Thursday, March 10, 2011
Grammy Winning Engineer Rich Breen Uses Metric Halo ULN-8 Interface On New Yellowjackets Recording
“The ULN-8 is like a Swiss Army Knife for audio. In addition to monitoring sends, the outputs feed analyzers and meters, including Metric Halo’s SpectraFoo." - Rich Breen
Rich Breen’s quick and early ascension to the upper strata of professional recording a quarter-century ago was not owing to a flashy style or a voguish sound, but rather a well-considered, well-rounded approach to sound recording that was, and continues to be, in equal measures scientific and artistic.
He holds a degree in electrical engineering and has studied music, a synergism that has contributed to his roster of clients and recordings that include the Yellowjackets, Charlie Haden, Dianne Reeves, Herbie Hancock, Norah Jones, members of the Rolling Stones, and Ramsey Lewis.
Breen has been nominated for the Non-Classical Engineering Grammy, and dozens of his recordings have been nominated or won Grammy Awards in various categories over the years. Last year he won a Latin Grammy for the Ivan Lins/Metropolis Orchestra recording.
In recent years, Breen has become an avid user of the Metric Halo ULN-8 interface, which delivers eight channels of AD/DA conversion, together with eight mic pres, powerful digital processing, and flexible routing.
Breen spends most of his time at his home studio in Southern California, Dogmatic Sound, where the Metric Halo ULN-8 serves as the trusted bridge between the digital world in which he mixes and the analog world that wends its way to his ears.
“The ULN-8 is like a Swiss Army Knife for audio,” notes Breen. “In addition to monitoring sends, the outputs feed analyzers and meters, including Metric Halo’s SpectraFoo, which is always up when I mix. But the ULN-8 really shines when I bring it to engagements in studios around town or to record live events.”
He also recently brought the ULN-8 to record legendary keyboardist Lyle Mays perform at one of Caltech’s TED Events.
Like many projects before it, Breen recorded the latest Yellowjackets release (Timelines Spring 2011) at Pasadena’s Firehouse Recording Studios. “I already know going into a session what kinds of mics and processors are available at Firehouse,” he explains. “I’ve tweaked, for example, the drum inputs using the ULN-8’s ‘Character’ settings. So when I go in now, all I have to do is recall that setting and I’m ready to go.
“The last several recordings I’ve made at Firehouse have used the ULN-8 on drums, and it’s no coincidence that people are going out of their way to say they are some of the best drum sounds they’ve ever heard!”
Given his background in electrical engineering, Breen has some concrete opinions about what makes the ULN-8 fully professional in every respect.
“Like a lot of converters, the ULN-8 sounds great in the predictable, utopian conditions of the recording studio,” he says. “But unlike a lot of converters, it sounds great in the most challenging live situations. Everyone focuses on the same specs: jitter, frequency response, and noise. But those don’t fully capture the performance of gear in the field.
“Not only are the ULN-8’s converters superb, the support circuitry, including the analog signal paths and the DSP, is top-notch. The performance has always been absolutely bulletproof under fairly rigorous conditions.”
Metric Halo Website
Hal Leonard Now Shipping Rockin’ Your Stage Sound By Gainey
The book is a musician’s guide to professional live audio.
Hal Leonard Books has announced the shipment of Rockin’ Your Stage Sound ($24.99), a step-by-step guide for improving your stage sound with over 170 stage tips for musicians and 100 tips from players in national acts.
Rockin’ Your Stage Sound is designed to help musicians understand what they will be facing onstage during a performance and how they can best use their gear to improve their sound on stage.
Professional live-sound engineer Rob Gainey combines his experience and observations with the perspectives of successful players from various genres of music.
Rockin’ Your Stage Sound offers conventional and radical approaches to solving stage problems and gives musicians multiple strategies for achieving the best sound in any venue.
The book provides a wealth of tips and viewpoints along many illustrations and diagrams on topics such as microphones and miking technique, monitor set-ups and mixes, standard and alternative stage setups, as well as information on getting the most from your stage equipment and instruments.
Rockin’ Your Stage Sound is a practical “field” guide for any musician, band, or sound engineer, from those playing coffee houses and small clubs, to those playing large clubs, auditoriums, and more.
Gainey covers virtually every conceivable setup or situation, and the theory he presents can apply to almost any size or shape venue. The information is presented in clear, easy-to-follow language and is rounded out by a glossary of audio terms to help the reader quickly decipher important technical concepts.
