NOA's MediaLector ingest tools perform quality controlled mass migration of DATs and CDs at Memnon.
NOA Audio Solutions has announced that Brussels-based Memnon Archiving Services S.A. has digitized one-half million audio recordings relying on NOA systems.
Memnon customers include Danish Radio, Bibliothèque nationale de France (BnF), the British Library, Vlaamse Radio- en Televisieomroep (VRT), and the European Parliament.
NOA systems support multiple Memnon projects, including migration of 250,000 digital audio tapes for Danish Radio and 350,000 CDs for BnF.
Memnon has chosen to rely on NOA over competing systems because NOA’s Job Database is capable of managing 60 stereo channels in a single central workflow solution.
In addition, the failsafe quality assurance of the NOA JobDatabase instantly identifies a problem on a device and then enables an operator to find and fix quickly and easily any content that might have been affected.
“NOA is for me the ‘Google’ of digitizing within an archiving workflow,” said Nicolas de Beco, operation and quality assurance director at Memnon.
“Like finding a needle in a haystack, NOA enables us to search and find errors within thousands of performance recordings. And because results are managed in a central database workflow solution, it only takes a few clicks to reorganize the workflow and mitigate the problem.”
With offices and studios in Belgium and Sweden, Memnon is a leader in European archiving. Its multidisciplinary team of sound engineers, computer specialists, and documentation experts has more than 15 years of experience working with sound technology throughout Europe.
The company offers a full range of services for sound archives as well as audio digitization, restoration, indexing, and segmentation of sound archives.
“Since we acquired our first NOA system in 2003, we have continued to partner with the company and have integrated their systems within our own production asset management platform for most sound carriers,” said Michael Merten, Memnon managing director.
“The integration of NOA solutions within Memnon’s platform has allowed us to achieve high efficiency and impressive output at the highest quality, with low administrative work.”
At Memnon, NOA MediaLector ingest tools perform quality controlled mass migration of DATs and CDs under control of the NOA Job Database workflow system. NOA MediaLector software running on the N6073 host is capable of transferring eight stereo sources in parallel with up to 24-bit, 44.1-kHz/48-kHz quality.
Additionally, MediaLector monitors the status of the DAT drives’ error correction stages and annotates the quality-relevant status data synchronously to the audio stream with Sony PCM 7040 and NOA-adapted R500 DAT.
The result is a thoroughly documented audio transfer with a digitization proof stamp written to the database along with the audio material.
Renkus-Heinz Loudspeakers Installed In North Dakota State Fair Grandstand
The upgraded sound system features Renkus-Heinz STX-Series loudspeakers.
The North Dakota State Fair in Minot is one of the largest events in the state, held in late July every year since 1922.
Attendance has consistently increased since 2000, attracting more than 300,000 people in 2010.
Dubbed “the entertainment capital of North Dakota,” the State Fair Center complex is home to the nine-day annual event that includes agricultural and livestock competitions, carnival rides and concessions, and concerts.
Acts featured in 2010 included Brooks & Dunn, Kiss, and Darius Rucker. Other events are held at the facility over the course of the year, including demolition derbies, drag races, and a collectors car show. And during the summer months, weekly stock car races are run on a 3/8-mile oval dirt track on the fairgrounds.
In August 2009, after funding was provided by the North Dakota Legislature, the Center’s old 3500-seat grandstand was demolished and construction began on a new $15 million grandstand.
The new 7000-seat facility features larger, more comfortable seating, a pub and other amenities, including an upgraded sound system featuring Renkus-Heinz STX-Series loudspeakers.
“They wanted a system that offered high output and good intelligibility, but was more than just a voice system,” said Dallas Anderson of Bismarck, ND-based Tricorne Audio, Inc., the company behind the design and installation of the new system.
A total of 12 of Renkus-Heinz’s STX4/94 three-way systems cover the seating area, affixed to the canopy some 80 feet above the audience.
While the speakers would not actually be used during the winter months, they would still be subject to whatever Mother Nature chooses to dish out, including snow, wind, rain, and temperatures that can reach 20 degrees below freezing.
