel featuring award-winning women sound mixers who work at the leading dubbing stages in Hollywood and elsewhere.

Additionally, for the first time, the Sound for Picture track will include workshops on Production Sound recording. This craft, the recording of dialog during the filming, is a specialized type of recording in a high-pressure environment that gives Hollywood productions a higher degree of realism. A workshop featuring the “Superstars of Production Sound Recording” along with a practical Master Class on Production Sound Recording techniques will draw large audiences. Additionally, as part of the AES137 Sound for Picture track, an off-site Tech Tour will feature a hands-on demonstrations and Master Classes on Auro3D Immersive Sound Mixing conducted at The Dub Stage in Burbank by Marti Humphrey and Chris Jacobson.

The full session schedule is set to include:

Sound for Picture Session SP1 Cinema Loudness Subcommittee Test Results and Proposed Solutions
Sound for Picture Session SP2 Music Production for Film—A Master Class
Sound for Picture Session SP3 The Award-Winning Women Sound Mixers of Hollywood
Sound for Picture Session SP4 Cinema Standards Review and the Road to Implementing Changes (A Joint Presentation with the SMPTE)
Sound for Picture Session SP5 Immersive Sound and One-Man Mixing
Sound for Picture Session SP6 World-Class Cinema Sound Mixers Discuss Their Craft
Sound for Picture Session SP7 Superstars of Production Sound Recording
Sound for Picture Session SP8 Recording Production Sound—A Master Class

“The ‘Sound for Picture’ track has been a tremendous success for the AES Conventions – the largest group of working sound engineers around the world are those that do Sound for Picture in one capacity or another,” stated McCarty. These working engineers learn new techniques from their peers at these workshops, which have been given by the top working professionals. The Los Angeles Convention will be no different. And with Hollywood being the home of cinema, we’re presenting a stellar group of Oscar winning professionals to the Convention.”

For information on the Sound for Picture Track and how you can get your FREE Exhibits-Plus badge (pre-registration required) for the AES137 Convention, as well as further Registration, Hotel, and Technical Program information, visit the AES137 webpage at http://www.aes.org/events/137/.

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New Biamp Systems White Paper Finds Communication Technologies Fall Short of Current Collaboration Demands

Research reveals improved bottom line and a reduction in business travel as key benefits of increased investment in collaboration technologies

BEAVERTON, Oregon — Sept. 16, 2014 — Biamp Systems, a leading provider of innovative, networked media systems, has published a new white paper looking at the crucial role collaboration technologies play in today’s businesses. Titled “Clear Communications: Placing the End User at the Heart of Collaboration,” it highlights problems organizations reported as they expand working relationships over increasingly larger distances. With more than 37 percent of respondents stating that time is regularly wasted on conference calls due to unsuccessful attempts to connect and poor sound quality, businesses must address these issues or they may find themselves falling behind more efficient and productive competitors.

The report emphasizes the need for organizations to evolve their internal processes in order to cope with a workforce that continues to include numerous international locations. With 43 percent of respondent businesses having opened one or more offices over the past three years, and another 16 percent either planning or considering expansion into a new location, IT departments are under increasing pressure to ensure that teams are able to communicate effectively, despite being separated by continents, time zones, or cultures.

Investing funds solely in IT is not enough. The whitepaper recommends that IT and AV departments must work together closely in order to develop an appropriate solution. IT decision makers agreed — with 62 percent of respondents stating that AV systems that are networked into the existing IT infrastructure would increase productivity at their companies. 52 percent added that such AV systems could improve their company’s bottom line.

“Clear communication is the primary facilitator of good business relationships. With workforces becoming increasingly distributed around the globe, businesses cannot afford to be let down by the technology they use to enable collaboration,” said Graeme Harrison, Executive Vice President of Marketing at Biamp. “High quality conferencing exists, but the introduction of desktop conferencing solutions requires companies to invest thoughtfully so they gain all the benefits from this technology. Ensuring that clear, intelligible audio is included with the other capabilities is critical. Coordination between the IT department and the AV expert will enable effective collaboration.”

The white paper is now available for free download by visiting http://bit.ly/1y8Dkkz.

# # #

About the Research
Interviews were carried out February – March 2014 by Censuswide on behalf of Biamp Systems. Overall, 250 IT decision makers from the U.K. were questioned.

About Biamp Systems
Biamp Systems is a leading provider of innovative, networked media systems that power the world’s most sophisticated audio/video installations. The company is recognized worldwide for delivering high-quality products and backing each product with a commitment to exceptional customer service.

