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Press Releases For : December 18, 2014

2015 HPA Tech Retreat(r) Announces Power-Packed Schedule

Preeminent Technology Event Features All-Star Lineup of Industry Leaders
HPA Tech Retreat
(Los Angeles, CA) The Hollywood Post Alliance(r) (HPA) has unveiled the schedule for the 2015 HPA Tech Retreat(r). A who’s who of engineering, technology, creativity and strategic business will gather in the desert to discuss the trends and technologies of the future, while tackling head-on the pressing issues of the present. Over the past 21 years, the HPA Tech Retreat has unveiled many industry-shaping technologies and processes to a vanguard audience of those involved in the creation, management, delivery and curation of all forms of content. The event takes place at the Hyatt Regency Indian Wells, near Palm Springs, CA, from February 9th to the 13th, 2015.

The Tech Retreat is designed to offer attendees the opportunity to access a wide range of in-depth information, enabling an informed view of future industry trajectories. Aimed at the many stakeholders involved in all aspects of production, broadcast, post production, distribution and the related endeavors for media and entertainment, the program schedule facilitates an environment conducive to the exchange of knowledge and information. In lively conference sessions, the programmed topics will take the Tech Retreat audience from the finest details to the edge of the horizon and beyond. Over the course of the week, more than 25 sessions will speak to participants across the content eco system.

Mark Schubin, the long-time maestro of the HPA Tech Retreat programming, noted, “The Tech Retreat program is built from topics that are of great interest to the technical and creative communities, and they largely derive from submissions. This year, we had more submissions than ever before, and the breadth and scope of what we received was truly impressive.”

For a full 2015 HPA Tech Retreat schedule, click HERE.

2015 HPA Tech Retreat Schedule Highlights:

Monday, February 9th
Preregistration opens on Monday, February 9th. Physics, Optics, and Electronics of Image Sensors is a pre retreat course offered by Charles Poynton.

Tuesday, February 10th
The day-long HPA Supersession kicks off the Tech Retreat with Shift Happens: Not Your Father’s Post, led by Leon Silverman with Michael Cioni. Even as some stability returns, fundamental changes continue in the creation, finishing and distribution of content. The Supersession takes a thoughtful look at these changes and ultimately offers insight about how to be prepared for them.
After the Supersession, the Demo Room opens its doors with a cocktail reception.

Wednesday, February 11th
The highly anticipated annual Broadcasters Panel returns on Wednesday as well as sessions including a CES Review; A Year in Review from Mark Schubin, From Smartphones to Cinema; Extended Color Gamuts; Contemplating the Expanding Canvas with Bill Bennett, ASC alongside other leading cinematographers; and the Future of Cinema, and many others.

Thursday, February 12th
Sessions focused on topics as diverse as Maintaining Creative Intent; The Cloud Demystified; Role of non-Linear Coding of the Television Image from NHK Science and Technology Research Laboratories; IP or not IP; and Drones for Dummies are among the many offerings in a day filled with panels and presentations.

Friday, February 13th
As the week draws to a close, compelling presentations continue with Lightfield Capture and Post Update with Siegfried Foessel; Enhancing the Creative Palette While Preserving Intent from Camera to Consumer; the SMPTE Update; and more. The day closes up with a post-HPA Tech Retreat session, How The Great Depression Led to Cloud Computing.

Leon Silverman, President of the HPA, noted, “The Tech Retreat is not just a conference where the latest, greatest, most important, and interesting technology and topics are displayed, presented, discussed, debated and sometimes even refuted – it is the closest thing to adult geek summer camp (held in the Palm Springs winter) that one can imagine. Come for the topics, stay for the people who can change your life. For the past 21 years, the Tech Retreat has truly been a place to meet the movers and the shakers right before they make their moves.”

In addition to sessions and demos, the Tech Retreat features sunrise past sundown activities that include Breakfast Roundtables with compelling topics as well as numerous opportunities for networking, discussion, and socializing at sponsored meals and receptions. The event has a history of selling out, and timely registration for the 2015 HPA Tech Retreat is highly recommended. For more information on the event and sponsorship opportunities, visit www.hpaonline.com, call 213.614.0860 or email Eileen Kramer at ekramer@hpaonline.com.

Sponsors of the HPA Tech Retreat include: Avid, Dolby, Quantuum, Sohonet and Spectra.

