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Press Releases For : October 13, 2014

Continued Market Growth Spurs Promotions for Biamp Systems in the Americas

Sales team expertise continues to develop, delivering the depth of knowledge needed (more…)

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Outkast FOH Engineer Sold on Long-Throw Power of Meyer Sound LEO

outkastHip hop legends Outkast recently completed their summer tour with three sellout hometown shows in Atlanta’s Centennial Olympic Park. Dubbed “#ATLast,” the 20,000-plus crowds were supported by a Meyer Sound LEO™ linear large-scale reinforcement system as specified by FOH engineer Darcy Khan.

“The first time I’d mixed with LEO was earlier this summer at the Montreux Jazz Festival,” says Khan. “I loved the way it sounded. It was astonishingly clear, with no phasing issues, and I could walk from the stage all the way to the back and hear a nice, even wall of sound. A few weeks later, I mixed on another LEO system at the Osheaga Festival in Montreal, where I experienced the system’s long-throw power. That sold me. I knew I wanted a LEO rig for Atlanta.”

Supplied by VER Tour Sound, the Atlanta system deployed main arrays of 14-each LEO-M and side arrays of eight-each LYON™ linear line array loudspeakers. Three delay towers comprised eight MICA™ line array loudspeakers each, while 12 MINA loudspeakers provided front fill. Low end was supplied by 12 flown and 18 ground-stacked 1100-LFC low-frequency control elements. A Galileo® Callisto™ loudspeaker management system with three Galileo Callisto 616 and three Galileo Callisto 616 AES array processors provided system drive and optimization.

According to Khan, the linear characteristics of LEO helped him to maintain sonic consistency despite the extreme dynamics of Outkast’s sound. “Even if you spend all day tuning the PA, when the show starts, the crowd gets going, and you push it up to 110 dB SPL, many PA systems start to change,” he points out. “So I’m constantly fighting the mix, and that’s frustrating. But with LEO, I always hear the same qualities in the mix, whether during a soft part or going full on. It’s always even, so I can just mix and not worry about the system.”

Khan was also impressed by the musicality of the 1100-LFC loudspeakers. “I like to feel the low end, but I also want to hear the unique sound of the instruments, like the Roland TR-808 drum machine. With the 1100-LFC, I can hear that tonality all the way down to 30 or 40 Hz.”

Representing VER on-site were project manager Kyle Shepherd and system engineers Erik Rogers and Chad Fuller. Logistics were orchestrated by VER Tour Sound’s Ralph Mastrangelo and Chance Stahlhut.

Khan mixed Outkast on a DiGiCo SD10 digital console while the band used Shure UHF-R wireless microphone systems, with Antwan “Big Boi” Patton on a Sennheiser SKM 5200 wireless microphone. Monitors were mixed on a DiGiCo SD5 digital console, with the band using Shure PSM 1000 IEM systems.

Outkast have won six Grammy Awards and sold over 25 million albums. The “#ATLast” event was their first concert appearance in Atlanta in more than a decade.

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Slovakia’s Amex Audio Energizes Rental Business with Meyer Sound LYON

amexSenec-based Amex Audio s.r.o. in Slovakia has invested in a new Meyer Sound LYON™ linear sound reinforcement system as its flagship product to serve its most important customers. With LYON’s power and clarity, Amex has been hired by clients that range from Mercedes-Benz to Pohoda Festival and the Slovakian “X Factor” show.

“We already had a M’elodie® system, and were very happy with the sound of Meyer Sound products,” says Igor Demčák, managing director of Amex Audio. “We wanted that same sound coherence and linearity in our new, large-scale system. And with its power-to-size ratio and truck-space savings, LYON arrived at just the right time.”

Amex Audio’s purchase includes 28 LYON linear line array loudspeakers and a Galileo® Callisto™ loudspeaker management system with two Galileo Callisto 616 array processors. The core LYON system is augmented as needed by other Meyer Sound loudspeakers from inventory, including M’elodie line array loudspeakers, JM-1P arrayable loudspeakers, and 600-HP and 500-HP subwoofers.

