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Press Releases For : August 14, 2014

Sound Devices Opens New European Service Center

New Berlin Location Provides Shorter Repair Turnaround Time for European Customers

REEDSBURG, WI, AUGUST 20, 2014 – Sound Devices is pleased to announce the establishment of Sound Devices Europe GmbH and the opening of its new European Service Center in Berlin-Adlershof, Germany’s leading science and technology park. The new facility has been established to extend product service and repair to the company’s growing international customer base.

With the opening of the new repair facility in Berlin, European customers can expect shorter turnaround times and lower shipping costs. In addition, local users will also have closer contact with Sound Devices technicians. The facility is stocked with a full inventory of parts and features brand-new, state-of-the-art repair equipment, and Sound Devices factory-customized test stands to ensure the highest quality service and repair possible.

“This new Service Center is a big step for us and a testament to our commitment to our European customers,” says Matt Anderson, President of Sound Devices. “We are not only committed to creating the finest video and audio products, but also providing unrivalled service to our customers. It is further proof of our continued growth and evolution as a company.”

Effective immediately, the European Service Center will perform factory service and repair for all Video Devices products, warranty and non-warranty, sold in the EU. For Sound Devices audio products, it will provide this service for the following EU countries: Belgium, Bulgaria, Croatia, Czech Republic, Finland, Hungary, Italy, Poland, Lithuania, Romania, Slovakia, Slovenia and Sweden. Distributors with established audio service repair facilities will continue to service Sound Devices audio products at this time, including Ambient Recording, Audio Electronics Mattijsen, JBK Marketing and Shure Distribution UK. Over time, all warranty service repairs will be moved to the Berlin facility.

The European Service Center is in direct contact with all European distributors, further ensuring timely delivery of service. To have product repair or service undertaken, customers should contact their local distributor directly to receive authorization.

The Berlin facility is headed by Ginetta Fassio, an accomplished Tonmeister (sound master) and Sound Devices product user for more than a decade. The expert technician team comprises highly qualified German electrical engineers, all of whom have received special training at the Sound Devices corporate headquarters in Reedsburg, Wisconsin.

“Our doors are officially open and we are ready to begin handling repairs.” says Fassio. “As an extension to the team headquartered in the U.S., we will provide the personal one-on-one service that Sound Devices is known for, to those customers and distributors in Europe and the surrounding region.”

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production.

Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI. Established in 2014, Sound Devices Europe GmbH is a wholly owned subsidiary headquartered in Berlin. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.com.

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Lady Gaga Launches ArtRave Tour with Clay Paky Fixtures and grandMA2 Consoles Joining Her on the Road

Lady Gaga has launched her tour, ArtRave: The Artpop Ball, and Clay Paky’s A.leda B-EYE K20 innovative, LED-based moving lights, Clay Paky Sharpys and grandMA2 consoles are along for the wild ride. A.C.T Lighting is in the exclusive distributor of Clay Paky and MA Lighting in North America.

ArtRave marks Lady Gaga’s fourth concert tour. It is in support of her third studio album, “Artpop” and kicked off May 4 in Fort Lauderdale. It will play 78 dates in North America, Europe, Oceania and Asia.

PRG has provided 120 B-EYEs for the tour as well as a large complement of Clay Paky Sharpys. Lighting control is performed with three full-size grandMA2s and 10 NPUs.

“Production and lighting designer Roy Bennett’s approach to the show was to make it an immersive rave that reflected Gaga’s non-stop party aesthetic,” says programmer Jason Baeri. “That means active, alive, vibrant and high energy — it requires us to be just as active on stage as in the crowd. The audience is every bit as much a set piece as they are a room of spectators, so we had to include them as part of Gaga’s same party not just watching the spectacle from afar. Cue wise, that’s almost like programming two shows at once: Both had to behave as one cohesive element, which was made light of, as always, by grandMA2.”

Bennett describes the set as three stages connected by Lucite catwalks over the audience so the crowd can dance while watching Gaga perform above them. “It’s very interactive. She plays off the audience with her dancing and a big rave vibe,” he says. Bennett had previously used B-EYEs for Lady Gaga’s gig at the Roseland Ballroom. On this tour they are mounted above the upstage video wall, which measures 3×40 feet. “They mainly act as eye candy,” he explains. “They’re working great; they’ve been very reliable.”

For the ArtRave tour the lighting designer has deployed the Sharpy rig “all over the place: the main stage, front, rear, side, as well as on the pods over the audience. The Sharpys act as our other main effects light. I always have at least 100 if not 200 hundred on shows.”