About the HPA Tech Retreat (r)
The HPA Tech Retreat(r) is an informal gathering, in the Palm Springs area, of the top industry engineering, technical, and creative talent, as well as strategic business leaders focused on technology, from all aspects of digital cinema, post production, film, television, video, broadcast and related technology areas, for the exchange of information. The 2015 HPA Tech Retreat will take place February 9 to 13, in Indian Wells, California.

About the Hollywood Post Alliance(r)
Hollywood Post Alliance (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content. Through their partnership with the Society of Motion Picture and Television Engineers(r) (SMPTE(r)), the leader in the advancement of the art, science and craft of the image, sound, and metadata ecosystem, the HPA continues to extend its support of the community it represents. Information about the HPA is available at ww.hpaonline.com.

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Media Contact:
ignite strategic communications
p: 818.980.3473
Christine Purse, chris@ignite.bz or
Mimi Rossi, mimi@ignite.bz

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Press Releases For : December 17, 2014

Australian Dance Mix and Mastering Engineer Klaus Hill Relies on a Metric Halo 2882 Interface and Metric Halo Plug-Ins

Klaus_HillSYDNEY, AUSTRALIA – DECEMBER 2014: Klaus Hill is the go-to guy for mixing and mastering dance music in Australia. He’s been involved in the scene for over two decades, first as a producer and DJ on labels such as TCR, Mob, Bedrock Breaks, Distinctive, and his own Title Fight and 2S2 Recordings. He made the shift to mixing and mastering ten years ago and counts among his clients Felix Da Housecat, Yolander Be Cool, Ministry of Sound, Sony, Ubderjack’d, SCNDL, Dub Phizix, and countless others. But beyond his success – Hill has been involved in dozens of Australia’s ARIA Club #1s and Beatport Hits – the well-rounded engineer relishes the opportunity to work with sound every day. “I’m a studio geek,” he laughed. “I love finding the best hardware and the best plug-ins to make other people’s creativity shine! I’m grateful that I get to do this for a living. It’s a job I really love.”

When Hill needed a new interface several years ago, he spoke with the folks at Australia’s Audio Chocolate. “They recommended the Metric Halo 2882,” he said. “I contacted several people who were already using 2882s, and all I heard from them were good things! The 2882 has been at the center of my work environment for a while now, and I’ve come to rely on it. Losing it would be like losing a family member!” Hill’s mobile mix setup involves a Dangerous Audio D-Box, a Rolls Music 775 compressor, an A Designs HM2EQ, a Manley Massive Passive EQ, and various plug-ins and 500-series hardware modules. Outputs from the Metric Halo 2882 feed the D-Box, which outputs to the hardware. The 2882 takes the signal back into the computer, where Hill mixes at 96kHz. “The Metric Halo 2882 has been running all day, every day since I got it without an issue,” said Hill. “I’m all about that!”

Hill adheres to a less-is-more mix philosophy: “I use my tools only when I need to, not just because I can. So much of today’s EDM and dance music is over-processed, with people sticking on compressors for the sake of it or because such-and-such producer does. I prefer a more natural-sounding end result to my mixes. Correct equalizing is always the most important thing.” In that vein, Hill is a recent convert to Metric Halo’s Production Bundle of plug-ins, which features its flagship ChannelStrip plug-in. “Metric Halo’s ChannelStrip is now my go-to software equalizer,” he said. “It’s so simple to use and has such a great sound. I can do surgical or broad strokes, and either way it sounds great. I’m also a big fan of the ChannelStrip’s compressor. It smacks very well on drums!”

Even before he got the Production Bundle, Hill had used Metric Halo’s signal path modeling Character plug-in via Metric Halo MIO Console. MIO Console controls all the routing for the 2882. “When I was deciding on an interface, I had several units to demo,” he said. “The 2882 had a really nice, clean, transparent sound. I loved the internal MIO Console mixer; it suited the way I worked. But the real icing on the cake was Character. It changed my whole mixing world! With it, I can add different colors to suit a particular part. Now that I have Character as part of my standard plug-in collection, I use it on soft synths to give them the warmth they always seem to lack. It takes the edge off them. I also use Character on bass lines; it gives them a roundness that I like a lot.”