“When we used the system for “X Factor” and the Pohoda Festival, the FOH engineers were curious and amazed,” reports Demčák. “‘What is this system?’ they asked. It was their first experience with LYON, and they were very happy with what they heard.”

Other recent events that have used Amex’s LYON system include the Uprising Reggae Festival featuring Shaggy, Jimmy Cliff, and Dub FX; and an electronica concert by producer/DJ Bonobo.

Founded in 1994 and operating under its current name since 2006, Amex Audio provides sound systems and full production support for corporate events and live television shows, as well as for major music festivals and concerts.

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Japan’s Takarazuka Theatre Upgrades 12-Year Meyer Sound System to M’elodie and MICA

takarazukaFollowing 12 successful years with its Meyer Sound MSL-4 loudspeakers, the Takarazuka Grand Theatre in Japan returned to Meyer Sound when it came time to upgrade. With an emphasis on exceptional audio quality and system reliability, the 2,550-seat venue chose a design based on M’elodie® and MICA® line array loudspeakers.

“In my opinion, the best equipment should be robust and reliable,” says Masaru Kirie of Takarazuka Stage Co., Ltd. “The new system’s performance lives up to the prestigious Meyer Sound brand, and the sound quality is excellent in all respects.”

The theatre’s main system is anchored by left and right lower proscenium arrays of 13-each M’elodie loudspeakers and three over-proscenium L-C-R clusters consisting of seven MICA and three M’elodie loudspeakers each. Ten 700-HP subwoofers provide low-end reinforcement, with six placed overhead and two located with each of the side arrays. All arrays are hidden behind screens and walls to stay out of sight.

In addition, 32 UPA-2P and two UPA-1P loudspeakers, four M1D line array loudspeakers, and six UPJ-1P VariO™ loudspeakers provide secondary fill, delay, and stage monitoring, while four HD-1 studio monitors are used in the control room. The entire system is driven and aligned by a Galileo® loudspeaker management system with 10 Galileo 616 processors. For special effects, signal matrixing, and Wild Tracks™ playback, the system includes a D-Mitri® digital audio platform with 24 modules.

The system was designed in consultation with Meyer Sound Japanese distributor ATL, Inc., and installed by JATO Co., Ltd. of Osaka.

Located in a suburban resort city, the Takarazuka Grand Theatre was built in 1993 to host productions of the Takarazuka Revue, an all-female theatre troupe that presents lavish, large-cast musicals based on Broadway productions and Japanese folk tales. Both the theatre’s operating company and the Revue are owned by Hankyu Hanshin Holdings, Inc.

The Tokyo Takarazuka Theatre, which serves as another home venue for the Takarazuka Revue, is also equipped with a Meyer Sound system.

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Meyer Sound MICA Provides Flexibility for Concert Series in Ancient Sicilian Amphitheatre

grecoItaly’s 2,700-year-old Teatro Greco in Sicily recently hosted a summer concert series with artists including James Blunt, Simple Minds, and Italy’s chart-topping Gigi D’Alessio. Faced with limitations for amplification in the historic amphitheatre, the audio team selected the flexible MICA® line array loudspeaker system to ensure pristine audio quality throughout the arena.

“Every time we go to the magical Teatro Greco, we are awed by the magnificence of this venue,” reports Roberto Rosu, FOH engineer for Gigi D’Alessio. “And thanks to the quality of the MICA system, the end result was amazing.”

Flown loudspeaker arrays in the historic arena were not an option, according to Freddy Dagata, audio project manager for Light and Shade di Alessandro Finocchiaro, the Aci Catena-based production provider. “We really had a chance to appreciate the versatility of a Meyer Sound system,” says Dagata. “MICA worked very well when ground-stacked, and we had amazing coverage throughout the arena. We were able to satisfy all requests of the artists and their FOH engineers, as the system perfectly handled a wide variety of pop and rock styles.”

Flanking the stage were twin stacks of eight-each MICA loudspeakers, aided by additional left and right outfill arrays of seven-each M’elodie® line array loudspeakers. Four UPM-1P loudspeakers provided front fill, while two UPA-1P loudspeakers anchored a center image on the wide stage. A Galileo® loudspeaker management system with one Galileo 616 processor supplied system drive and optimization.