Hal Leonard Website
Church Sound Files: Eliminating Sound System & Operator Distractions That Detract From Worship
As people who work with sound, we focus first on features and technology. On the other hand, pastors often consider aspects that can have a negative impact on a service, which ultimately detracts from worship...
When working with sound at church, we all know just how many things can go wrong.
The kicker is usually when they go wrong, which invariably seems to be at the worst possible moment.
The church I belong to, like most, doesn’t have a great sound system. We sure would like to have one, but like many, we’ve chosen to “make do” over the years.
One day, I asked the senior pastor what his primary goal would be if we could get a new system. His reply? “We need something that would cause no distractions.”
Of course, I was expecting him to mention things like audio quality, ease of use, uniform volume levels at every seat, wireless features, and so on. So his answer surprised me at first.
But after thinking it over, I realized he was exactly right. As people who work with sound, we focus first on features and technology.
On the other hand, pastors often consider aspects that can have a negative impact on a service, which ultimately detracts from worship – and that’s why we’re all there in the first place! Everything else comes second.
I’ve always thought of the church sound operator as a referee at a sporting event. Most of the time, when either does their job well, no one notices. That’s the way it should be - no distraction.
But when something goes wrong, everyone takes note – distraction.
My train of thought continued. Can a well-designed modern sound system, with simplified controls and intuitive applications, lead to fewer problems and therefore less distractions?
The majority of modern audio components perform far better than their predecessors, due to superior design and manufacture. Not to mention they’re newer and thus less susceptible to problems.
As to the issue of whether they’re “easier” to operate, I believe that’s a subjective opinion of each system operator.
But this did lead me to consider another potential source of distractions, and where they often originate when it comes to sound: the training (and lack thereof) of system operators.
Beyond training, how well are most churches equipped to schedule and manage volunteer (or even paid) system operators?
Now, let’s backtrack for a moment.
As noted, the church I belong to doesn’t have a “whiz-bang” sound system, but it does get the job done, and we work very hard to make sure it causes as few distractions as possible. This is because we invested in quality components, which were installed by a qualified A/V systems contractor.
Not only did we choose to go this direction with the system when it was new, but we also rely on this professional to handle any upgrades of components, to fix problems that come up, and to assist with “check-ups” on a regular basis. A little preventative maintenance goes a long way.
I understand the temptation to try to purchase new systems and products in the least expensive manner possible, and to “self-install” them. This is natural – we all, churches included, want the best bang for our buck.
But if there’s one absolute fact I’ve learned after working in audio for nearly 30 years, it’s this: one of the best ways to eliminate potential distractions is to have a system designed and installed by trained professionals.
Installation mistakes such as poor grounding, sloppy wiring and terminations, improper cable selection and a host of other little things, can all add up to one gigantic mess. And these types of mistakes tend to be fruitful and multiply!
Worse yet, I’ve walked into churches and have seen loudspeakers that are not designed to be suspended being hung by eyebolts screwed into the side of their particleboard cabinets. I just hope that these “accident waiting to happen” distractions don’t occur during a service.
Here’s a checklist for evaluating distraction potential:
1) Was your sound system designed by a reputable audio consultant who understands the needs of the church, the acoustical properties of the sanctuary, and the capabilities of those who operate the system?
2) Was your sound system installed by a certified individual employed by a reputable systems contracting firm?
3) Is the company that installed the system still in business, and involved in your additions and changes?
4) Has your system been installed in phases or added to over time?
5) Are system operators well trained and knowledgeable?
6) Does your sanctuary’s physical layout require a lot of audio equipment to be moved around and re-connected between services?
7) Does your church struggle to find trained, motivated people to run the system?
8) Does your system produce random hums and buzzes, level changes, dropouts, crackles, distortions, pops, feedback or other noises that seem to go unexplained?
9) Do you own and consult instruction manuals and documentation on your equipment and system?
10) Is your system subject to regular maintenance inspections?
If you answered “yes” to checklist items 1, 2, 3, 5, 9 and 10 – and no to the rest – then your system is probably in good shape.
If not, it’s time to consider taking the proper steps in making sure your church is a distraction-free place to worship.
Chuck Wilson works with sound at his church, was a sound contractor for more than 20 years, and is now the director of the National Systems Contractors Association (NSCA).
Wednesday, March 09, 2011
The 2012 NAMM Show To Host The 27th Annual TEC Awards
The awards are attended by manufacturers of audio equipment and software and the world’s top music producers, engineers, sound mixers and musical artists.