Although only recently acquired, the other Metric Halo plug-ins in the Production Bundle are making regular appearances in Hill’s mixes. He’s used Metric Halo TransientControl on snares, citing its ability to add an extra bit of attack with a tight top end. The Metric Halo Dirty Delay adds movement to his mixes. “It’s like no other delay out there,” he said. “The filters are what make it.” Finally, the Metric Halo Precision De-Esser is now a regular part of Hill’s mixes. “A lot of dance music producers don’t bother to de-ess vocals before covering them with effects,” he said. “The result is that even the smallest sibilance gets exaggerated. Metric Halo Precision De-Esser lets me smooth all the vocals out easily. No stress.”

ABOUT METRIC HALO Based on the Gulf Coast of Florida, Metric Halo provides the world with award-winning software and hardware recording, processing, metering and analysis solutions.

www.mhlabs.com

U.K.’s Steve Robson Joins Ranks of API BOX Enthusiasts

Steve_Robson_BOXLONDON, UNITED KINGDOM – DECEMBER 2014: Northern Sky Music, run by Grammy-nominated songwriter and music producer Steve Robson, is among the first studios in the U.K. to add API’s BOX console to their equipment — and they have already started a trend. The BOX made its debut at last year’s AES show in New York, where Howard Jones of London’s Source Distribution couldn’t wait to bring it back home. “We had a call pretty much the moment the first BOX landed in the U.K., saying that Steve wanted a demo right away.” Robson has worked with major artists such as James Blunt, One Direction, and Rascal Flatts. The BOX was the perfect fit for Northern Sky, as Jones explains: “Many pros here know and love the trademark API sound, but don’t always need a larger format console. The U.K. was really crying out for a product like the BOX.”

London dealer Funky Junk works closely with Source distribution — and they are looking forward to the boost in sales the BOX is already bringing them. Since supplying Robson with his console, both Source and Funky Junk have placed several of API’s recording and mixing solutions in top studios across the country. “We are delighted to have a high demand for the BOX in such a wide array of studios, and are amazed to hear about the major productions in which it has already been used,” said Larry Droppa, president of API. “With the success Steve Robson has earned in his career, I know we’re bound to hear even more amazing projects recorded and mixed in the BOX.”

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

www.apiaudio.com

Danley Delivers Clarity and Punch at Alabama’s Iron City Music Venue

IronCity_ExteriorBIRMINGHAM, ALABAMA – DECEMBER 2014: Birmingham, Alabama’s Iron City is a new 1,300-capacity music venue that plays host to acts both local and national. It occupies two former automotive warehouses downtown that the owners gutted and renovated to hit the perfect middle between steely grit and modern elegance. As General Manager Mike Creager put it, “At Iron City, we aim to do everything a cut above. From production to hospitality, we always shoot for a high standard.” That philosophy extends to sound reinforcement as well. Creager worked with Tim Ogletree at MediaMerge (Chelsea, Alabama) to design a zero-compromise system that would be appropriate for Iron City’s wide footprint. Rather than a line array, Creager and Ogletree designed a point-source system using Danley Sound Labs’ patented Synergy Horn loudspeakers and Tapped Horn subwoofers. Although sometimes skeptical of the system’s relatively small size (Danley designs are several factors more efficient than conventional designs), live sound engineers universally leave Iron City rekindled of the spark that got them into the live sound business in the first place.

“Tim introduced me to Danley Sound Labs and the Danley concept, and the company flew me to Gainesville, Georgia to tour their production facility,” said Creager. “I was impressed with Danley’s fidelity and intelligibility. Danley boxes have a clarity and presence that caught my ear. I’ve worked on a number of systems, and they usually involved eating deep into the EQ and filters. The Danley boxes required almost none of that. They’re pleasantly flat, and Danley subs have plenty of bass that’s nicely articulated. When I got back to Birmingham, Tim and I set to designing a great system for Iron City. When needed, we got ready help from Ivan Beaver, Danley’s chief engineer. In fact, then (and since) Danley’s customer support has been phenomenal. I get parts or answers almost before I’ve dialed the last number!”

IronCity_StageIron City’s room is wider than it is deep, and for a venue of its capacity, the ceiling is relatively low. However appropriate they may be in a deeper, larger facility, line arrays would definitely not do the trick at Iron City. In contrast, the point source Danley boxes would provide smooth, even coverage across the floor, with plenty of SPL. In a mirrored, true stereo system, a pair of Danley SH-96s provide main coverage. To the side of each, a Danley SH-64 provides mezzanine fill, and below each, a Danley SH-69 provides down fill. All together, two Danley TH-412 subwoofers and two Danley TH-118 subwoofers provide ample bass. Lake LM44 processors condition the system, and Lab.gruppen FP-series amplifiers power it.