Other artists heard through the Meyer Sound system during the 2014 season included Emma, Giorgia, Il Volo, and Negramaro.

Located on a mountaintop with breathtaking ocean views, the Teatro Greco of Taormina was built in the early seventh century BC, although most of the remaining stonework is from a later Roman era reconstruction. With a diameter of 120 meters, it is the second largest Greek amphitheatre in Sicily.

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Burlington, MA – October 13, 2014 – Catalyst_AV_Logo_webCatalyst AV, a nationwide distribution network of specialty products serving more than 15,000 integrators from 15 regions in the US, today announced that all of its 11 member companies are now selling the Dropcam Pro. (https://www.dropcam.com/dropcam-pro)

DropCam-PRO_Front_72dpiDropcam is a cloud-based Wi-Fi video monitoring camera and cloud service. With free live streaming, intelligent alerts and mobile and web apps, Dropcam makes it easy to stay connected to places, people and pets no matter where you are. The Dropcam Pro delivers a 130-degree field-of-view, granting the ability to capture an entire room without the need to pan or zoom. Additional capabilities include 8X zoom and notification alerts. The unit has an MSRP of $199.

”Dropcam is a significant addition to our app-based assortment of control products,” says Wally Whinna, Catalyst AV board member and principal of Allnet Distributing. “These products offer integrators new security solutions that can be implemented in jobs where they would have had no sales opportunity with conventional products.”

Catalyst AV is currently comprised of 11 privately-owned distribution companies:
• Allnet Distributing (www.allnetdistributing.com) (Midwest)
• Audio Video Warehouse (www.av-warehouse.com) (Nevada, Arizona)
• Custom Partners (www.custompartners.com) (Metro-NY)
• CustomPlus Distributing (www.customplusdistributing.com) (No. CA/ Pacific NW/ AK)
• Easy Access Distribution (www.easyaccessdistribution.com) (Northeast)
• Electronic Lane Distributors (www.electroniclane.com) (Southwest)
• Electronics Source (www.electronics-source.com) (Florida and Southeast)
• HCA Distributing (www.hcadist.com) (Rocky Mountains)
• Pioneer Music Company (www.pmcav.co) (Plains States)
• SPD (www.soundproductdistributing.com) (Upstate NY)
• Tech Source Distributors (www.techsourcedist.com) (Mid-Atlantic)

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

Cain Joins Middle Atlantic As Director of Sales Support

Wally Cain

Wally Cain

Fairfield, NJ––Middle Atlantic Products has appointed Wally Cain as Director of Sales Support. In this newly created position, Cain will oversee and manage the Customer Support, Technical Support, Inside Sales, Residential Support and Design Services departments.

Prior to joining Middle Atlantic, Cain spent nearly 10 years at Lastar’s Cables to Go (C2G), which became part of Legrand North America earlier this year. At C2G, Cain most recently served as Manager of Customer and Technical Support and Product Manager, Inside Sales Manager and Account Manager prior to that. His educational background includes a BS in Organizational Leadership from Wright State University.

Commenting on the new appointment, Dan Tarkoff, Middle Atlantic Vice President of Sales, said, “Wally brings a wealth of experience in Customer and Tech Support, Inside Sales and Product Management in the A/V industry. He’s had a highly positive influence as a key member of the management team at C2G.

“We are excited at the prospect of having Wally guide our Customer Support and Inside Sales teams to a new period of significant and sustained growth as we continue our promise of providing the highest level of support to our customers.”

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

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

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

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Technotrix Acquires Martin Audio MLA For Improved Coverage

Technotrix

Chicago, IL––Specialists in Audio, Lighting, Staging and Rigging, Technotrix Inc. recently became a valued member of the growing worldwide MLA Network with the purchase of an MLA System 24.

The System 24, which consists of 14 MLA and 2 MLD (downfill) enclosures and 8 MLX subwoofers, was acquired prior to the summer festival season on July 1st and immediately pressed into service for the Taste of Chicago food and music festival, Summer Set Music & Camping Festival, Riot Fest in Chicago and a concert with The Replacements headlining in Minnesota.