The award-winning Biamp(R) product suite includes the Tesira(R) media system for digital audio networking, Audia(R) Digital Audio Platform, Nexia(R) digital signal processors, Sona(TM) AEC technology, and Vocia(R) Networked Public Address and Voice Evacuation System. Each has its own specific feature set that can be customized and integrated in a wide range of applications, including corporate boardrooms, conference centers, performing arts venues, courtrooms, hospitals, transportation hubs, campuses, and multi-building facilities.

Founded in 1976, Biamp is headquartered in Beaverton, Oregon, USA, with additional engineering operations in Rochester, New York, USA, and Brisbane, Australia. For more information on Biamp, please visit www.biamp.com.

PR Link: www.ingearpr.com/Biamp/140916Biamp.doc
Infographic Link: http://bit.ly/1wmA9RQ

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

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Cambridge Sound Management Announces Qt Room Control™

New Product Allows Users to Control Sound Masking in Rooms with the Turn of a Knob

WALTHAM, MA, September 16, 2014 – Cambridge Sound Management, the global leader in Sound Masking solutions announces the Qt Room Control™ (QtRC), a new product that allows users of QtPro Sound Masking solutions to turn Sound Masking up or down in individual rooms without affecting other spaces where Sound Masking is offered.

With six possible volume settings, the QtRC allows for hands-on, immediate volume control of Sound Masking on a microzone level. Users in a private office desiring a reduction of outside distractions can turn their room’s Sound Masking up, while users in full conference rooms with a large distance between a talker and a listener can turn the Sound Masking down to ensure the talker is heard clearly. The QtRC is easy to install during new construction or retrofits, and fits in most standard electrical boxes, including open back, low voltage brackets.

“Our customers notified us about occasional situations where it would be useful for Sound Masking to be controlled on a ‘micro-zone’ level,” says Mitch Nollman, Vice President of Sales at Cambridge Sound Management. “Along with QtPro, the QtRC gives our users yet another tool to gain greater control over office noise distractions.”

”We see a lot of applications for the QtRC, particularly in the healthcare space where having increased control of Sound Masking can increase patient comfort and help caregivers keep conversations more private,” says Dean Hinton, President of Pro Tech Marketing, Cambridge Sound Management’s rep firm in the Mountain West. ”We’re excited about selling this new product.”

With an elegant, simple design and customizable faceplates, the QtRC easily blends into existing office décor. The product’s Decora® faceplate, centerplate, and knob are available in both white and ivory variations. One QtRC can control up to eight QtPro emitters, allowing it to adjust Sound Masking in rooms up to 800 square feet in area.

The QtRC is available now. For more information about the QtRC visit cambridgesound.com or call 800.219.8199.

About Cambridge Sound Management
Cambridge Sound Management, LLC manufactures QtPro sound masking systems to help organizations across multiple industries protect speech privacy, reduce noise distractions, and fuel workplace productivity. Powered by direct-field Quiet Technology, QtPro works by emitting a uniform, barely perceptible background sound at the frequencies of human speech. Cost effective and easy to install, QtPro is deployed in hundreds of millions of square feet of space throughout the world including commercial organizations, healthcare facilities, financial services, government agencies, and educational institutions.

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ESP/SurgeX Launches IP Power Diagnostic Tool

The Remote Portal enables service providers to troubleshoot power related malfunctions remotely, via web browser.

Knightdale, NC – September 16, 2014 – ESP/SurgeX, the leader in energy intelligence, today announces the Remote Portal, the imaging industry’s first IP enabled power communications diagnostic tool. The remote portal is designed to provide remote access to ESP/SurgeX diagnostic devices from anywhere at any time, via a web browser.

Compatible with new ESP/SurgeX power protection and diagnostic intelligence installations, the Remote Portal enables service teams to access power diagnostics remotely and brings added IP accessibility to the ESP/SurgeX power protection portfolio. As the first IP power diagnostics communications tool in the imaging industry, this innovative device enables technicians to remotely view the history of power quality events, monitor live data, reboot/recycle power, and diagnose power disturbances via a web browser. It allows them to isolate power quality issues chronologically and identify trends which may be causing equipment malfunctions and downtime from any location.

“Power quality issues are a leading cause of business downtime. The ability to remotely monitor and troubleshoot these issues instantaneously represents a significant time and cost savings opportunity for businesses and service teams of any size,” said ESP/SurgeX CEO, President Stephen F. Galloway.  We are proud to be the first to launch this new instrument to the industry.