“The system is tremendously efficient,” said Jason Westbrook, production manager at Iron City. “It’s loud and clear, with tons of headroom. We can’t blow it up. It doesn’t distort, even when we crank it up. Because we have a huge range of acts at Iron City – from country to hip-hop to rap to metal – the system’s flexibility is appreciated. It’s got the clarity, transparency, and power to satisfy all those styles. When engineers first arrive and set up their measurement systems, the first thing they remark on is how even the coverage is. It’s obvious on their screens and it’s easy to hear.”

Although the Danley name is popping up on more and more riders, it’s still in the minority at live music venues. That provides Creager and Westbrook with the opportunity (and occasional burden) of showing engineers its advantages. “It helps that we’ve had a year of successful shows – many with big name, national acts,” said Creager. “One of our first big shows was for Bush, and that engineer was worried there wouldn’t be enough power. It’s understandable. People aren’t used to seeing a single Danley box where normally they’d see a bunch of boxes. They don’t understand the Danley technology, and they want to have a good show. I promised the Bush engineer that we would bring in more boxes if he wasn’t happy. Of course, he was. Everyone leaves Iron City commenting on how great it sounds. And many engineers claim this is one of the best sounding rooms in the South. We’re pleased, to say the least.”

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

www.danleysoundlabs.com

Ashly Amps and Processors Team with Danley Outdoor Loudspeakers at One of the Largest U.S. Private Schools

SevernSchool_AthleticCenterBALTIMORE, MARYLAND – DECEMBER 2014: Severn School is among the largest and most august private schools in the nation. Situated midway between Baltimore and Annapolis in Maryland, Severn School was founded in 1914 as a preparatory school for the U.S. Navy. Today, it serves eight hundred students from kindergarten to twelfth grade. In recent years, Severn School has been updating its buildings and grounds, including new turf fields for football, field hockey, soccer, and lacrosse adjacent to the new Edward St. John Athletic Center. For a few years after their installation, the school used a portable system for every football game, a solution that proved to be of low quality and, moreover, quite a hassle. Severn School called on Baltimore-based A/V contractor HP Electronics to design and install a permanent system. Citing their value and sound quality, HP Electronics installed an Ashly MX-206 six-channel microphone mixer, an Ashly nXp 1.52 two-channel 1500W Network Amplifier with a built-in Protea™ DSP Processor powering three Danley Sound Labs OS-80 fully-weatherized full-range loudspeakers.

SevernSchool_SpeakerWith no press box or permanent building adjacent to the field, HP Electronics Sales Designer Joe Schwartz gave Severn School a portable rack bag that connects to the permanent Danley OS-80s via a simple five-pin connector. Inside the rack, the Ashly MX-206 analog mixer provides a simple, intuitive way to control input volume for an Audio-Technica wireless microphone and a custom input panel for connecting MP3 playback devices and the like. A Furman CN-1800S provides power conditioning and sequencing, and is used to trigger a Furman CN20P within the main rack inside the Athletic Center, allowing the entire system to be powered up from the outdoor mix position. The Ashly nXp 1.52 provides abundant power and processing for the system in just two rack spaces. “I’ve always been a fan of Ashly products,” said Schwartz. “The MX-206 is simple to use, sounds great, and will serve Severn School a long, long time. The nXp 1.52 delivers a ton of power for the cost, and the optional built-in processing is very convenient and easy to use.”

Schwartz configured the three Danley OS-80s such that two cover the left and right sides of the bleachers and one covers the field from a crow’s nest above the bleachers. “We’ve used Danley loudspeakers and subwoofers in a number of churches and auditoriums, and they sound great,” he said. “When we saw that Danley had come out with a fully-weatherized loudspeaker that was based on the same design that we had used in the churches, it seemed like an excellent way to go at Severn. The engineers at Danley even helped with the design based on a similar field they had done. The OS-80s were relatively lightweight and easy to install. I was shocked that the single OS-80 was able to cover pretty much the entire field. And that coverage, like the coverage in the bleachers, is remarkably even. Overall, the system has great fidelity and coverage, and it came in at a very competitive price point.”

