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Press Releases For : January 23, 2015

Matrox Avio KVM Extenders and Portalis pro-xi Workstation Integrator Combine for KVM Switching and Realtime Monitoring from a Distance

Operators can better centralize, manage, monitor and control the many computer and video resources used in broadcast, security and industrial control room applications

Matrox® Graphics and Portalis® today announced that Matrox Avio™ F120 fiber-optic KVM extenders have been validated for use with the Portalis pro-xi® workstation integrator to provide high-performance monitoring, switching, extension and interaction for control room environments.

Apcon, Chases and Blades

A pro-xi workstation integrator includes KVM switch and multiviewer capabilities enabling an operator to monitor and instantly access multiple computer systems from a dual-display console with a single keyboard and mouse. Avio extends the dual-video output, keyboard and mouse of pro-xi up to 10 km (6.2 mi) with zero compression and zero latency so the pro-xi system can be placed at a distance from its operator, allowing for optimal accessibility, security and performance. Avio can also be used to connect remote workstations to the pro-xi unit. Cascading multiple pro-xi units combined with Avio extenders enables an operator to preview and control up to 32 dual-head systems from a remote location.

“Avio KVM extenders are an ideal match for the pro-xi workstation integrator,” commented Dave Tubbs, director of software development at Portalis. “By utilizing a fiber link between the transmitter and receiver, Avio can support secure, uncompressed, crystal-clear video from remote computer systems, even when they are located miles away from the pro-xi system. In addition, Avio’s ability to access the computer system from either endpoint gives us tremendous flexibility in building solutions for our customers who want to simultaneously control their facility with multiple operators from both local and remote locations.”

“The user-friendly interface, and ability to capture uncompressed video signals, makes the pro-xi appliance an ideal realtime switching solution for our Avio customers in multi-system operator environments,” said Caroline Injoyan, business development manager at Matrox Graphics Inc. “Operators can preview and take control over multiple remote systems using a single keyboard and mouse without compromising performance.”

Matrox Avio KVM extenders and Portalis pro-xi workstation integrators are now available worldwide from their respective resellers. Matrox representatives will be on hand to answer questions about the pro-xi/Avio combination at upcoming tradeshows including ISE (Amsterdam, Feb. 10–12, stand 11-F68) and DSE (Las Vegas, Mar.11–12, booth 1645). For more information contact Matrox Graphics.

About Portalis
Portalis LC, headquartered in Salt Lake City, Utah is the industry visionary in workstation integration technology and virtual control room solutions. For more information, visit www.portalislc.com.

About Matrox Graphics Inc.
Matrox Graphics is a global manufacturer of reliable, high-quality ASICs, boards, appliances, and software. Backed by in-house design expertise and dedicated customer support, Matrox products deliver stellar capture, extension, distribution, and display. Engineering high-quality products since 1976, Matrox technology is trusted by professionals and partners worldwide. Matrox is a privately held company headquartered in Montreal, Canada. For more information, visit www.matrox.com/graphics.

Press Releases For : January 22, 2015

Sennheiser Announces Booth Performances at NAMM 2015, Including Freedy Johnston, Nina Storey, Raining Jane and others

Anaheim, CA, January 22, 2015: Audio specialist Sennheiser (Hall A, Booth 6577) announced that its booth stage at NAMM will once again feature an impressive roster of both established and emerging musical talent. The product demonstrations — which will feature the latest audio equipment from Sennheiser — will begin at noon today and con-tinue through Sunday afternoon, January 25th.

Scheduled performances are as follows and may be subject to change:

Thursday, January 22nd
12:00 p.m. — Chris Pierce
12:45 p.m. — Nina Storey
1:30 p.m. — Freedy Johnston
3:00 p.m. — Shane Henry and Maggie McClure
3:45 p.m. — Nina Storey
4:30 p.m. — Halocene

Friday, January 23rd
12:00 p.m. — Sista Jean & CB
12:45 p.m. — Marcus Eaton
1:30 p.m. — Dilana
2:15 p.m. — Sista Jean & CB
3:00 p.m. — Marcus Eaton
3:45 p.m. — Katie Cole
4:40 p.m. — Nu-Blu

Saturday, January 24th
12:00 p.m. — Debby Holiday
12:45 p.m. — Nu-Blu
1:30 p.m. — Raining Jane
2:15 p.m. — Debby Holiday
3:00 p.m. — Nu-Blu
3:45 p.m. — Magnolia Memoir
4:30 p.m. — Zane and Paris Carney