To withstand the North Dakota winters, as well as the region’s summer heat and humidity, Anderson specified the full weatherization option for the speakers which includes a fiberglass coating and additional weatherization on the grill. Electro-Voice CPS Series amplifiers power the loudspeakers, with Biamp Audia Flex providing system drive and processing.
“The end result is nothing short of phenomenal,” said Anderson. “The sound is clear, intelligible and musical, with more than enough power to be heard over the din of the demolition derbies and stock car races.”
Neumann M 150 Microphones Selected By The Aspen Music Festival
Neumann tube microphones chosen in shootout among 30 microphones as Aspen enters a new phase of recording and broadcasting.
The Aspen Music Festival and School hosts one of the most famous music festivals in the world.
Since 1949, it has been fulfilling its guiding principle of fostering the growth of the human spirit through music, hosting more than 350 events every summer.
Recently, the Festival began to increase both the frequency and quality of its recordings and broadcast sessions, which are now featured regularly on American Public Media (APM) and other stations.
Working with Mike Pappas, owner of Pappas Consulting LLC, the engineers, technicians, guest conductors and music directors of the Aspen Music Festival began searching for a signature microphone to capture its performances and proceeded to blind test over 30 pairs of them, side by side.
“Our goal was to accurately reproduce the characteristics of the hall—we wanted to be able to capture the bloom that comes from the music tent.”
“We were also looking for precision in our imaging and wanted to make sure we had detailed and defined images,” recalls head engineer of Aspen Music Festival, Chris Cecere.
The Aspen Music Festival’s performances are mostly orchestral in content and can range anywhere from small chamber ensembles (3, 4 or 5 musicians) up to over 100 musicians on stage.
The tent, which has a capacity of just over 2,000 people, can be a challenging recording and/or broadcast environment given its immediate proximity to the outdoors and occasional swings in temperature. The chosen microphone would have to deliver both a quality sonic performance wile remaining reliability.
Over 30 pairs of microphones representing the world’s top manufacturers were positioned side by side onstage to help Cecere and his team to make an informed, objective evaluation.
Cecere recalls the moment of truth: “I had the assistant at the desk bring up the faders one by one—we listened to one pair, then another, then another; I had no idea what make or brand of microphones they were. When they brought up the Neumann M 150 Tube mic, the clarity and sense of space were all there. It was the clear winner, by far.”
Thanks to a gift from the Sidney E. Frank foundation, the Aspen Music Festival now relies on four Neumann M 150s across the front of the stage as their primary broadcast and recording microphones.
One pair, placed at center stage and spaced about 3 feet apart and 15 feet high, helps define the center image of the stereo field. The other pair, which is hung from a similar height, flanks both far sides of the stage.
Since the Neumann M 150s have been put in place, the response has been outstanding. “Everyone has been extremely happy with the sound quality of the microphones, which deliver a rich and full bodied sound character—this is why we bought four of them,” says Cecere.
“The M 150 makes the listening experience as authentic as possible and it has been fantastic to have a set up that we can rely on time and time again. We are very pleased to have chosen Neumann as our ‘signature sound’.”
Avid Announces Technology Demonstrations & Customer Presentations At AES
Butch Vig and Dave Hill lead line-up of main stage presentations
Avid has announced its line-up of technology demonstrations and customer presentations scheduled for the company’s booth at the 129th AES Convention from Nov. 5-7 at the Moscone Convention Center in San Francisco.
The sessions will provide attendees with a look at an array of new audio solutions that support open, collaborative audio workflows for use at home, in the studio or on stage.
Avid guest speakers will include Butch Vig, Garbage drummer and Grammy winning producer of Green Day’s “21st Century Breakdown,” and Dave Hill, founder of Cranesong and co-developer of Avid’s HEAT software, among others.
Sharing stories and best practices honed from years of professional experience, these speakers will share audio workflow tips, behind-the-scenes production details, and impressions about how Avid has taken what we’ve heard from our customer base and delivered on our promise to provide open, flexible solutions for interoperable production environments.