The TEC Foundation for Excellence in Audio and NAMM have announced that the 27th Annual Technical Excellence & Creativity (TEC) Awards, the professional audio and sound production industry’s most prestigious awards event, will once again be held at the NAMM Show, the largest trade show for the international music products industry, on Friday Jan. 20, 2012, in Anaheim, California.
Negotiations have been ongoing since January following a successful 26th Annual TEC Awards event, which was hosted for the first time at the NAMM Show. Under the new agreement, the organizations will remain autonomous with the TEC Foundation continuing to conduct the nominations and voting process as well as pursuing its charitable interests.
For its part, NAMM will provide production and event management services for the TEC Awards. The TEC Awards are attended by manufacturers of audio equipment and software and the world’s top music producers, engineers, sound mixers and musical artists. A highpoint of the show is the Les Paul Award, presented to musical artists and others whose careers have exemplified the creative application of audio technology.
“Presenting the TEC Awards at the NAMM Show this past January was a major step toward our goal of broadening the constituency of the awards,” said Hillel Resner, president of the TEC Foundation.
“NAMM is where music makers and the technology innovators come together and we hope to be a key part of this exciting environment for a long time to come.”
“The pro audio and recording community really enjoyed having the TEC Awards at the NAMM Show this year,” said Joe Lamond, president and CEO, NAMM. “And we look forward to a bright future of serving this important segment of the NAMM Membership alongside the TEC Foundation.”
The 2012 NAMM Show will take place Jan. 19-22, 2012 in Anaheim, California.
Real World Gear: The Steady Stream Of Digital Consoles
Perspective on where we've been and where they’re at now.
Did the needs of modern event production drive the development of digital mixing consoles, or was it the other way around?
It’s an interesting question of the “chicken-egg” variety that probably has multiple answers, depending on your point of view and particular experiences.
Larger events and festivals first realized the benefits of digital consoles for their ability to store and recall presets for multiple acts, in addition to configurable I/O facilities – with mondo flexibility – from a compact footprint.
Between acts, instead of having to constantly reset consoles by hand, engineers and system techs could now hit recall and be ready for line check for the next artist, even as the crew was only just beginning to strike the previous artist.
Numerous other plusses came into play, and it would take the rest of this page (and then some) to list them all.
Cut and paste, auxiliary sends on faders, preset libraries for effects, onboard EQ and dynamics, song-by snapshots, virtual sound check, loading a previous show’s settings… Well, you get the idea.
More than 12 years ago, Yamaha introduced the PM1D, which launched the modern era of digital mixing consoles in live sound. While production of the PM1D ceased in late 2009, its impact continues to be mighty.
The development and deployment of digital consoles stretches back far further than that, however. Yamaha had already had some earlier success with the O1V and the O2R, and around that same time came the Innovason Senory, a production largeformat digital console built specifically for the live market.
Soundcraft also came out with the Broadway, a digital control surface that would control analog input and output racks, most notably utilized for a tour by Celine Dion. Texas-based sound company Showco, one of the giants of the day, developed the Show Console, which had a digital control surface. These weren’t sold, only available for rent.
Then came the PM1D, and the rest, as they say, is history, as we now enjoy a time where digital consoles are proliferate, perpetuating a steady stream of new features, options, enhancements and footprints that’s possible with digital technology in general.
It should be pointed out that analog consoles remain quite viable and aren’t going off into the sunset; as my colleague Mark Frink points out, they’re paid for, they’re in place, and operators are used to working with them. In fact, many users still flat-out prefer mixing in analog, and likely always will. Used analog desks also cost a fraction of their original price.
Still, the paradigm has shifted. In talking with Michael Parker about his work mixing monitors for the Grammys, he shared the fact that he’d recently met a young fellow, about 23 years old, who’s already been mixing shows and events for several years and told Michael he’s never even mixed on an analog console.
Digital consoles are a norm, not an exception, and I suspect Michael’s friend is closer to a norm rather than an exception with respect to the younger generation.
Enjoy this look at a wide range of digital consoles available today. Some are larger and more feature-laden; others reflect the trend toward smaller footprints that has been especially popular of late.
All of them meet and exceed needs in various sound reinforcement applications, and at this point, choice is largely a matter of personal preference, specific features and capabilities, and budget.
Keith Clark is editor in chief of Live Sound International and ProSoundWeb.