Baeri cites the data management challenge the tour poses given “the immense amount of pixels we’re controlling. There are about 120 B-EYEs on the show, all in full-tilt mode, which adds up to over 4,500 pixels of just B-EYEs — and we use them in every configuration possible. Gaga’s music is extremely detailed, so we’re using every part of that light for the various tones and inflections in every song.”

Baeri loves that the console will “let me grab one pixel and turn it on, then a second later grab 2,000 pixels in a deferent direction, as fast as the grandMA2 allows me to. We’re bending the MA-Tricks on this job in ways I didn’t know you could, and we still keep finding new ways to use it,” he adds.

He likes the console’s layout view, too. “With this many individual sub-fixtures, I need to be able to graphically see and access everything at once without worrying about the minutiae of keying in cell after cell on the keypad. With the right combination of layouts, I can create an overview of what every fixture in my rig is doing for a visual snapshot of the whole scene all on one screen. For a rig that fills an entire arena floor, that’s a pretty impressive feature for a programmer!”

The grandMA2 has become Baeri’s console of choice primarily for its data management capabilities. “I’ve had my hands on plenty of platforms, but none let me control as many fixtures with so little effort,” he reports. “Every key on every screen is exactly where I want it. If there’s a function I want that isn’t there already, I make a new key in seconds flat without having to employ long-handed workarounds and new versions of software.”

He notes that the crew had little more than two weeks to put ArtRave together. “Speed was of the essence. I use the grandMA2 because it allows me to put together incredibly complex shows extremely fast without compromising the details that would otherwise be too time consuming on any other platform.   And if I get in trouble, there’s someone on the phone, 24/7 anywhere in the world. No dreaded 4 am ‘leave a message’ help line. I pick up the phone and I’m covered. I can’t tell you what a comfort that is.”

Baeri says the grandMA2 is turning in an “exemplary” performance, “as always. We were bending over 60 universes at a time, and I never saw the NPUs workload exceed six percent. Not once. That’s a lot of universes to keep in time and in sync. I’m impressed, as usual!” he declares.

Solotech is the video contractor and 8th Day Sound the audio contractor for the show.

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

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Audio-Technica Honors The Farm Technical Sales & Marketing with Its President’s Award

STOW, OH, August 13, 2014 — Audio-Technica a leading manufacturer of wired and wireless microphones, headphones and accessory products for over 50 years, is pleased to announce that Roseville, California-based The Farm Technical Sales & Marketing has been presented with A-T’s prestigious President’s Award, for their work representing Audio-Technica U.S. The Farm Principal John Hood accepted the award, which recognizes a leading manufacturer’s representative for outstanding commitment and dedication during the Audio-Technica 2013/2014 fiscal year. The award was presented by Philip Cajka, Audio-Technica U.S. President and CEO. The A-T President’s Award was presented at a ceremony during the 2014 InfoComm Expo on June 18 in Las Vegas, Nevada. The Farm represents Audio-Technica in the territories comprising Oregon, Washington, Idaho, Montana, Alaska, Northern CA, Northern Nevada and Hawaii.

Phil Cajka commented, “The Farm Technical Sales & Marketing has again been awarded this honor for their continued dedication to customer service, sales and the marketing of the A-T brand. We are proud to celebrate this award with them, and we are extremely grateful for their continued service and hard work.”

For more information, please visit www.audio-technica.com.

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Networked Audio Track at 137th Audio Engineering Society Convention to Explore Broadening Applications in Audio Networking Capabilities

— Dedicated Workshops and Tutorials will cover leading-edge developments and technology deployment in networked audio for system integration, broadcast, live sound, recording and more —

New York, NY, August 12, 2014 — Networked Audio is set to take center stage throughout the 137th Audio Engineering Society Convention, with a series of well-crafted Workshops, Tutorials and special sessions focused on the latest developments in audio networking technology, standards and practices. Scheduled for Thursday, October 9, through Sunday, October 12, 2014, at the Los Angeles Convention Center in Los Angeles, California, the AES137 Convention will present a dedicated Networked Audio Track, featuring a comprehensive set of presentations and professional opportunities dealing with the latest developments and technologies in networked audio, as well as applications for system integration, broadcast, live sound, recording, contractors and more.