The Remote Portal is available for order September 22 and is sold as an accessory to compatible ESP/SurgeX power protection products, including: enVision and Next Gen PCS diagnostic power protection products, MultiPak digital signage protection solutions,             Surge + Diagnostic small and medium business IT protection products, and eCommandCenter energy management products.

Available with a one port or five port Gigabit Network Switch configuration, the ESP/SurgeX Remote Portal is the clear choice to remotely diagnose power related problems and maximize uptime, performance, and profitability. For more information and to view a product video, visit www.espei.com.

ABOUT ESP/SurgeX

ESP/SurgeX is the leader in energy intelligence and power protection products. Our comprehensive product portfolio offers a complete line of AC power solutions for surge protection, power conditioning, diagnostic analysis, and control of sensitive electrical and electronic equipment. Backed with 37 patents/patents pending, ESP/SurgeX products are engineered to safeguard against power anomalies that can “confuse” the circuitry in digital equipment and cause both equipment degradation and downtime. Independent research proves that ESP/SurgeX technology can improve equipment performance, profitability, and ROI. For over 25 years, business leaders worldwide have trusted ESP/SurgeX to protect and improve their electronic systems. For more information visit espei.com and surgex.com.

Press Contact:  Caster Communications, Inc. at 401.792.7080

Nick Brown nbrown@castercomm.com

For digital images log on to www.castercomm.com  

 

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HARMAN’s Studer Introduces New MADI Card to Accompany D23 I/O System

AMSTERDAM, The Netherlands – In correlation with the introduction of its D23m I/O system and A-Link 3 Gbit/s optical interface, HARMAN’s Studer is announcing the first MADI I/O card specifically designed to fit in the new D23 frame, which works seamlessly with Studer Vista X and Vista V digital consoles. The card may also be used in the Vista 1 I/O card slot.

The new I/O card is a dual slot card fitted with two redundant MADI interfaces and provides up to 128 channels of inputs and 128 channels of outputs on the two fully redundant interfaces. SFP modules are used for the front panel MADI interfaces and these hot-pluggable devices are available in a variety of optical and electrical formats.

MADI is a worldwide standard and is used for high capacity interfaces to much studio equipment such as Digital Audio Workstations (DAWs), video and audio routers, other consoles and, most importantly, stage boxes. Studer stage boxes have embedded control within the MADI stream, even if all 64 channels are used for audio. This new card may be connected to two Studer stage boxes, either D21m type or the Compact Stagebox. Full microphone control and remote frame status monitoring for both frames is provided on the console application.

Each of the two MADI interfaces provides dual outputs (with the same audio and control data). The MADI inputs will automatically switch in less than a millisecond to the reserve input if the data is corrupt or fails, thus providing full cable redundancy for typical OB operations.

MADI channel count to the D23m backplane may be set for both interfaces in eight channel steps individually from eight channels to 64 channels. MADI outputs may be set to 56-channel mode for compatibility with legacy equipment. MADI inputs may be in either 64- or 56-channel mode. Input sample rate converters may be enabled for use with non-synchronous sources.

The MADI interfaces will run at 44.1 kHz, 48kHz, 88.1kHz and 96kHz in the D23m frame. Channel count is halved unless two pairs of cables are used.

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of approximately 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

Apple Invites Larry Fishman To Speak At Special Employee Presentation


Cupertino, CA––With products such as iPhone, iTunes, MacBook, iMac and more, Apple Inc. is well known for beautiful design and seamless product integration. But where does Apple turn when looking for inspiration to help keep their ideas fresh?

Larry Fishman founder and President of Fishman, designer and manufacturer of pickups, amplification and other products for acoustic and electric musicians, was recently invited to speak to Apple designers, engineers and product managers.

Fishman delivered a presentation entitled “Inspiring Tools for Musicians: A Confluence of Engineering and Art” to a standing-room only audience. Not surprisingly, almost all in attendance raised their hand when asked by Mr. Fishman, “How many of you are engineers?” When asked the second question, “How many of you are musicians?” an equal number responded.

Fishman continues, “At that point I knew I was among friends. My own background with a Mechanical Engineering degree and years as a performing bassist has allowed me to seamlessly move between creative endeavors. Sometimes I’m playing my bass; sometimes I’m ‘playing’ my computer CAD system; at all times I’m creating.”

Mr. Fishman took the audience through his concept of creativity and how the engineering arts relate to and co-exist with the “fine” arts in terms of individuals and companies. He went on to explain how the Fishman culture of inspiration, rejecting institutional bias and “untying knots” has helped build an award winning, profitable and acknowledged leader in the MI industry over the last 33 years.