In addition, a series of main stage demonstrations will include:
Tours through the creation, tracking and mixing of a song while moving from laptop, to desktop, to studio platforms
Post production sound demonstrations based on HBO’s Emmy award winning series “The Pacific”
Technology previews of Avid’s MC Mix, part of Avid’s Artist Series of consoles (formerly Euphonix Artist Series) running on a Windows 7 system.
Rotating technology demonstrations on Avid’s main stage and show floor will showcase audio innovations for independent and studio professionals, featuring:
Open, flexible workflows in interoperable environments
Best-in-class audio solutions, including:
Pro Tools HD Native, the newest addition to the Pro Tools family that harnesses faster CPUs to deliver customers the industry-leading capabilities of Pro Tools HD with native, host-based performance
Pro Tools HD IO, OMNI, and MADI converters for best in class A-D/D-A conversion and the highest sound quality
HEAT software, a revolutionary software add-on that brings the warmth of analog components to the Pro Tools│HD mixer.
Mbox family of portable recording solutions, providing new A-D/D-A converters, cleaner preamps and improved drivers for Pro Tools and third-party DAW support.
Artist Series and Pro Series Consoles, streamlining production with award winning ergonomic control.
Also appearing at AES as part of the workshop and seminar series, Avid’s Robert Scovill will present as part of an Economics-Driven Change of Touring live sound seminar on Thursday, November 4 and a Live Monitoring and Latency with Digital Audio Networks workshop on Friday, November 5.
In addition, Avid’s Sheldon Radford will participate in an Audio/Video Bridging (AVB) product design panel discussion on 11/5. And in addition, Engineer Billy Bush and founder and CEO of Sonic Magic Studios and post mixer Jonathan Wales will be making an appearance on the Avid booth’s main stage, speaking to the strength and flexibility of Avid’s new HD solutions.
Electro-Voice Loudspeakers Chosen By The Jawaharlal Nehru Stadium
Hundreds of Electro-Voice were installed in the Jawaharlal Nehru Stadium for the 2010 Commonwealth Games.
With a 60,000-plus seating capacity, Jawaharlal Nehru Stadium in New Delhi, India was the largest venue used for the October, 2010 XIX Commonwealth Games.
The stadium hosted athletics events and, most importantly, served as the venue for the Games’ opening and closing ceremonies.
The stadium is equipped with an audio system from Electro-Voice, extending EV’s footprint in the design of systems for the world’s largest sporting events, including the summer and winter Olympic Games and the recent FIFA World Cup soccer tournament in South Africa.
The EV loudspeaker specification at Nehru Stadium consists of 132 customized XLC127DVX (line-array), 120 Sx300PI, 300 EVID 6.2, and 60 ZX5-60PI surface-mounted systems, all driven by a combination of 135 P3000RL and TG amplifiers to deliver an average of 107 dB and a peak of 115 dB.
The system is remote-controlled and supervised from a single laptop in the stadium control room, all via EV’s IRIS-Net software platform. The system’s Auto Gain Control increases or decreases the sound levels consistent with changes in the level of ambient crowd noise.
All external speakers are manufactured to exceed the IP55 standard for weather resistance, while the system’s speech intelligibility surpasses the approved standard of 0.55 RASTI.
Church Sound Basics: Developing Your Technical Ministry
How does one put a winning team together to make the technical production happen?
If you’re a minister of music, a pastor of programming, a senior pastor, or even a volunteer then one of your responsibilities involves dealing with the technical aspects of worship.
Technical, of course, meaning sound, theatrical lighting, video, props, production.
These areas, when properly applied, can add great dimension to the worship experience.
However these elements misapplied can destroy a worship experience.
Nothing is more distracting than feedback, missed cues or “hokey” production quality.
So how does one put a winning team together to make the technical production happen?
First of all, make sure that the people that you select are “sold out” to the vision and purpose of the church. Then create a “hit list” of potential technical ministers.
Check these folks out. Observe them at church, are they plugged in? Do they seem excited about what is going on?
Do they appear open and teachable? How are their communication skills?
Once this list is set and you have checked the field out, interview them.
Be straightforward and honest with your questions. Get to the heart of the matter. Ask yourself: is this person’s heart, spirit, and attitude the kind that I want on my team? Are they as qualified technically as they are spiritually? If not, are they capable of learning?