PreSonus StudioLive Remote
In small venues, “front of house” can now be anywhere. Sure, bucks-up digital mondo-consoles are starting to include iPad control.
But what about the little guy running 16 or 24 channels? Only PreSonus offers remote access to all key digital mixer functions via multiple iPads… on mixer models starting at under $2000.
Our new gizmo-rama is called StudioLive Remote. It’s free from the Apple Apps store. It runs with Virtual StudioLive, our computer control interface for StudioLive 24.4.2 and 16.4.2 mixers. Which comes free with our mixers.
StudioLive Remote is an elegant application with separate screens for channel levels, Fat Channel, aux mixes and graphic EQ. Since you can run any number of iPads at once, on-stage performers are free to adjust their own monitor mixes instead of wasting your time whining for “more me” all the time.
The PreSonus secret weapon is treating mixer software as part of an integrated system, instead of an after-thought. Bob Tudor (ex Mackie & SaneWave), who heads up the company’s jambalaya-fueled Software Engineering Department, makes it happen.
StudioLive 24.4.2 digital mixer Capture 2-click recording software Virtual StudioLive remote computer control StudioLive Remote for iPad Studio One Artist DAW software
Faders: 24 inputs on non-motorized faders
I/O Protocols: 2 x FireWire 400
Mic Channels: 24
Onboard Graphic EQ: 4 stereo 31-band GEQ
Onboard FX: 2 multi-effects
Control Surface I/O: 24 XLR, 10 + 4 + 2 TRS
Footprint/Weight: 31 x 25 inches, 30 pounds
The Vi6 is designed using the proven reliability of sister company Studer’s series of consoles, incorporating a derivation of the Vistonics user interface (Vistonics II) that allows the engineer to operate the desk intuitively.
Vistonics II uses the same type of touch-screen color TFT monitor with integral rotary controls and switches mounted on the glass to provide a ‘where you look is where you control’ user interface.
The spec includes 96 mono inputs into 35 outputs. There are 24 insert send/ return pairs that can be configured and assigned to any of the input or output channels.
All 96 input channels can have direct outputs in addition to their internal bus routing, assuming sufficient I/O is available (e.g., optical MADI card). On top of this, there is a configurable bus structure of 32 group/aux/matrix, plus main LCR mix and LR solo buses (maximum of 16 matrix outputs can be configured).
Tours / Clients
Tower of Power
Virtual Vi software is an offline graphic system and editor, and it can also be used in Online mode to control the DSP core, in place of the control surface.
Further, it can act as a training aid for new users or those who want to brush up on their Vi knowledge.
Faders: 32 input + 8 VCA + 4 master
Layers: 2 input, 1 output, 3 user
I/O Protocols: CobraNet, A-Net, RockNet, Optocore, MADI
Mic Channels: 64 or 96
Mixes: 32 + 3
Matrixes/VCAs: 16 + 16
Onboard Graphic EQ: 32 + 3 BSS 30-band GEQ
Onboard FX: 8 Lexicon multi-effects
Control Surface I/O: 16 x 16 XLR, 16 AES local
Footprint/Weight: 69 x 29 inches, 139 pounds
Stage Boxes: 64 x 32 MADI, 32 x 16 compact
Studer Vista 5 SR
The Vista 5 SR (Sound Reinforcement) brings all the unique features of the flagship Vista range to bear in a very small footprint and light weight package; amazing sound quality, incredible user interface through the Vistonics touch screen system, and total configurability, gig to gig, city to city, all contained in a ruggedized chassis tested to “military standards.”
The standard system is equipped with 84 mic/line inputs, 8 line outputs, and 8 AES I/O on the stagebox – and 16 line inputs/48 line outputs, 16 AES I/O and 4 MADI ports in the local rack.
The system is also delivered with two optimized channel/ bus configurations, one being for front of house (FOH) and one for monitor mixing applications. (The photo shows a Vista 5 SR for performances by Sting at Durham Cathedral in England.)
Tours / Clients
MTV VMA Awards
USA BET Awards
The D21m high-density audio interface system (shown with Vista 5 SR image below) has been designed to provide the highest quality analog, digital and signaling interconnections between external equipment and all current and future Studer DSP cores, including those serving the Vista 5SR.