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

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

Symetrix Announces New Integration with Shure, Audio-Technica Products in SymNet Composer 3.0

Leading DSP brand continues to pioneer multi-manufacturer interoperability with native configuration of additional third-party devices in the latest version of its open architecture design software for SymNet DSPs.

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SEATTLE, WA — 17 DECEMBER 2014: Symetrix has launched SymNet Composer 3.0, an update to the manufacturer’s award-winning open architecture design software. Version 3.0 has built upon the native support of Audinate’s Dante media networking technology for select third-party devices in earlier releases, and extends support of market-leading products thanks to new partnerships with Shure Inc. and Audio-Technica.

Now, integrators can streamline their set-up procedures and achieve network discovery, Dante signal routing, and audio set-up of supported third-party devices from the two new manufacturers alongside Attero Tech and Stewart Audio with a single piece of software.

“The previous version of Composer was genuinely groundbreaking because it meant less software to keep up-to-date and less jumping between different items of software,” says Trent Wagner, Senior Product Manager at Symetrix. “Since launch, integrators have consistently told us that it is saving them both time and money. Now, with SymNet Composer 3.0, we are delighted to be able to extend this ease of configuration to several other market-leading products and make it possible for a Dante-based system to be configured quickly and easily from input to amplifier through a single software program.”

For Shure users, SymNet Composer 3.0 brings the MXWAPT4 and MXWAPT8 access point transceivers from Shure’s Microflex™ Wireless range into the SymNet fold.

Chad Wiggins, Director of Networked Audio Systems, Global Product Management at Shure Incorporated, emphasizes the benefits of the integration for one specific market segment: “Symetrix provides a great conference room solution with its SymNet Radius and Edge line of DSP processors, and we think they pair nicely with our Microflex™ Wireless microphone system which excels in that application environment. The audio and control interoperability of these two products gives our integrators a powerful tool to easily design flexible, feature-rich audio systems.”

SymNet Composer 3.0 also adds native Dante configuration for two leading products from another prominent microphone manufacturer, Audio-Technica. The two supported items are the ATND971 Dante-enabled cardioid condenser boundary microphone and the ATND8677 Dante-enabled microphone desk stand, which can be used with any gooseneck microphone sporting a three-pin XLRM-type output connector.

Gary Dixon, Sales Engineer, Installed Sound at Audio-Technica US, remarks: “With the integration of Audio-Technica and Symetrix technologies, the microphone becomes the ‘user interface’ for the AV system. It is able to capture audio, transmit a user button press and provide visual feedback for the end-user – all over category cable utilizing standard networking protocols. This means reducing the equipment specified by the consultant and simplifying the on-site wiring for the installer. The signal routing and control signals can be designed, tested and implemented virtually. Ultimately, the AV designer can be more creative in controlling how the end-user interacts with the system.”

The new version of SymNet Composer also includes a number of Window Management (Composer UI) Framework improvements, giving the user greater freedom to move pallets to any side of the screen they desire, resize them in place and nest them into tabbed pallets. It is also possible to create specific menu bars for frequently accessed commands and customize toolbars to keep preferred shortcuts at hand.

Symetrix founder and CEO Dane Butcher comments: “Our overriding objective at Symetrix is to make integrators’ lives easier, and it is clear that requirement will gain significance as we move into the world of comprehensive A/V networking. With SymNet Composer 3.0, I believe that we have taken our support of integrators to a new and higher level.”

SymNet Radius 12×8 EX
Alongside the introduction of SymNet Composer 3.0, Symetrix also launched the SymNet Radius 12×8 EX. An upgrade to the popular SymNet Radius 12×8 DSP, the new version features the addition of an expansion slot which, when utilized, increases the total audio input/output count from 20 to 24 in the same 1U format.

In a development that boosts the future-proofing of an installation by allowing for subsequent expansion by simple I/O card addition, SymNet Radius 12×8 EX supports an array of optional SymNet cards, including analog, digital, AEC and telephone. A dedicated Migration Tool allows those with previous designs or work-in-progress using Radius 12×8 to easily convert their files to use the Radius 12×8 EX hardware without any further modifications or extra work.