Sunday, January 25th
12:00 p.m. — Katie Cole
12:45 p.m. — Chantelle Barry
1:30 p.m. — Jaq Mackenzie and Matt Jordan
2:15 p.m. — Katie Cole
3:00 p.m. — Chantelle Barry
3:45 p.m. — Celia Chavez

Each year, the Sennheiser booth stage provides a high-quality, entertaining platform for emerging talent to heard by the over 80,000 people attending NAMM. For more infor-mation on artist performances, or to learn more about Sennheiser, please stop by booth 6577 or visit www.sennheiserusa.com.

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. Senn-heiser 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 partners 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 on the internet at www.sennheiser.com.

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Sennheiser launches evolution wireless D1 – easy digital wireless for ambitious bands

ew D1 VisualAnaheim, CA, January 22, 2015: At NAMM, Sennheiser has launched evolution wireless D1, a range of digital wireless microphone systems that lets bands go wireless the easy way. With systems for vocals or for instruments, a band’s life is made simpler: transmitters and receivers automatically pair and select suitable transmission frequencies, while multiple D1 systems can automatically coordinate themselves. ew D1 operates in the 2.4 GHz range, which is license-free worldwide. “D1 instantly readies you for making music – and takes the complexity out of wireless,” summarizes Martin Fischer, product manager at Sennheiser.

Ease of use is key
Bands can now just forget about frequency setting, matching transmitters and receivers, and getting the gain right – evolution wireless D1 offers true ease of use by doing all these time-consuming and sometimes error-prone chores for them. “Basically, all that is needed is to switch the system on”, said Martin Fischer. “The rest will happen automatically. In no time at all, you’re all set to start jamming – with all the levels right, and a stable wireless link.”

License-free 2.4 GHz transmission with intelligent channel management
ew D1 LogoD1 operates in the 2,400 to 2,483.5 MHz range, which is license-free worldwide so there is no need to register the system or pay for the use of bandwidth. Region-specific particularities are catered for in the respective country variants. To allow co-existence with Wi-Fi, Bluetooth and other 2.4 GHz systems, the D1 receiver continually scans the RF environment, and will inaudibly and seamlessly hop to another frequency if it detects any interference. “ew D1 continually checks the entire 2.4 GHz band in your surroundings to guarantee you optimum performance,” added Fischer. Two channels are always available: besides the actual audio transmission channel, the system runs a redundant back-up channel, thus providing frequency and time diversity. Transmission reliability is further increased by fast-switching antenna diversity. Summing up, Fischer said, “ew D1 uses triple diversity to protect the wireless link between radio microphone and receiver.”

Quality audio
evolution wireless D1 employs the industry-leading aptX Live® codec that ensures excellent audio quality and wide dynamics for vocals, speech and instruments over the entire audio frequency range. Overall latency is a low 3.9 milliseconds, which is ideal if wireless monitors are to be used. To ensure optimum levels, ew D1 automatically sets the correct microphone sensitivity.

ew D1 Vocal SetVia the ew D1 menu control, bands have a range of audio effects at their disposal. These include a 7-band graphic equalizer, low-cut filter, automatic gain control and de-esser. The D1 vocal systems come with dynamic evolution microphone heads but can naturally also be combined with the condenser capsules from the acclaimed series, which are available as accessories.

Channel coordination and adaptive transmission power
ew D1 systems coordinate themselves fully automatically. For multiple systems, receivers will synchronize themselves to accommodate up to 15 channels in an ideal RF environment.

ew D1 Instrument SetWhere local frequency regulations allow, for example in the USA and Canada, Sennheiser has fitted its evolution wireless D1 systems with adaptive transmission power, with up to 100 milliwatts of power ensuring an extra-reliable link and extended range. For this, the receiver continuously informs the transmitter about how much RF output power is actually needed for a stable signal. The transmitter adapts accordingly and transmits at the requested power. “This feature not only increases the range if, for example, the singer moves further away from the receiver but it also saves battery power in those instances where the transmitter is very close to the receiver,” said Martin Fischer.

Powering and control options
D1 transmitters can be powered by either standard batteries or rechargeable “accupacks” that are available as accessories. These rechargeable lithium-ion packs recharge via USB or a docking charger and offer the additional advantage that the remaining battery life is indicated on the transmitter and receiver. Where required, the ew D1 system can be controlled by Apple® or Android® devices using a dedicated app.