If this person is someone you want on your team, clearly lay out the vision for the ministry. Hopefully you have been doing this all along!
If you have no vision, your ministry will go exactly where you lead it- nowhere. Wear and express your vision often. Spell it out on paper!
“The Technical Ministry at ABC Church is a support ministry that facilitates reaching the lost by providing excellence in sound, lighting and video.”
After selling the vision, communicate the expectations. Do it in writing. People appreciate knowing what they are committing to, so have it clearly laid out. Two words of caution here:
1. The technical area burns out more people than perhaps any other ministry.
Build your team big enough so the burden does not become too great.
2. Protect and invest in the people on your team.
Don’t let Bob spend 30 hours in one week volunteering to make a production happen while his family forgets who he is. Also, take an opportunity to invest in Bob. Get to know his family, take him to lunch just for fun.
After your team is recruited, make sure that you keep them in “the loop” as to what is going on. Information is power. Make sure you have a schedule planned out at least one month in advance.
Fax the order of worship for the coming Sunday to the technicians no later than Wednesday or Thursday. This gives them time to prepare. Think of it this way, I hope that you would not approach a soloist to sing and them give them the song on Sunday morning.
Provide ample opportunity for your team to grow and learn. Subscribe to all the industry related magazines and make them available to your team. Purchase some technical resources and make them available.
An excellent technical ministry team at your church is waiting to happen. Take the lead, recruit the right people, and spend the majority of your time investing in them. Believe in people and they will amaze you!
Gary Zandstra is a professional AV systems integrator with Parkway Electric and has been involved with sound at his church for more than 25 years.
Q: I’m working on a remix of a recent recording for a long time client which has me quite excited.
The reason is that this is my first ever project for broadcast!
I’ve been checking the mix on multiple sizes of monitors, including TV speakers, but something still doesn’t sound right.
Can you offer any advice?
A: We’ve encountered similar issues recently when mixing for broadcast.
We were quite happy with the way the mix sounded through studio monitors, headphones, and home stereo speakers.
But, when the mix was run through small, built-in TV speakers it had low-frequency build up that was making it sound muddy.
Our first instinct was to check the bass and kick drum for anywhere the mix had excess low frequencies we could cut, but found nothing out of the ordinary.
However, when we looked at the guitar track, we found the culprit. A slight bump at 100Hz was enough to cause the muddiness we were hearing.
A quick EQ adjustment dipping the level at 100Hz and boosting the level slightly at 200Hz cleared the muddiness right up. Now the mix translates well on all of our reference devices and is ready for broadcast!
The moral of the story: reference your mixes on as many playback systems as possible, and don’t automatically assume the “obvious” tracks are the source of a problem.
As always, we welcome input from the PSW community and would love to know how you check your mixes for broadcast. Feel free to let us know in the comments below!
PSAV utilizes Axiomtek, which provides a greater degree of sophisticated, intuitive, control to the end user.
PSAV Presentation Services provides the hospitality industry with the tools and technology for meetings.
This includes incorporating fully-integrated, forward-looking technology solutions for its installations at hotel partners across the United States.
As Symetrix fixed-architecture and SymNet open-architecture DSP solutions have advanced, PSAV has kept up, offering clients ever-greater functionality and performance for ever-less money.
Project Manager Matt Keene of PSAV has begun to include Symetrix’ latest offerings – the Axiomtek touch-panel PC and the latest version of SymVue user-control software for new design and installation projects.
In addition, Keene is retrofitting older Symetrix and SymNet installations with the Axiomtek, which provides an even greater degree of sophisticated, yet intuitive, control to the end user.
Recently Keene utilized the Symetrix technology to deliver upon an upgrade project. “Even though our latest proposal was for much less money than an earlier one, we were able to deliver a lot more functionality,” said Keene.
The system covered a ballroom, which could be divided into separate meeting rooms, as well as two additional physically separate meeting rooms. Powered by QSC eight-channel CX108V amplifiers, Bose Freespace 102F loudspeakers cover the spaces with an even distribution.
Each room contains local inputs of between two and four ELRs mixed by a Crown 28M. A Symetrix ARC-SWK wall panel controller in each of the six spaces selects between the local inputs and various DMX background music sources and controls their overall volume.