SymNet 2 Line VoIP Interface Card
Also available is the 2 Line VoIP Interface Card, which is an Asterisk®- and Cisco®-compatible plug-in card for the SymNet Edge and Radius DSPs that natively integrates with SIP-based call platforms and unified communications environments. Designed to be easy to deploy and manage, the 2 Line VoIP Interface Card is suited for a variety of conferencing, paging, remote monitoring and broadcast applications.

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ABOUT SYMETRIX
With a current and broadly-based product portfolio that encompasses both open- and fixed-architecture solutions, Seattle, USA-based Symetrix is a global leader in digital audio signal processing. From a founding base in the studio and MI communities almost forty years ago, Symetrix has emerged to take a defining role in commercial audio, its products now the audio professionals’ choice for large-scale installations in performance venues, sports arenas, educational establishments and many more. Benefiting from a worldwide distribution network that has seen its products specified in over 100 countries, Symetrix continues to spearhead the entire design and build process from its Seattle HQ. The manufacturer is now enhancing its readiness for a new era of AV networking through its licensing partnership with Audinate, whose industry-leading Dante media networking solution is fully integrated into the SymNet DSP platform.
www.symetrix.co

ABOUT SHURE INCORPORATED
Founded in 1925, Shure Incorporated is widely acknowledged as the world’s leading manufacturer of microphones and audio electronics. Over the years, the Company has designed and produced many high-quality professional and consumer audio products that have become legendary for performance, reliability, and value.  Shure’s diverse product line includes world-class wired microphones, wireless microphone systems, in-ear personal monitoring systems, conferencing and discussion systems, networked audio systems, award-winning earphones and headphones, and top-rated phonograph cartridges. Today, Shure products are the first choice whenever audio performance is a top priority. Shure Incorporated is headquartered in Niles, Illinois, in the United States. The Company also has regional sales and marketing headquarters in Eppingen, Germany, and Hong Kong, China, with more than 30 additional manufacturing facilities and regional sales offices throughout the Americas, EMEA, and Asia.
www.shure.com

ABOUT AUDIO-TECHNICA
Celebrating over 50 years of audio excellence, Audio-Technica is renowned worldwide for a broad range of consumer and professional audio products, including high-performance headphones, microphones, wireless systems, turntables and phono cartridges. Winner of numerous industry awards, Audio-Technica designs and manufactures products that set quality, durability and price/performance standards for major concert tours, broadcast and recording studios, corporate and government facilities, theaters, house-of-worship venues, and consumer applications.
www.audio-technica.com

For downloadable hi-res images, click here: http://po.st/SymNetSymetrix Composer 3.0

 

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Crew Boston Lights ‘Antiques Roadshow’ Field Segments with Zylight F8 LED Fresnel

LOS ANGELES – In the field, there are few “normal” lighting setups – the only constants for the EFP crew of Antiques Roadshow, the popular PBS series produced by member station WGBH in Boston, are different locations and tight shooting schedules. Between May and August, the Antiques Roadshow crew shot in eight different cities across the country for the show’s 19th season, which will begin airing in January 2015.

Each episode features a field segment with host Mark L. Walberg, who visits a site in the event city with one of the show’s appraisers to learn about specific items. For the season, that amounts to 24 different locations, each one a new lighting challenge that requires a highly flexible and mobile lighting package.

Bob Birkett from Crew Boston Video Production Services has been Crew Boston F8 Useshooting for Crew Boston F8 UseAntiques Roadshow since its debut in 1997. As director of field videography, he and the WGBH EFP crew record the field segments as well as the show’s open and close with the host.

This season’s travels took Birkett’s crew to the stage of the Apollo Theater in New York City, a coal mine in Charleston, W.V., an international balloon museum in Albuquerque, N.M., and the historic Sloss Furnaces in Birmingham, Ala. Some setups were interiors, others were exteriors. All were shot with Crew Boston’s Panasonic AJ-HDX900 DVCPRO HD camcorder – and this season, Birkett added a Zylight F8 LED Fresnel to his lighting kit.

Birkett said the Zylight F8 is incredibly versatile. “Museum curators prefer that you not put a hot light near a valuable and often light sensitive work of art,” he explained. “The staff at the Austin State Museum, for example, were very concerned about how we would light their very delicate Texas Declaration of Independence. We showed them the dimmed down and cool Zylight and eased their concerns.”

For years, Birkett has been using Zylight’s Z90 compact LED light on location as a backlight and on-camera light. The palm-sized Z90 offers variable color temperature with no color shift while dimming, and its built-in color mode provides immediate access to millions of colors without gels or filters.