Available soon
Headmicevolution wireless D1 comes in complete, ready-to-use systems or can be tailor-made by combining individual components, which is especially attractive for vocal systems. Besides the vocal and instrument systems, the D1 series comprises headmic and lavalier systems. Available in your local music stores from March 2015.

www.sennheiser-d1.com

aptX Live® is a trademark owned by CSR Plc
Apple® is a registered trademark of Apple Inc.
Android® is a registered trademark of Google Inc.

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 partners 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 on the internet at www.sennheiser.com.

Captions:
1: Coming to your music store soon: evolution wireless D1 digital wireless mics

2: Sennheiser’s D1 sets a new standard for easy-to-use wireless microphones

3: The evolution wireless D1 instrument system

4: The ME 3-II headset microphone offers increased comfort and an optimized capsule

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Advanced Broadcast Solutions Welcomes Andrew Cox as Senior Engineer

SEATAC, WA — Professional video and audio systems integration firm Advanced Broadcast Solutions (ABS) today announced Andrew Cox has joined the company as senior engineer, effective Jan. 5.

A broadcast engineer for more than 20 years, Cox has held senior Andrew Coxengineering positions with a number of U.S. firms, including Digitiz, AZCAR USA, and Megahertz Broadcast Systems. He was also chief engineer of European Business News/CNBC Europe andAndrew Cox senior broadcast engineer for MAR-COM Systems, both in London. Most recently, he served as senior project engineer for New Jersey-based Diversified Systems.

“Andrew is a proven engineer with experience in traditional broadcast and IP-based projects,” said Mark Siegel, president of ABS. “He makes sure our customers have powerful, customized and affordable solutions.”

Cox is based out of the company’s SeaTac office. Contact him at (206) 870-0244 or via e-mail at andrew@advancedbroadcastsolutions.com.

About ABS:
Based in SeaTac, WA, ABS (Advanced Broadcast Solutions) delivers customized, technologically superior solutions for broadcast, corporate, house of worship, entertainment, government, and educational facilities – from design and integration to installation and support services. Since 1982, its experienced technical staff has installed more than 700 systems for clients including GOCOM Media, Cowles California Media, Cisco Systems, Meredith, and Time Warner Communications. For more information, call 206-870-0244 or visit www.advancedbroadcastsolutions.com.

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Matthew Dear Chooses PMC

Electronic Artist Buys twotwo.8s for Studio Facility

DETROIT, JANUARY 22, 2015 – Michigan-based electronic artist, producer, DJ and remixer Matthew Dear, Ghostly Records’ first signing, has bought a pair of PMC twotwo.8 reference monitors for his personal recording studio, an impressive facility based around a Mac Pro running Logic and a 1979 vintage Spectra Sonics mixing console.

Matthew DearDear felt a need to change his studio monitors after becoming dissatisfied with the transferability of mixes he was creating in his studio. “My old monitors weren’t cutting it for me anymore. I’d take a mix to a label or to a collaborator’s place; sometimes it would be spot on and other times it would be off. When you mix your own stuff, you need that ability to translate. I know of guys that have million-dollar rooms, but their tracks only sound good in that room. And if it sounds great there, but not on an iPod or on the radio, you have a problem!”

Dear likes to remain aware of current audio equipment trends and researches everything he buys himself. He heard about PMC’s twotwos online and was keen to audition them, having heard of the company and its Grammy®-winning roster of users. He also contacted Techno pioneer Carl Craig for advice after reading that he owned PMC BB5s. Craig advised him to speak to Maurice Patist at PMC USA directly.

“I contacted Maurice and he couldn’t have been more helpful,” explains Dear from his studio. “He sent me some twotwo.6s to demo and I really thought they were going to be too small for me. I was really surprised and impressed; they sounded amazing for their size.” Eventually, Dear chose to buy the twotwo.8s, the largest in the twotwo range, feeling they were more closely-suited to his roomy studio.

“I was working on an electronic album with another artist and my old monitors were making everything sound very nice and smooth,” he continues. “When I got the PMCs, it was almost like taking a rag with Windex on it and cleaning a dirty window. Everything was much more present and the areas I really needed to work on started jumping out at me. There was more accuracy in the high frequencies and especially in the low mid. That’s where I was really missing out with my last speakers; I needed something more controlled.”