Asked about the impact of the new system, Technotrix Senior Account Executive Kevin Kiefer responds, “The MLA technology is really exceptional. The system coverage is much better than anything we’ve ever used. For The Replacements concert, the last show at Midway Stadium in Minneapolis, we used a larger System 36 and the most noticeable thing was the phase coherence and stereo imaging. We were between 400 and 500 feet away from the PA and it sounded like listening to the concert in your living room.

The Replacements

The Replacements

“Apart from all of the control that you have over the volume and level of sound throughout the listening area,” Kevin adds, “is the area beyond that. With MLA, you can be sitting on a hillside beyond the audience area and the experience is much better than any other system we’ve ever heard.

“I have to say that the MLA system has performed exceptionally well in these outdoor environments so far. It met with a universally positive response this summer, especially at some of these other festivals where we’ve been able to hear the other large format systems that are out there. It’s very apparent with MLA, especially over large distances, how the coverage remains consistent throughout the entire listening area from front to back. This is something we noticed right away when evaluating the rig. MLA doesn’t act like a typical loudspeaker system.

“What I tell everybody is that the cellular drive in the design of the MLA is the technology destined to replace current line arrays as we know them. The system looks and rigs like a line array, but much the same way line arrays replaced conventional PA systems for over 95% of the large shows these days, cellular drive will eventually replace line arrays. Once you do festivals with MLA, other systems just don’t sound right.

“We’re trying to educate our clients as to all the stuff we can do with this system that no one else can do,” Kevin concludes, “and it takes time to have people understand these capabilities are even available to them because they’re so advanced.”

Technotrix team photo caption:
From the left: Brian Levy, Andy Kuhlmann, Rosie, Matt McQuaid, Kevin Kiefer, Michael Schroeder, Brent Bernhardt, Beau and Chris Bonifas

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.

Marvel’s Guardians of the Galaxy Recorded with DPA Microphones

Simon Hayes 2

Oscar-winning production sound mixer Simon Hayes relied on DPA lavalier mics to record Marvel’s film adaptation of Guardians of the Galaxy, directed by James Gunn.

Hayes, who first used DPA microphones as Production Sound Mixer for the film adaptation of Mamma Mia in 2008, has turned to DPA d:screet™ 4061 and 4071 miniature mics on every film he’s worked on since then. Recently these have included Les Miserables (for which Hayes picked up the Oscar and BAFTA for Best Sound Mixing) and upcoming releases Tarzan, directed by David Yates and Kingsman: The Secret Service, directed by Matthew Vaughan.

Hayes chose DPA miniatures for Guardians of the Galaxy so that he could capture original dialogue, right at the point of shooting. Given that Director James Gunn’s vision for the film was to preserve the authenticity and emotion of the actors’ performances, he felt this was the best way to serve the film and its creative team.

“It was clear from the first meeting with James Gunn that he wanted to capture original performances, which of course isn’t always easy when you’re talking about large budget special effects and action-driven visual effects type movies,” Hayes says.

“We knew that we were going to be shooting three or four cameras at all times so the DPAs took precedence over the booms on a lot of scenes. This meant that, in the final mix, at least 75% of the dialogue that made its way into the movie was recorded on DPA [d:screet] 4071s and DPA [d:screet] 4061s.”

Leading man Chris Pratt was fitted with the DPA d:screet 4061 omnidirectional mic. “We felt that the 4061 added a little something extra in the bass region for his voice, which was quite exciting,” Hayes continues. “All of the other characters used 4071s on their chest rigs and if we were rigging microphones in their hair or in their helmets, we used 4061s to increase the bass.”

As the title suggests, the sets for Guardians of the Galaxy were not going to be small. Finding regular-sized Sound Stages a little small, set designer Charlie Woods had sets housed in old Ministry of Defence buildings to allow enough space. This provided Hayes with a few hurdles to overcome sound-wise.

“That kind of environment isn’t as easy to record sound in as a sound stage, so I had a lot of background noise and a lot of reverb to contend with,” he says. “Again, the DPA mics excelled at rejecting that reverb and just capturing dry, up-front vocals for me.”