“The Z90 is not just an on-camera light,” he said. “It has such flexibility of color choices, and its low power draw means you can run it a long time on battery. I will often grab the Z90 when I need a splash of color in the background. A segment we shot at the Rickenbacker guitar factory is a good example – the wall of guitars was washed in deep blue with one Z90.”

Birkett opted for the daylight-balanced F8 and uses the F8 Filter Kit to warm the output. He said unlike LED light panels with multiple light sources, the F8 provides better control over the quality and texture of the light. The fully dimmable F8 features an eight-inch SCHOTT glass lens to maintain single shadow traditional Fresnel beam shaping, as well as an adjustable beam spread (16-70 degrees) and patented focusing system for spot and flood operations.

In contrast to HMI lights, the F8 is much more portable, Birkett added. For Antiques Roadshow, the battery-powered F8 came in handy for several setups, including Walberg’s tour through a coal mine (in a mine cart) and a horseback ride in a pasture in Austin, Texas. Birkett said he also used the F8 for quick stand-ups with the host when no external power was available.

“It’s definitely a part of my go-to lighting package,” Birkett added. “I like it because of the Fresnel lens and its ability to be dimmed. The variable intensity makes it ideal for lighting backgrounds for interviews.”

Birkett is an independent contractor and does not represent Antiques Roadshow or WGBH.

ABOUT ZYLIGHT LLC
Founded in 2003, Zylight LLC is the leading manufacturer of intelligent LED lighting instruments for the film and video production industry. Every model in its easy-to-use lighting system produces fully calibrated bright white light, while some also provide a spectrum of adjustable colors without gels. Full wireless control and DMX integration are included, and AC or DC power options are available. The Zylight state-of-the-art LED system is truly the most unique and flexible lighting system on the market today. With more than 50 dealers worldwide, Zylight continues to develop innovative LED lighting solutions to help make your job easier. More Than Bright – Zylight. Find out more at www.zylight.com.

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CRAS Outfits New Control Room wth Super Transparent ATC SCM25A Reference Monitors

Conservatory_RecordingArtsSciencesGILBERT, ARIZONA: The Conservatory of Recording Arts and Sciences – or “CRAS” as it is more affectionately known – is a top-tier technical school dedicated to placing its well-trained students in entry-level positions in the music, game audio, live sound, broadcast, and post-production industries. Unlike most similar programs, CRAS obligates its students to obtain internships in order to graduate, and it has a excellent record of helping students obtain their first paying gig. Part of its success, which has resulted in literally hundreds of CRAS grads working on literally hundreds of Grammy Award-winning projects, is exposing students to high-end professional tools. Thus, when CRAS recently expanded its facilities with the addition of control rooms F and G, it put ATC SCM25A Pro reference monitors – among the industry’s most-trusted tools – in both.

“Our rooms reflect reality in the industry,” said Tony Nunes, music production instructor and manufacture liaison at CRAS. Nunes, together with Mike Jones, director of education, travels to trade shows, recording studios, and post-production facilities around the country to keep CRAS’s facilities and instruction in perfect synchrony with the latest (and enduring) industry standards. “We sculpt our technology and instruction to remain always at the current standards in the industry,” he continued. “Two years ago at AES in New York City, we visited a lot of the big studios in town, like Stadium Red and Electric Ladyland, and talked with our grads who worked there. A consistent theme that studio managers/staff stressed was the persistent requests they received for ATC monitors; so persistent, in fact, that most studios invested in their own ATCs.” CRAS’s ATC SCM25A Pros join Pro Tools HDX rigs with Apogee converters, [soundBlade HD] rigs with Mytek converters, and SSL AWS 948 combined console and control surfaces.

“The ATCs are certainly the most transparent monitors we have at CRAS,” said Nunes. “Students don’t get to studios F and G until they are a little ways into the program. By that time, they can really appreciate the details that the ATCs reveal. For example, when we’re tracking in those control rooms, students will notice the smallest details, like fret buzz on the bass. One time we had a vocalist who was struggling with an allergy and sinus problem. After he rested and had some tea, he came back and all the students could really hear the physicality of the difference. One student said it was like he could see the vocal cords in the ATCs. They’re a really great tool.”