Now setting up a new studio in the Detroit area, Dear feels the twotwo.8s have brought him the transferability for which he was looking. “Since getting the twotwos, when I’ve worked on something here and then taken the mix elsewhere, it’s exactly as I heard it here. I don’t get any hidden surprises anymore.”

Matthew Dear is DJing around the U.S. in February 2015 and will go on tour later in the year under his Audion alias. For more information, see http://ghostly.com/artists/matthew-dear.

###

About PMC
PMC is a UK-based, world-leading manufacturer of loudspeaker systems, the tools of choice in all ultra-critical professional monitoring applications, and also for the discerning audiophile at home, where they provide a transparent window into the recording artist’s original intentions. PMC products use the best available materials and design principles, including the company’s proprietary Advanced Transmission Line (ATL™) bass-loading technology, cutting-edge amplification and advanced DSP techniques to create loudspeakers that present sound and music exactly as it was when first created, with the highest possible resolution, and without coloration or distortion. For more information on our clients and products, see www.pmc-speakers.com.

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BenQ Ships RP840G Interactive 4K Ultra-High-Definition Flat-Panel Display

New 84-Inch Panel Brings 4K Resolution, 10-Point Multitouch Navigation, and QCast Device Sharing Software for Interactive and Digital Signage Applications

COSTA MESA, Calif. — Jan. 22, 2015 — BenQ America Corp., an internationally renowned provider of visual display solutions, today announced that it is now shipping its 4K ultra-high-definition (UHD) RP840G flat-panel display. Ideal for connected classrooms and collaborative boardroom settings, as well as digital signage applications, the 84-inch multitouch panel provides an exceptional 10 interactive touch points, multi-PC touch control via USB, and QCast software to share content easily from any PC or WiFi(R)-enabled smart device. The newest addition to the 4K-display family significantly enhances the way students, teachers, or meeting participants collaborate and share dynamic content. (more…)

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Wireworld® Nano Series Improves In-Ear Monitors

Wireworld Cable Technology, a respected manufacturer of high-performance audio and video cables, is releasing a brand-new series of ultra-light and flexible audio cables for in-ear monitors (IEMs) as well as headphones and portable audio devices. The Nano series will include four level options, each of which utilizes patented Wireworld technology to provide dramatic sonic benefits.

“In-ear monitors have become an essential tool for live performances,” comments Wireworld president and founder David Salz. “The increased clarity and expressive dynamics of the Nano cables bring IEM systems to a new level of performance that artists can rely on.”

All four Nano cables employ Wireworld’s patented DNA Helix® design with eight signal conductors—four times as many as in standard cables—to channel the electromagnetic signal energy more efficiently, providing greater detail and dynamics. They also utilize Wireworld’s proprietary Composilex® 2 insulation which minimizes triboelectric noise for surprisingly lifelike tone quality.

With molded plugs and oxygen-free copper conductors, the Pulse™ brings the advantages of this leading edge cable design down to popular pricing at $40 USD (1.5m). The Nano-Eclipse™ has Ohno Continuous Cast® (OCC) copper conductors and sells for $160 (1.5m). The Nano-Silver Eclipse™ features OCC® silver-clad copper conductors at $220 USD (1.5m). And featuring carbon-fiber plugs and OCC® solid-silver conductors for uncompromised performance, the Nano-Platinum Eclipse™ has a suggested retail price of $500 USD (1.5m).

The Nano cables are available with mini jacks and the most popular headphone terminals in a variety of standard and custom lengths.

Wireworld Pro Audio will be exhibiting and demonstrating Nano and their entire line of Pro Audio Cables during NAMM 2015, in Hall A, Booth 6773. Please visit to learn why industry expert Bobby Owsinski said, “I was a major skeptic that high-end cables could offer any sonic improvement, but Wireworld changed my mind in a big way.”

About Wireworld
Wireworld Cable Technology, founded by industrial designer David Salz in 1992, is the premier provider of leading-edge digital and analog cable technology for home audio speakers and video components, from HDMI and USB audio to state-of-the-art high-end interconnects and speaker cables. Wireworld earned its world-class reputation by producing superior cables based on the use of objective perceptual testing, innovative patented designs, premium materials, and exceptional manufacturing quality. For more information, visit: www.wireworldproaudio.com and www.wireworldcable.com.