A Symetrix Room Combine 788 forms the heart of the system. “I use the SymNet open architecture units when necessary, but for simple systems, the Symetrix Integrator series is the way to go,” said Keene.
“The price is right, the functionality is all there, and the programming time is quick.” The Room Combine 788 is capable of full auto-mixing and signal processing of twelve inputs (including four background music sources) into as many as eight rooms with full loudspeaker conditioning.
Like all Symetrix and SymNet products, it can be controlled by Symetrix ARC wall panels, SymVue user control software (either on a touch-screen PC, like the Axiomtek, or a regular PC), or third-party controllers.
In this example, Keene reserved the ARC-SWK wall panels for source selection and volume control only, placing the Axiomtek touchscreen PC in the equipment room for all room combine/uncombined control. “Most hotels require some amount of room combining,” said Keene.
“It can be challenging to add that additional layer of control without overwhelming a novice user with complexity. I’ve found that when I make room combine/uncombined functionality available in the space, users can sometimes mistakenly make changes when all they really want to do is change the volume.”
“With the Axiomtek touchscreen PC, I simply place a map of the room on the screen with intuitive ‘combine’ and ‘uncombine’ buttons, and then it’s as simple as it can possibly be.”
Turbosound has launched a new pro audio company dedicated to the promotion and distribution of its professional loudspeaker systems in Japan.
Turbosound Japan, a new partnership between Turbosound Ltd and All Access Inc, will be launched at the Inter BEE show which takes place in Tokyo from November 17th to 19th.
To accompany the launch a wide selection of Turbosound products will be exhibited.
These include the Flex Array tour sound system, the new TFM-560 and RACKDP-50 professional bi-amped floor monitor package, the elegantly styled IMPACT architectural loudspeakers, and Turbosound’s complete range of dedicated sound contracting products.
Experts from Japan and the UK will be on hand to advise and demonstrate.
President of All Access Cozy Hattori commented, “I am greatly looking forward to working with Turbosound. The brand has a long and rich history in Japan, and I am excited by the future possibilities for Turbosound in Japan.”
Turbosound’s Asian market manager Chris Gooddie added, “I have worked with Cozy Hattori for many years, and I am delighted that we have found such a respected and professional partner to work with in Japan.”
“We have been considering how best to serve the needs of our Japanese customers for some time, and the formation of Turbosound Japan is the result of that process.”
“With offices in both Nagoya and Tokyo, and long experience in working with Japanese customers and resellers, Cozy’s organisation is well placed and equipped to deal with sales, support and service.”
“Together we look forward to satisfying an ever-increasing number of Japanese customers in the coming days.”
The new strengthens Royer's presence within Germany, Switzerland, and Austria.
Royer Labs has announced that the company has reached a new distribution agreement with the German company S.E.A. Vertrieb & Consulting GmbH.
The new distribution agreement enables Royer Labs to strengthen the presence of its premium microphone products among musicians and audio professionals throughout the key European countries of Germany, Switzerland, and Austria.
Headquartered in Emsbüren, Germany, S.E.A. Vertrieb & Consulting carries a wide range of products for today’s audio professional, including microphones, signal processors, mixing consoles, digital audio networking equipment, and sound reinforcement systems.
Guided by Managing Director Uwe Kirchfeld, the team of fifteen employees provides rapid order processing and shipping, along with full consultation and support services.
“We are very pleased to be representing Royer Labs,” said Uwe Kirchfeld. “Royer is one of the world’s premium microphone companies and is a perfect fit with our existing line card.”
“The microphone is one of the most important components in terms of ensuring a quality recording or true to the source sound acquisition for live sound reinforcement purposes and Royer Labs is a first-tier choice among today’s discriminating audio pros.”
“Royer microphones stand at the forefront of ribbon microphone technology. Their ability to add a rich, warm sound makes Royer microphones the ideal complement to the digital recording process and their robust build quality and ability to handle high SPLs makes them equally well suited to miking applications for today’s touring professionals. We are positively delighted to represent the line.”