One of the things that really sets Guardians of the Galaxy apart from its kin in the superhero film genre is its esoteric 70′s soundtrack, which was integral to the way the sound was mixed. Hayes explains why this was a huge consideration when recording:

“Mixed in with the huge space sound-effects that the sound design team built for us, we really wanted close-up dry dialogue so that we could push the music and the effects harder, and that’s what the DPA mics helped us to do,” says Hayes, who collaborated closely with Alexandra Byrne (costume designer) and Dan Grace (costume supervisor) to design the mic placements used within the actors’ costumes.

“We had some really interesting rigs. For instance, Lee Pace, who plays Ronan, was wearing a helmet for his whole performance and we actually placed two 4061 mics into the helmet because the microphones were creating a tiny bulge. We wanted to have the bulge uniform, so we put one above each eyebrow, which not only gave a uniform look to the helmet, but it also gave us the opportunity to have two tracks running on Lee Pace’s dialogue.”

Ronan has a particularly dynamic part in the film, as Hayes continues: “This placement allowed Lee Pace more creativity in the way that he was playing Ronan and I was able to assure him that because we had the two 4061 mics on him, he could literally go from a whisper to a shout without us having any trouble whatsoever.”

Dave Bautiste, whose character Drax the Destroyer goes through the whole film topless, presented another challenge altogether, which meant finding an ingenious solution.

“We collaborated with the Special Makeup FX department and were able to have a [d:screet] 4071 basically rigged into the special makeup effects, which was applied to his upper body so it became part of a scar in the middle of his solar plexus,” Hayes says. “This meant that even though we had a topless man through the whole movie, in every single scene we were able to have a perfectly placed 4071. DPA’s are so reliable that you can have it buried under makeup and you know that it’s going to work all day, you’re not going to have any problems from them.”

With a run of over 18 films on which he’s used DPA microphones, Hayes concludes, “In the marketplace today there aren’t any lavalier mics that sound as natural and as transparent as DPAs. I feel that when I’m using a DPA microphone, I’m hearing actors through their performance rather than the microphone factoring it.”

After the box-office success of Guardians of the Galaxy, a sequel has already been announced, due for release in 2017.

-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

Fairlight Delivers the Gift of Great Sound at Sky Vision Sound Studios

Robert Thompson Sky Vision

London-based Sky Vision Sound Studios, part of the BSkyB/Sky Vision family, has recently completed a major upgrade of its Fairlight equipment to bring it in line with BSkyB’s UK broadcasting facilities in Osterley. The three-studio complex, two mix rooms and a prep room, has upgraded its Fairlight Constellation console with a Fairlight EVO, six of which are already in use at BskyB. It has also upgraded its XYNERGI system by installing the latest software version – a move that is already improving workflow.

Sky Vision’s Audio Supervisor and Senior Dubbing Mixer Robert Thompson says: “Although we have handled work for external clients such as SKY, the BBC, Universal and Channel 5, the majority of our work comes from Sky Vision. As work often moves between BskyB’s sound studios and ours, it made sense for us to have identical equipment. The dubbing mixers at BSkyB were obviously very happy with their Fairlight EVO’s and this, combined with our own good experiences of Fairlight, meant we had no qualms about upgrading our own desk.”

Tucked away in a Georgian Mews in the heart of London’s Fitzrovia, Sky Vision Sound Studios handles a variety of programming covering wildlife, docudrama, documentary, children’s TV shows, scripted content, sports and comedy. The diversity of the projects Sky Vision Sound Studios tackles is mind-boggling, as is the speed of turnaround this facility achieves.

“Last year we completed over 70 hours of broadcast TV, which for two mix rooms is pretty good going,” Thompson says. “That’s just shy of three hours a month – a lot of work by anyone’s standards. Of course none of this would be possible without the Fairlight systems we have in both rooms. It really is a credit to Fairlight we achieve what we do because you simply couldn’t get through such a large quantity of work without having a system that is so reliable and flexible.”