Martin Audio MLA’s Excellent First Night Out With The Tenors

Tenors_1 web

Raleigh, NC––Kevin Sucher, FOH engineer for the popular Canadian operatic pop foursome The Tenors, recently had a very successful first experience mixing with Martin Audio’s MLA Compact loudspeaker system.

For two concerts at Raleigh’s Memorial Auditorium, Sucher was able to use a loudspeaker system provided by RMB Audio that consisted of 12 Martin Audio MLA Compact enclosures and 6 DSX subwoofers per side with 4 MLA Mini cabinets for lip fill, all networked via U-NET. Avid Profile consoles were provided for FOH and Monitor.

Asked about mixing with an MLA Compact system, Kevin responds, “It was my first time and it turned out to be a very pleasurable experience. For this tour, we didn’t carry any production with us, including backline, which presents its own challenges when you’re using different equipment from city to city.

“There can be a lot iffy pairings, but when you have the correct rig paired with the right desk some magical things can happen and this was one of those very pleasantly surprising situations. Bottom line, the MLA system blew me away. It was really exceptional. We do many of these shows all around the world and I’ve mixed on a lot of different systems, but this was one of those rare occasions when the responsiveness and the ability to make a small change in the dynamics was amazing. 3dB really felt like 3dB!

“And the frequency response was fantastic, like 800Hz was truly 800Hz. There weren’t any of these situations where you’re trying to borrow or cut frequencies from areas you don’t want to cut, but you have to because your ears are telling you what you’re hearing isn’t correct. Every frequency was exactly where it was supposed to be.”

Kevin feels that mixing The Tenors is particularly challenging because of the complex dynamics presented by having 20 to 30 string players on stage along with a large 30-member choir and a five-piece band. Their music is highly detailed which demands the kind of precise dynamic control provided by MLA Compact.

“I started out as a recording engineer and then became a FOH engineer many years ago so I approach live mixing in a very ‘studio’ kind of way,” Kevin explains. “Staying true to their music and recordings as closely as possible is very important, and when you have a lot of live microphones onstage it’s difficult to keep the dynamics contained.

“Adding to the challenge is the fact that The Tenors’ repertoire ranges from classical crossover all the way through different types of pop music that changes from night to night. As such, the speaker system needs to be very responsive and my approach to mixing them is as if they are a large pop act so I need adequate bottom end, much more than some venues they’re booked into. That wasn’t a problem with the MLA system.”

RMB Audio’s Cooper Cannady guided Kevin through the MLA Compact system’s capabilities, including its ability to avoid directing the energy to certain areas in the venue: “Cooper is very knowledgeable about MLA and he quickly educated me how to use ‘hard avoid’ to duck the ceiling response around the 7dB to 8dB range so we could eliminate unwanted reflections we didn’t want in the performance, which made a noticeable difference. The flexibility to change the direction of the energy is like having extra amenities in a very sexy car. These are really well thought out additions.

“That kind of flexibility also allowed us to control feedback in situations where The Tenors performed in the audience 30 to 40 feet in front of the main hangs, which can be tricky depending on the microphones you’re using.”

Because the Memorial Auditorium is almost as wide as it is long without a true balcony and a second level of seats that begins high up far behind FOH position, the MLA system had to be rigged much closer to the ceiling to provide proper coverage. That said, MLA’s control proved to be “a big help in terms of what was a challenging space in terms of getting real boxy-sounding.

“At this point, I could not at this point think of a better rig than the MLA system for that situation,” Kevin concludes. “I would be eager to hear it again in a more typical space.

“In terms of the sound for all of our shows, it was probably the highlight of the tour. A lot of people walked by after the concert and gave us thumbs up. I’d be very eager to use it again.”

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.

RHC Holdings Highlights Limited-Edition Silk Screen Fat Rat Guitar Pedal at the 2015 Namm Show

ANAHEIM― RAT, an RHC Holdings Brand, highlights its limited edition FAT RAT guitar pedal at the 2015 NAMM Show (Booth 4556). Paying homage to the original FAT RAT, the company has produced 1,000 limited-edition silk-screen versions of the pedal. All subsequent iterations of the product will feature an overlay.