Chaired by Tim Shuttleworth, a noted networked audio engineer and the Engineering Manager at systems manufacturer Renkus-Heinz, this year’s Networked Audio Track explores the ever-broadening applications of digital audio on local and wider area networks. From Audio-over-IP used across continents in the broadcast sector, to super-low-latency audio transfer in the studio environment, to low-latency systems for live sound reinforcement in fixed installations and touring systems, the medium of choice is increasingly a high performance Ethernet/TCP/IP network. Workshops and Tutorials will cover the history of audio networking as well as leading-edge developments, with session titles including “Using AES67 Networking — Practical issues in AES67 Deployment”; “Software Tools for Telematic Performances”; “Large Scale AVB Networks/AVDECC Control”; “Implementation of a Large Scale Ethernet AVB Audio Network at ESPN”; and “Using Audio Content Over IP Technology in Public Radio.” Additionally the AES Convention will play host to a Telematic performance linking Los Angeles, Montreal and Stanford University in a showcase featuring live, interconnected performances with musicians across time zones geographical locations.

Tim Shuttleworth stated, “We have continued to grow the Networked Audio portion of the Convention this year, and expect really great participations from our presenters and attendees. One of the popular topics at this convention will be the deployment and performance verification for AES67 standard-based Layer 3 systems, as well as the implementation of Ethernet AVB in cars, recording, and broadcast studios. Developments in standardized command and control protocols will also be highlighted, as well as a multi-site live performance in which the musicians collaborate across time zones and countries over internet connections, which will showcase the capabilities and limitations of a disseminated ensemble concert.”

Further detailed information on the Networked Audio Track at the AES137 Convention, as well as Registration, Hotel, and Technical Program formation are available on the AES137 webpage at http://www.aes.org/events/137/.

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Foreigner Uses Bose® L1® Systems for Intimate Meet-and-Greet Performances

The Bose® L1® portable system is an integral part of the Foreigner VIP Experience

Framingham, Massachusetts, August 11, 2014 – Legendary rock band Foreigner has been thrilling audiences with its well-crafted songs and pitch-perfect live shows since the band’s formation in 1976, and the group continues to roll from town to town with an impressive set of hits including “Double Vision,” “Urgent,” “Feels Like the First Time,” “Hot Blooded,” “Waiting for a Girl Like You” and more. At select concerts, VIPs, superfans, industry professionals and other special guests get to enjoy an intimate, acoustic meet-and-greet performance by the band before the main show. For these special events, the band and their technical team have chosen L1® Model II systems with B2 bass modules and T1 ToneMatch® engine from Bose® Professional Systems based on their audio quality, ease of setup and low-profile design.

The VIP meet-and-greet performances generally feature a three-song acoustic set for an audience of anywhere from 35 to 150 people. The band sets up four L1 systems for these performances, in a stereo configuration. The system serves as a house mix, left and right, as well as monitors for the band. To accomplish this, they place an L1 Model II system with single B2 bass module in the rear corners of the stage and to either side on the floor in front of the stage. This allows them to create a full stereo mix and accommodate each of the band members’ monitoring needs.

The VIP performances usually happen earlier in the day in the same venue they will be performing with full instrumentation that evening. Brian Simon, Audio Engineer for the band, states, “When we do two shows in a day, time is everything, so the product that I’m using is the Bose L1 system. It is compact, lightweight, easy to set up and tear down, and it sounds amazing. A nice full-range sound out of a very small product. It’s very smooth, but it’s very crystal clear as well. I do very little EQing.”

Founding member and lead guitarist Mick Jones likewise appreciates what this setup does for the band’s sound and energy. He notes, “If you’re in close proximity [with your bandmates], to be able to hear the natural harmonies creates more of a unified field of sound, and that’s what this system gives us. [Bose] is a class act to be affiliated with, I must say.”

“We’ve always had a great experience with this Bose system,” adds Kelly Hansen, Foreigner’s vocalist. “We’re hearing the performance as a whole. Performing that way kind of glues you together; you’re all hearing the same thing. You set this up behind you so you are hearing it and the audience is hearing what you’re hearing. It’s like a blanket of sound that we’re all listening to.”

Foreigner bassist/arranger/producer Jeff Pilson states, “As Foreigner’s audio producer over the last several years, I couldn’t be more excited about the Bose L1 system, which has been delivering the sound we’ve been going for, evenly distributed throughout the audience. Ordinarily, in a live setting, you have speakers and you have monitors, and generally those are two different worlds. But in this case, the speakers are the monitors. There’s no way to describe how important it is to an artist to make sure that your sound is right. Because of the way it’s designed, to spread all around, we’re hearing a very pleasant mix. And that has helped with the synergy between us and the audience. We’ve never had so many compliments on our sound. For everything that we’re doing with these, they’re absolutely the only and best system I can imagine using. Bose gets it right!”

Hear the full story at www.bose.com/L1systems.