Because students use the ATC SCM25A Pros later in the program, they get an opportunity to scrutinize their earlier projects. “They know so much more six months later, and now they’ve got these great monitors that reveal so much; it can often be a painful experience,” said Nunes. “But we bravely turn it into a learning experience. We find and analyze the mistakes, and then students may remix their projects. Every time, they come back happy with the results. Because the new mixes pass the test on the ATCs, they translate everywhere else, like students’ cars, apartments and computers.”

Although CRAS is explicit in stating that it does not teach students to be mastering engineers per se – which necessarily requires skills that can only be acquired through years of experience – it most definitely teaches its students about the mastering process and about the technical details that mastering engineers will expect of their work. There again, the ATC SCM25A Pros, which are mastering-grade reference monitors, benefit CRAS students.

ABOUT TRANSAUDIO GROUPTransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.

www.transaudiogroup.com

The Wave Builds With Martin Audio Subs

The Wave WS218Xs

Las Vegas, NV––Specializing in audio production, rentals and sales, The Wave recently added a dozen of Martin Audio’s popular WS218X subwoofers to its growing inventory.

Asked about the purchase, owner Scott Fisher responds, “We wanted additional low end reinforcement for live shows and DJ events and chose the Martin Audio WS218X because it’s a good sounding, high output subwoofer from a brand known and respected by engineers and audio people around the world. Getting these was a win-win all the way around.”

Scott also has a full Martin Audio monitor rig consisting of 14 x LE1200s, which he likes because “they’re rider friendly, work well and are very reliable.”

The first outing for the new subwoofers was a country concert at Drai’s Nightclub at the Cromwell Las Vegas and Casino featuring Texas artist Pat Green as headliner and opening act The Dirty River Boys.

As Scott explains, “the concert took place during National Finals Rodeo, a 10-day event when Las Vegas gets very country because the event sells out the Thomas and Mack Center which seats over 18,000 people.

“In terms of the show, everything went really well with the subs even though it was the first time out. The FOH engineers for both bands, Luke Wilbanks for the Dirty River Boys and Braxton Henry for Pat Green, were super happy. They thought everything sounded great.

“The guy in charge of sound at Drai’s, who usually prefers another brand of speakers, thought the WS218X’s sounded really good and tight. He we was so impressed that we already have other shows booked in the room.”

“After the show,” Scott concludes, “my systems tech, who was also very impressed, told me that we’d made a really good purchase. I knew the WS218X’s were going to perform well, but the overall reaction has been way more positive than I expected.”

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.

SSL Matrix Used For Recording Much Anticipated New Faith No More Album

“The Matrix has been a great box for tracking.”

OAKLAND, CA – After a 17-year hiatus, seminal American band, Faith No More, are nearing completion of a new album. Bassist and songwriter Billy Gould is also producing the album and has used his SSL Matrix to streamline the recording process. Faith No More are cited by many artists as ground breakers and a key influence thanks to their distinctive sound, explosive energy and fusion of metal with a wide range of other stylistic influences. They have enjoyed huge commercial success, scooped numerous awards and are known for approaching recording and production as a part of their creative process. For this new album, the band members wanted the creative freedom of working in their own private rehearsal space ‘Estudios Koolarrow.’

Billy Gould with SSL Matrix“Matrix was a great way to get a lot of recording done within the small footprint needed to fit this space,” says Billy. The Matrix is Billy’s personal console which he has been using for other production projects, some of which can be found at the excellent Koolarrow Records web site. “Previously, I had been working in the box and having a real master control section and analogue channels have been a major step forward. The last album we (FNM) recorded, in 1997 (“Album of the Year”), was done in a full-service studio, on two-inch analogue tape, although we did utilize an early Pro Tools system at the time, which was a first for us. Back then the state of the business was totally different; as a musician, recording was a process that was usually overseen by producers and engineers in commercial facilities. Something like the Matrix allows us to be creative in our choice of recording environment. It sounds good and is manageable enough for an easy install and to get up and running.”

“The Matrix has been a great box for tracking,” continues Gould. “Simply doing things like setting up monitor levels happens very quickly. It’s great having real input channels, being able to use our own selection of outboard mic pre’s, blending mic channels using real faders and setting record channels with the touch of a button. Everything is done within the same console. I like this thing!”

The new Faith No More album is slated for a 2015 release. Koolarrow Records releases a steady stream of material from an eclectic mix of artists from around the world.

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

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