John Jennings, VP of Sales and Marketing for Royer Labs, is also excited about the new arrangement. “We believe Royer Labs fits in perfectly with the brands represented by S.E.A.,” said Jennings.
“The addition of Royer Labs microphones brings a much sought after, and previously elusive, brand to S.E.A.’s product offerings and I believe Royer makes a great fit with their other lines. S.E.A. has a solid reputation among the professional audio community and I believe the addition of the Royer line makes a great fit for both firms. I look forward to working with them and have full confidence in their ability to represent our company.”
The line source array system takes top prize this year in category of “Indispensable Technology – Audio”
L-ACOUSTICS has announce that its K1 stadium line array system was recognized with the award for “Indispensable Technology – Audio” at the 10th annual Parnelli Awards ceremony held at the Rio All Suites Hotel & Casino in Las Vegas on October 22nd.
“We are very thankful and humbled by this recognition of our innovative K1 system,” said Stéphane Ecalle, L-ACOUSTICS’ marketing director.
“But much of the honor should also be extended to those K1/KUDO/LA8 Rental Network owners, sound designers, and touring engineers that have collaborated with us during the product’s Pilot Phase because their contributions truly helped hone K1 into the remarkable system that it is today.”
These early adopters of K1 include:
Adlib Audio (UK), Agora (Italy)
Arpege Son Lumiere (France)
Black Box Music (Germany)
Britannia Row Productions (UK)
Clearwing Productions (US)
Firehouse Productions (US)
Jands Production Services (Australia)
Loud and Clear (US)
Mid-America Sound (US)
MSI Japan, Music & Lights (Sweden)
Potar Hurlant (France)
Rat Sound (US)
Sirius Showequipment (Germany)
Sound Image (US)
SSE Audio Group (UK)
Tokyo Sanko (Japan)
In related news, Sound Image of Escondido, California was honored with the award for Sound Company of the Year, while six-time TEC Award winner Robert Scovill took the prize for FOH Mixer of the Year.
Sound Image was one of the first North American sound companies to purchase L-ACOUSTICS’ K1 system, putting it into the hands of Scovill early this year for Tom Petty and the Heartbreakers’ highly-successful Mojo tour.
Also, A1 Audio’s Al Siniscal – who previously installed one of the world’s largest V-DOSC systems into Las Vegas’ Planet Hollywood (formerly Aladdin) Theatre of the Performing Arts – was honored for his technical contributions with the Audio Innovator of the Year award.
And Miami Gardens, Florida-based Beach Sound – a longtime member of L-ACOUSTICS’ Rental Network – was also presented with an award for Hometown Hero Sound.
StagePro Provided JBL VERTEC Line Arrays & Crown VRACK For LDI Show Awards Ceremony
The response to the Awards Ceremony was very positive and the audio system performed admirably..
Rental sound, lighting and staging production company StagePro provided the live sound reinforcement system for the LDI Awards Ceremony, held at the recent LDI trade show in Las Vegas.
The Awards recognized excellence in a variety of categories related to the live design, events and staging industry, including lighting, audio and video.
The audio system featured a comprehensive range of products from Harman Professional, highlighted by JBL’s subcompact VERTEC line arrays.
For the event, StagePro supplied the audio reinforcement system as part of its Apex Mobile Stage.
The main PA system included left/right hangs of four VERTEC VT4886 subcompact line array loudspeakers and two VT4883 subcompact arrayable subwoofers per side, supplemented by an additional four VT4886 loudspeakers placed along the center edge of the stage for front fill.
“The response to the Awards Ceremony was very positive and the audio system performed wonderfully,” said Jay Waller, Owner of StagePro.
“The subcompact VERTEC line arrays were a terrific solution for this event, which provided an opportunity to expose this relatively new product line to a variety of potential clients.”
A new Crown VRACK loaded with I-Tech HD amplifiers powered the system, which also included a Soundcraft Vi4 digital mixing console along with AKG wireless microphones.
“The Vi4 console performed flawlessly,” Waller said. “We received a lot of comments that the effects package incorporating other Harman technologies like Lexicon is very impressive, and it truly is.”
“Of all the digital consoles on the market, it has one of the nicest sounding effects packages available.”