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Audio-Technica Sponsors Pensado’s Place

— Audio-Technica serves as a Title Sponsor for hour-long weekly web series and related special events —

STOW, OH, Aug 11, 2014 — Audio-Technica, a leading innovator in transducer technology for over 50 years, recently announced that they have become a Title Sponsor for Pensado’s Place, the acclaimed hour-long weekly educational web series that celebrates the evolving landscape of music and technology and gives a voice to its leaders and innovators. As part of its sponsorship, Audio-Technica is proud to be a part of Pensado’s Place weekly live and archived shows, as well as other special events like the Pensado Awards and at expos including Gear Expo, MixFest and more.

The hour-long weekly web series Pensado’s Place was created nearly four years ago. Co-hosted by legendary mix engineer Dave Pensado (Beyoncé, Christina Aguilera, Kelly Clarkson, Mariah Carey, Elton John, Michael Jackson and more) and show creator Herb Trawick, the show includes interviews with top music industry artists, engineers, producers, mixers, and record executives, as well as in-depth tutorials in production, engineering and mixing. Pensado’s Place has positioned itself as “the most influential show for audio engineers,” mixers and producers (Forbes Magazine) in just three years. Pensado’s Place is more than just a show, as it highlights the very best in the industry of music, gaming, sound identity on film, and audio equipment, with a presence in live events. As a leading educational resource, Pensado’s Place is helping build the next generation of audio greats.

Herb Trawick, the Co-host/Executive Producer and Creator of Pensado’s Place, as well as Manager and Advisor to Co-host Dave Pensado, stated, “We are very thrilled to have Audio-Technica come on board and support Pensado’s Place. Just like Dave and myself, A-T is a strong believer in audio education, which is why they are a perfect match to work with the entire Pensado team.”

“As an engineer and mixer myself, I am very familiar with Audio-Technica’s microphones and have an intimate knowledge of using them in the studio,” stated Dave Pensado (Co-host of Pensado’s Place, GRAMMY®-winning mix engineer, Teacher). “In addition to making great products, the company has so many talented people on their team, and I look forward to working closely with them over the next year.”

For more information, please visit www.audio-technica.com.

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Focusrite Names Kurt Howell RedNet Eastern Regional Manager

Company adds industry veteran to the Focusrite sales team as RedNet continues to become the Ethernet-network interface of choice

Los Angeles, CA – Focusrite announces the appointment of industry veteran Kurt Howell to the position of RedNet Eastern Regional Manager. The announcement further emphasizes the growth and expansion of RedNet in the U.S. RedNet is Focusrite’s range of modular Ethernet-networked interfaces based around the industry-standard low-latency Dante® audio networking system.

In his new position, Howell, who is based in Nashville, Tennessee, will work closely with prospective RedNet customers in conjunction with product specialist Ted White to continue to drive sales with Eastern U.S. dealers, contractors and reps. Howell’s involvement will help RedNet continue its ongoing penetration as the standard for a networked audio solution for recording studios, higher education, television production, post-production, and live sound installations.

With an impressive background in the music industry, Howell brings to Focusrite a unique skill set, having worked for both manufacturers and retailers in the pro audio market sector. Prior to joining Focusrite, Kurt Howell was a Digidesign HD product specialist and is an Avid Certified Pro Tools™ operator. Additionally, he helped establish Vintage King Nashville and most recently he was an account manager with Guitar Center Professional.

“Kurt Howell has a rich history in both pro audio manufacturing and pro audio retail,” stated Phil Wagner, President of Focusrite Novation Inc. “His extensive background makes him uniquely qualified not only to drive sales in the Eastern United States, but also to work closely with, and reinforce our unparalleled commitment to, our new customers and dealer network. Being based in Music City is an added bonus, as Nashville has so many studios and entertainment venues that are all potential RedNet end users. We are pleased Kurt is coming on board at this time, as RedNet is on the move!”

For More information on the RedNet range, go to www.focusrite.com/rednet.

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Press Releases For : August 13, 2014

With Meyer Sound LEO, DBLUX S.A.C. in Peru Reaches Elite Concert Supplier Status

2014 has been a landmark year for Lima-based DBLUX S.A.C. With a Meyer Sound LEO™ linear large-scale sound reinforcement system, founders Andres Cuadros and Guillermo Riera have grown the company into a rental powerhouse chosen for top international tours stopping in Peru. Artists who have performed with DBLUX’s LEO system include Paul McCartney, Metallica, Soundgarden, One Direction, Jack Johnson, Marc Anthony, Rubén Blades, and Daddy Yankee and Prince Royce.