Sky Vision Sound Studio’s affiliation with Fairlight goes back to 1999 when the facility was first set up by dubbing mixer Trevor Barber. Thompson, who was brought in some years later to help increase the facility’s output, says: “I got switched on to Fairlight by Trevor because he wouldn’t use anything else. I didn’t start out as a Fairlight user – in previous jobs, and as a freelancer, I had mostly used Avid Pro Tools. But when Trevor first set up the studios he installed a Fairlight MFX hard disk recorder in Studio One. As soon as Fairlight introduced their new Xynergi range, Trevor came on board straight away. In fact, the Xynergi system we own and use today is serial number 5. It still works perfectly. The only thing we have changed is the operating software, which we have just upgraded again to the latest version.”

Thompson adds that transitioning from Constellation to EVO has been very straightforward, mainly because all Fairlight systems are very intuitive.

“We have had no issues moving over to the EVO,” he says. “Both Russell Skellon, who mainly works in Studio Two, and myself have been using Fairlight for a long time and we have so much experience that the system is almost second nature to us. I would say the same about XYNERGI and the upgrade to the latest software version. Setting up the XCS controller on the EVO so that it works the way we are used to was very quick to master and it was all so seamless that we were up and running almost immediately. The only thing that is taking a bit of time is exploring the new software features. We are now finding out all the new tricks it can do and it is already offering much greater functionality.”

As many users will testify, one of the main benefits of Fairlight is the ability to build customised workflows.

“We often have to deliver shows to multiple broadcasters worldwide, and with Fairlight I am able to build consoles and workflows that produce all the deliverables I need very efficiently,” Thompson says. “I also find editing on Fairlight incredibly intuitive because I can use the Picture Keys on the XCS to make my own controller and editor, which I design around my personal preference. It’s also really nice to personalise my common functions and assign them a macro so they can be done with just the push of a button. It gets me away from mouse based editing. The whole XCS mentality is quite exciting as it has the potential to operate as a controller across multiple applications.”

Thompson adds that Fairlight’s ability to accept and export multiple file formats is useful when the facility gets project from outside clients, “but to be honest we’ve honed the workflow between ourselves and Sky Vision to a point there this isn’t really relevant,” he says.

“What is useful, though, is Fairlight’s ability to give users two picture tacks at the same time.
If you are re-versioning and don’t get an EDL file that tells you what has been cut where, this can be a very tedious and time consuming process. With Fairlight’s integrated video we can streamline the process by running two picture tracks and comparing them in real time. This makes it much faster to manually make the cuts. It’s a great feature and one that really helps us.

“For example, the nature of our work is that we do quite a few versions of a specific programme mix. With the new software, we can easily conform all of our edits, including the mix, which was something we couldn’t do with previous versions. We’ve always had a good dialogue with Fairlight and this is something we’ve been specifically asking them to do, so having it now is just fantastic because it means we can work even faster as the whole reversioning process is now far more automated. Most other systems rely on third party software for this.”

Thompson adds that he is also looking forward to exploring the latest software’s new background recording feature, which offers lots of sound design potential.

“I’m still checking this out but it looks like another really useful feature,” he says. “You can record while you are scrolling and jog shuttling. It basically records anything passing through a specified output as a background task. I can also see this being useful for ADR because it saves the timeline becoming littered with takes.”

Having proved that Sky Vision Sound Studios can handle an annual output of more than 70 hours of broadcast TV on Fairlight’s previous software, Thompson is confident this can be exceeded now that the new version is in place. But despite all the time saving features the new EVO console delivers, he still feels the best thing about Fairlight is its sound quality.

“I suppose I’m a bit of a musician at heart,” he laughs, “which is why I really like the smoothness of the Fairlight I/O. Some of our clients are composers and musicians as well so it’s no surprise they also comment on how good this system sounds.”

-ends-

About Fairlight:
Fairlight has been designing, engineering and manufacturing cutting edge, professional digital audio technology for more than 30 years. Its dedication to innovation, quality and customer service has made Fairlight one of the most respected companies in professional audio. With their integrated control surfaces and intuitive user interfaces, Fairlight’s award-winning media creation tools are renowned for their speed, flexibility and exceptional sonic quality. The company’s products offer full compatibility with virtually all open audio, video and sync standards, making them ideally suited to a wide range of audio post and live broadcast applications.
www.fairlight.com.au

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