“The LDI Awards are a great way for the show to recognize excellence in the industry, from the Wally Award in memory of Wally Russell honoring a veteran in the lighting industry, to the Redden Awards in memory of Craig Redden and presented by Epic Production Technologies to honor excellence in lighting in theater, concerts, and corporate events,” said Ellen Lampert-Greaux, Consulting Editor and Conference Director, Live Design/LDI.
“The awards also include the ESTA Members Choice Product Awards and LDI’s Best Debuting Product Awards, which honor technical innovation. The LDI booth awards accented the excitement on the show floor.”
“The final award, sponsored by Showman Fabricators, was for the best Green Product Award in recognition of the greening of our industry. We appreciate the support of StagePro and Harman/JBL in making the awards ceremony a successful event.”
The matrix supports output from ultra high resolution computer systems
Gefen has announced the availability of its 10x4 DVI DL Matrix, a new addition to the recently introduced GefenPRO product line.
GefenPRO offers integrators and end users professional products with advanced 24/7 technical support for broadcast, rental/staging and post-production environments.
With the 10x4 DVI DL Matrix, any ten computers can be switched to any four professional monitors with full cross-point routing.
Users have the flexibility to create one or two extended desktops or send sources to individual displays.
High resolutions are supported up to 3840x2400, accommodating both single and dual link DVI formats.
Built-in EDID management ensures the stability of pre-settings throughout switching. RS-232 serial control and front panel buttons offer easy access and control.
An internal power supply further strengthens performance, eliminating potential disconnects. The black metallic enclosure is rack mountable and rugged enough to withstand high performance environments.
Auralex To Present Class A Fire-Rated StudioFoam Pro At AES 2010
StudioFoam is the first melamine-free Class A fire-rated acoustical foam in the indusrty.
Auralex Acoustics is showcasing its new Studiofoam Pro, the industry’s first melamine-free Class A fire-rated acoustical foam, at the upcoming 2010 AES Convention in San Francisco (Booth 729).
Studiofoam Pro presents a low-cost option for sound absorption in studios, churches, restaurants, clubs and any other venues that requires a Class A fire-rated acoustical treatment.
The absorption level has not been tainted by creating acoustical foam that is Class A fire-rated. In fact, the foam maintains the same cell structure, but the cells are smaller, condensing the thickness of the panel and provides superior performance to a standard 1-inch thick fiberglass panel.
Studiofoam Pro is available in two sizes: 2-foot x 2-foot and 2-foot x 4-foot, both 1.5 inches thick. It is available in charcoal gray and features beveled edges and provides a Noise Coefficient Rating (NRC) of 0.90.
“Auralex is proud to expand on our Studiofoam product line and to introduce another industry landmark by bringing melamine–free Class A fire-retardant acoustical foam to market,” says Eric Smith, founder and president of Auralex Acoustics. “Studiofoam Pro is the perfect combination of appearance, pricing, flame retardancy and the renowned physical characteristics of Auralex’s best-selling Studiofoam.”
Many public buildings and local fire codes require that acoustical materials be Class A fire-retardant. Until now, Class A rated acoustical treatments included basic cloth-covered fiberglass and a special flame-retardant type of foam called melamine. Melamine can serve as an absorber, but it is not only expensive, its physical attributes make it very sensitive to physical damage.
Due to Auralex’s proprietary chemical formulation, Studiofoam Pro has all the traditional benefits of Auralex’s industry-leading Studiofoam, including outstanding durability due to reduced oxidation. Studiofoam Pro will not rot, crumble or suffer surface harm from normal use like other reported Class A alternatives.
Studiofoam Pro is Class A rated according to ASTM-E84, which evaluates flame spread and smoke density. It passed the UL 94 HF1,2, which is a fire-rating test specifically for nonstructural foam materials like acoustical foam.
It also passed MVSS 302, a fire test requirement for materials installed in motor vehicles. Passing the MVSS 302 is significant for product installation in RVs and media vehicles. The last test that Studiofoam Pro passed is the California Technical Bulletin 117 (Cal 117), which contains an open flame test and a smoldering cigarette test.
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