“The concert promoters have been extremely pleased by the great coverage, power, and overall musical quality of the LEO system,” says Cuadros. “Obviously LEO’s reputation has spread among FOH engineers; many who haven’t used it yet are eager to try it. And when they are finished mixing, they are impressed—and sometimes even surprised—by what the system can do.”

Other notable events covered by LEO include “Together in Concert,” where Latin American superstars Carlos Vives, Olga Tañón, Gilberto Santa Rosa, and Tito el Bambino performed together to an audience of 25,000. Many of the shows took place in Lima’s National Stadium [Estadio Nacional] and Exposition Park [Parque de la Exposición].

DBLUX S.A.C.’s core LEO system comprises 30 LEO-M line array loudspeakers, with six MICA® line array loudspeakers for down fills. Up to 36 1100-LFC low-frequency control elements provide low end, while system drive and optimization are supplied by a Galileo® Callisto™ loudspeaker management system with one Galileo 616 AES and four Galileo Callisto 616 array processors. Exact numbers and configurations vary according to requirements, with MILO® and MICA® line array loudspeakers sometimes deployed for out fills or delays in large venues.

“The new LEO system has quickly proven to be a wise investment,” says Cuadros. “The solid bookings for LEO are keeping us very, very busy this summer, and the demand keeps growing.”

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Bright Norway AS Deploys Largest Meyer Sound LYON System To Date

The largest Meyer Sound LYON™ linear sound reinforcement system ever assembled was heard this summer at Telenor Arena in Oslo, Norway. Provided by Bright Norway AS, the 360-degree system entertained 8,500 employees of Scandinavian supermarket chain REMA 1000 with performances by Norwegian musicians Karpe Diem, D.D.E., and Kurt Nilsen.

Named “1000 Colours of REMA,” the show required a system that could provide even in-the-round coverage at rock music levels with impeccable speech intelligibility. The solution designed by Bright Norway’s Preben Frostad incorporated eight arrays of 11 LYON linear line array loudspeakers each. To deliver powerful and even low-end coverage, the audio team specified a TM Array™ configuration, with four arrays of seven 1100-LFC low-frequency control elements suspended directly over the center stage.

“The whole audio package was perfectly put together by Bright,” says Jens Hagen of Playroom Event AS, the event producer. “LYON was smooth and powerful, yet quite small in size, and the center hang of bass loudspeakers also worked perfectly. The system had good punch throughout the arena, so it was full party mode everywhere.”

System drive and control was provided by a Galileo® Callisto™ loudspeaker management system with eight Galileo Callisto 616 array processors and two Galileo 616 AES processors.

“Because the load on the three center beams could not exceed 150 tons for all the audio, video, and lighting elements, we needed arrays that were lightweight, but also had enough power, coverage, and headroom to fill the huge arena,” says Asle Nilsen, head of audio for Bright Norway AS. “The answer was LYON, which delivered clear audio to every seat. We were all amazed at how it performs like its big brother, the LEO™ linear large-scale sound reinforcement system.”

Mixing consoles for the event were two Midas XL8 at FOH and two Midas PRO2C at monitors. Geir Østensjø was the FOH engineer, and Jarle Kvalsund was the monitor engineer.

REMA 1000 operates more than 700 no-frills supermarkets in Norway and Denmark.

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Markus Dehmer Joins Meyer Sound Germany as Sales Manager, Install

Meyer Sound Germany has appointed industry veteran Markus Dehmer to Sales Manager, Install. Tasked with supporting theatre and studio customers throughout Germany, Dehmer joins a sales team that also includes Florian Kresse, project manager, install; and Chris Wiedenbeck, sales manager, install.

“Our goal has always been to offer customers cutting-edge audio solutions that are best suited to their project requirements,” says Sascha Khelifa, managing director of Meyer Sound Germany. “This requires a team that brings substantial expertise across the entire installation project lifecycle. We’re proud to welcome Markus to Meyer Sound.”

Dehmer previously led the pro audio department of Mörfelden-Walldorf-based system integrator Landau Electronic, where he was responsible for Meyer Sound loudspeaker installations in locations such as City Casino Basel and CongressForum Frankenthal. His past experience also includes positions at Munich-based studio equipment provider SMM and Mainz-based system integrator BFE.

“As a system consultant working with Meyer Sound products, the company always provided me with the perfect tools and support to achieve the best results possible,” says Dehmer. “Meyer Sound has won me over completely, and I’m excited to join the team.”

Dehmer will be based in the Meyer Sound Germany office in Montabaur. He can be reached at markus.dehmer@meyersound.de or at +49 2602 999 08 32.

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

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