“This limited-edition run is a unique offering for our customers, and we are excited to bring this product to NAMM,” says Darius Seabaugh, Vice President of Marketing for RHC Holdings. “We encourage all of those in attendance at the show to come see and listen to this commemorative FAT RAT guitar pedal for themselves.”RHC Holdings_RAT_FAT RAT

Drawing on the popularity and foundation of the original RAT Pedals, the U.S.-built FAT RAT features complete tonal flexibility through a choice of original or MOSFET clipping circuits. The MOSFET clipping section in the pedal provides a subtle smoothing in the upper mids and a more amp-like tone throughout the range of the RAT, without sacrificing the basic feel of the classic pedal. The FAT RAT guitar pedal also features a bass enhancement, increasing the bass response—perfect for bassists and guitar players who tune down their instruments. The FAT RAT runs on 9 to 18 volts of DC power, offering users excellent headroom and audio fidelity. It includes a socketed op-amp, which allows users to easily change between the stock OP07DP and other popular chips.

For more information on the RAT Pedal, please visit: www.ratdistortion.com.

RHC Holdings, located in Jackson, Missouri, is one of the world’s largest manufacturers and suppliers of audio, video, home theater, data and telecommunications interfacing products. Comprising RapcoHorizon, Pro Co, RAT, RoadHog and StageMASTER, each RHC Holdings brand has developed a reputation in many industries for reliability, and superior sound performance. Used worldwide by concert touring sound companies, video and sound contractors, recording studios, system integrators, audiophiles and musicians, the company’s products provide optimal flexibility and premium performance. RHC Holdings also has a state-of-the-art Custom Shop to modify existing products or build new devices to meet any need.

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Basque Broadcaster ETB Installs Riedel Communications Infrastructure at Main Production Center in Donosti-San Sebastián

WUPPERTAL, Germany — Jan. 21, 2015 — Riedel Communications, provider of pioneering real-time video, audio, data, and communications networks, today announced that Basque broadcaster Euskal Irrati Telebista (ETB) has deployed a Riedel Artist digital matrix intercom system within its primary production center in Miramón (Donosti-San Sebastián). Supplied and integrated by Madrid-based Riedel reseller Crosspoint, the Artist solution supports flexible intercom communications throughout the Miramón facility according to the different requirements of various productions, as well as VoIP communications with ETB headquarters in Bilbao.

“We evaluated a variety of solutions and integrators, and we found that with Riedel’s Artist system, Crosspoint was positioned to offer us the greatest benefit and highest quality,” said Juan Carlos Loroño, head of ETB’s production centers. “Since we put the Artist system into operation, we’ve been very pleased with its capabilities and its impact on our day-to-day work in Miramón.”

The Artist solution at ETB’s Miramón production center provides a distributed, decentralized, scalable architecture for communications. The 160 x 160-port Riedel intercom system is composed of Artist 128 and Artist 32 mainframes with 56 ports configured for control panels, 80 ports for analog four-wire, eight ports for VoIP usage, and eight ports for a party line system. The entire system ensures AES3/EBU audio quality, with level controls at each individual crosspoint, nonblocking connections, and redundant power supplies and controllers.

The Artist units are complemented by 46 of Riedel’s 2000 LCD Series control panels, one CCP-1116 commentary control panel, 10 wired belt packs, and various VoIP multiplexers. For sporting events that originate in Miramón, the commentator panel supports two commentators working in the same language, or multiple scenarios in which two languages must be accommodated.

Riedel’s Director software facilitates system configuration, monitoring, and control, and its intuitive interface simplifies complex configurations and settings. While remote configuration functions enable control from Bilbao on weekends when no technical personnel are working at Miramón, options such as partial configuration of the system add further value by allowing users to call and save configuration files on just one part of the system without affecting the communications being made in other areas of the production center.

“The ability to change the configuration of one studio production while not affecting the configuration of another studio production is very important,” said Juan Olalde, technical coordinator of the ETB production center in Miramón. “This flexibility lets us perform the multiple simultaneous changes needed in the daily preparation of a program and save them in partial files that are organized by the type of production, personnel available, or operating model.”

Further information about Riedel and the company’s products is available at www.riedel.net.

# # #

About Riedel Communications
Riedel Communications designs, manufactures, and distributes pioneering real-time video, audio, data, and communications networks for broadcast, pro audio, event, sports, theater, and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fiber backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Founded in 1987, the company now employs more than 350 people at 12 locations in Europe, Asia, Australia, and the Americas.

All trademarks appearing herein are the property of their respective owners.

Photo Link: www.wallstcom.com/Riedel/Riedel-ETBMiramon.zip

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