In addition to the lecture, music was used to reinforce key points and illustrate the end results of Mr. Fishman’s process. Performances featuring musicians Greg Koch, Roscoe Beck and Ritchie Fliegler were woven throughout the program.

Specific products were included such as Fishman’s first pickup design for upright bass along with his early relationship with guitar makers, which ultimately led to the development of the industry-standard Matrix pickup. Fishman spoke of his experience creating Parker Guitars with Ken Parker, and many of the challenges he faced with a radical new design that challenged the sensibilities of the conservative guitar market. Aura Acoustic Imaging Technology, Loudbox acoustic amplifiers and Fluence Multi-Voice electric guitar pickups were also used as examples to illustrate the Fishman creative technology process. Of particular interest to the Apple audience was the TriplePlay Wireless MIDI Guitar Controller and how it integrates with iOS and OS X software.

Fishman concludes, “At this point, Apple’s mark on product technology and design are indisputable. That they would invite me to speak to them as a peer is quite an honor. Being given the opportunity to share my views on product development to a receptive audience at Apple was an amazingly inspiring and humbling experience.

“Also, the fact that many of the attendees stayed and chatted well after the presentation was over definitely made my day. We could really relate to each other, as in ‘if you’re a computer company why are you making a phone?’ It’s not that much different from our expansion into digital processing, electric guitar pickups and amps. Ultimately, we all agreed the object is to bring value, something truly unique to people.”

For more information about Fishman, please click to www.fishman.com.

Masque Sound Takes Off with First National Tour of the High-Flying Hit Musical Comedy, Pippin

Custom Audio Equipment Package Delivers Broadway Experience to Audiences around the Country

DENVER, CO, SEPTEMBER 15, 2014 – When the Broadway smash hit Pippin embarked on its first national tour on September 6 at The Buell Theatre in Denver, Colorado, Masque Sound, a leading theatrical sound reinforcement, installation and design company, was along for the ride to support Sound Designers Jonathan Deans and Garth Helm’s vision for the high-flying, death-defying musical comedy.

Pippin tells the story of a young prince as he sets out on a thrilling journey to find meaning in his existence. He notes two potential paths: he can choose a happy, but simple life or risk everything in favor of a momentary flash of glory. A magical show, Pippin has become a well-known staple in the theatre community for its many classic Broadway numbers, including “Magic to Do,” “Corner of the Sky,” “Glory,” “No Time at All,” “Morning Glow” and “Love Song.”

Deans and Helm have been with Pippin since its Broadway opening in April 2013 and are both intimately familiar with the show’s audio requirements. “The creative concept behind Pippin was designed in New York, so we are now trying to bring that Broadway experience to the different theatres on the tour,” says Deans. “The show itself essentially stays the same as the one that appears on Broadway in every aspect, except for the sound design. Because we are putting on performances in different theatres of various sizes and capacities, as well as some with balconies and some without, we needed a very flexible sound system that could provide full coverage, with no matter to the room and its dimensions.”

In order to deliver as close to the Pippin Broadway experience as possible, Masque Sound provided the designers with a DiGiCo SD7 Live Digital Console complete with Stealth Digital Processing™. “The SD7 is very versatile, sounds great and does everything we want it to do,” says Helm. “It is extremely helpful in ensuring that we can expect exceptional sound coverage in all of the theatres in which the production will be playing.”

As part of the custom-designed audio system, Masque Sound also supplied an array of d&b audiotechnik speakers, which the designers chose for their excellent sonic soundscape, as the speakers help to keep the continuity between the Broadway show and the tour productions. In addition, a selection of microphones from Shure, Neumann and DPA, as well as a 40-channel wireless package featuring Sennheiser mics with DPA booms, were also included in the audio equipment package.

“The crew at Masque Sound is always wonderful to collaborate with,” adds Deans. “Masque Sound worked closely with us to build the ideal speaker package to fit our sound requirements. The crew really looks after the best interests of the show. They care about the production, they care about us, and that always makes working with them such a rewarding experience.”

In addition to providing the custom audio package for the show, Masque Sound also supplied frequency coordination for the show’s 40-plus channels of wireless microphones. Masque Sound’s expert team provided the touring crew with the information and RF equipment that they needed to ensure that all of the show’s wireless transmission would remain interference free.

Deans and Helm also acknowledge the importance of their own crew’s hard work in ensuring the show’s success. “Our Associate Sound Designer Drew Levy, Production Sound Supervisor Alex Ritter and two fantastic sound mixers, A1 FOH Mixer Maxine Gutierrez and A2 RF/Backstage Support Nathan Meredith, look after the show, tour with it and do an amazing job on all accounts.”

Pippin is directed by Diane Paulus and features choreography by Tony® nominee Chet Walker in the style of Bob Fosse and circus creation by Gypsy Snider of the Montreal-based circus company Les 7 Doigts de la Main, also known as 7 Fingers. The show opened on Broadway on April 25, 2013 and went on to win four 2013 Tony Awards, including Best Revival of a Musical and Best Director of a Musical for Paulus. The Pippin tour is currently slated to run through August 2015 with 33 stops, including Denver, Los Angeles, San Francisco, St. Louis, Washington DC, Atlanta, Dallas, Chicago and Seattle.

For ticket information, please visit www.pippinthemusical.com/tour.php.

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 lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. 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.

Sennheiser launches Dante™ card for Digital 9000 wireless microphone system

Amsterdam, September 15, 2014: At IBC, audio specialist Sennheiser is launching a Dante™ card for the EM 9046 receiver, enabling its top-of-the-range Digital 9000 microphone system to be integrated into Dante™ audio-over-IP networks. Users can conveniently route the system’s high-definition audio data via Audinate’s Dante™ Controller.

EM_9046_DANWhen it comes to digital audio networking, Audinate’s Dante™ is among the leading solutions for live audio, broadcasting and installations. Dante™ works with existing network infrastructure using IP and Ethernet standards and offers hundreds of channels of high-quality audio. “This is what makes Dante™ so attractive for us,” says Claus Menke, Head of Portfolio Management Pro for Sennheiser’s Professional Division. “With the extension card, broadcast and live audio engineers now can easily integrate our best wireless microphone system into a Dante™ network and benefit from its exceptional sound.”

Digital_9000The EM 9046 DAN extension card is simply inserted into the expansion slot of the EM 9046 eight-channel receiver. Internally, the card features sixteen audio inputs to send the digital audio and command signals over the Dante™ network. Connection is via two Gbit RJ45 sockets that serve to establish two redundant network circuits or daisychain the signals. The card works with sampling rates of 44.1/48/88.2 and 96 kHz at a resolution of 24 bits. The EM 9046 DAN will be available from mid-October.

New Wireless Systems Manager software:

Sennheiser will also adapt its Wireless Systems Manager software to include a monitoring function for the Dante™ card. The new version 4.2 will also be available from October and will allow users to listen to and monitor the EM 9046’s Dante™ audio streams from any point in the network.

Visit Sennheiser at IBC, Hall 8, Stand No. D 50.

EM 9046 DAN includes license from Audinate Pty Ltd under U.S. patent number(s) 7747725, 8005939, 7978696, 8171152 and other patents issued, see www.audinate.com/patents.

About Audinate and Dante™
Dante™ is the digital audio networking solution of choice for over 155 professional audio manufacturers in the broadcast, live sound, commercial installed and conferencing markets. Audinate’s Dante solution builds on existing Internet (IP) and Ethernet net-working standards and offers a migration path to emerging standards like AES67. Dante networking replaces point-to-point cabling and matrix switching solutions offering hundreds of channels of high-performance audio, control and monitoring across existing network infrastructure. Installation and management is simplified through a unique combination of plug and play technologies, saving enormous installation and long-term ownership costs. Audio sources attached to any network port are available everywhere throughout the network with signal routing defined by software, not physical cabling. Audinate also offers a comprehensive set of interfacing options for PC and Mac equipment (Dante Virtual Soundcard and Dante PCIe card) enabling simple integration of existing software applications with the audio network.

About Sennheiser
The Sennheiser Group based in Wedemark near Hanover, Germany, was founded in 1945 and has gone on to become a leading manufacturer of microphones, headphones and wireless transmission systems. Sales in 2013 totaled 590.4 million euros. Sennheiser employs more than 2,500 staff worldwide and operates plants in Germany, Ireland and the USA. The company has a worldwide network of subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hongkong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading part-ners in other countries. Georg Neumann GmbH, Berlin, a maker of studio microphones and monitor speakers, and Sennheiser Communications A/S, a joint venture making headsets for PCs, offices and call centers, are also part of the Sennheiser Group.

More up-to-date information about Sennheiser is available at www.sennheiser.com.

Captions:
1) The EM 9046 DAN card simply slots into the Sennheiser receiver, enabling Digital 9000 to send uncompressed HD audio data over a Dante™ network
2) The Sennheiser Digital 9000 system

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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