Faders: 20 input, 10 output, 2 master
Layers: 6 user configurable
I/O Protocols: CobraNet, A-Net, Optocore, RockNet, MADI
Mic Channels: 84 mono & 20 stereo
Mixes: 68 total groups, aux, matrix, mains
VCAs: 12 VCA
Onboard FX: optional VST plug-in engine
Control Surface I/O: 16 x 48 XLR & 16 AES local
Footprint/Weight: 59 x 30 inches, 150 pounds
Stage Boxes: 3U D21m remote MADI, 48 mics
The PM5D-EX features 96 kHz processing throughout for outstanding sound and response.
Open architecture implemented through MY expansions slots in both the PM5D console and DSP5D Expander enables increased flexibility and a choice of formats for direct multichannel or stereo feeds to a DAW system. The DSP5D can also be used remotely using a DCU5D digital cabling unit connected by a single Ethernet cable.
The PM5D-EX is available as a standard PM5D console with high-performance head amps or a PM5D-RH, adding a head amp recall capability allowing head amp gain settings to be recalled along with the console’s scene data.
The combination of PM5D and DSP5D’s four input fader layers can comfortably handle any large-scale application, and by doubling the DSP power, mixing engineers can apply any required processing to all channels without limitation. (The photo shows a PM5D-EX at the recent National Wildlife Turkey Convention where Trace Atkins was the featured performer.)
Choice of formats to feed stereo/multi-channel audio to a DAW for high-quality live recordings. Connecting a PM5D-EX to a Steinberg Nuendo DAW, for example, provides 64-channel bidirectional audio transfer capability.
Four slots on the PM5D and two on the DSP5D allow I/O expansion and networking via CobraNet, EtherSound, and Dante.
Dante-MY16-AUD w/Dante Virtual Soundcard
Nuendo 5 DAW software for recording/playback
Waves WSG-16 MY-card for interfacing
Waves SoundGrid plug-in system
SB168-ES Stagebox with 16 mic/line ins, 8 analog outs for EtherSound network
DME-64N DSP engine capable of 64 channels of I/O
Faders: 24 input, 8 output, 1 master
I/O Protocols: Dante, EtherSound, CobraNet, A-Net, Optocore, RockNet, MADI, SoundGrid
Mic Channels: 96 mono and 16 stereo
Mixes: 24 + 2
Matrixes/VCAs: 16 and 8
Onboard Graphic EQ: 24 31-band GEQ
Onboard FX: 16 SPX2000-class multi-effects
Control Surface I/O: 56 x 32 XLR
Footprint/Weight: 61 x 37 inches, 215 pounds
Stage Boxes: DSP5D 56 x 32, SB168 16 x 8
Top Reasons To Invest in Your Analog Signal Chain
Imagine spending $1,000 on software or on a microphone today. In ten years, which do you think will have held its value?
Like many of you, I’m in the process of doing a few upgrades in my studio.
Whenever I’m looking to buy a new piece of equipment or upgrade an existing piece of equipment, I try to ask one simple question: What will help me make better recordings?
My goal isn’t to marginally improve the recordings. Rather, I’m looking for holes in my system. I’m looking for weak links.
For example, I don’t currently have an guitar amps for clients to use. Instead, I’ve been using a pretty killer amp simulator pedal, but still don’t have an actual amp. So, a good amp would definitely improve guitar recordings.
Also, I’m working on upgrading my cabling. It’s not a sexy upgrade, but it makes a noticeable difference. (More on that in a future article.)
Another deciding factor when I’m buying gear is whether or not the gear is “digital” or “analog.”
Buying software, plug-ins, computers, is a lot of fun, and I have nothing against those things, but software inevitably has to be updated. Computers will eventually be too slow…or will simply die.
You know what lasts a lot longer and will work with any recording system? Good, analog equipment.
Examples of good analog equipment:
studio monitors, monitor controllers, headphones
guitar pedals/direct boxes
guitars (and other instruments), amps
The following don’t qualify:
You’ll find that the list of analog gear can easily outnumber the list of digital. But aren’t we all guilty of drooling over the latest piece of software? The latest audio interface?
Again, there’s nothing wrong with these things, but I’ve put together a small list of reasons why you should (as much as it makes sense) invest in good, analog equipment.
1. Analog gear can last decades
A lot of major studios around the world still use the same outboard gear they used thirty years ago.
Sure, they might need to be repaired occasionally, or you might need to swap out tubes, etc.
But these studios have gone from analog tape to digital tape to full-on Pro Tools HD systems.
All these systems can easily use the same analog equipment. A good piece of analog hardware is timeless.
2. Analog gear is how you “get it right at the source”
You hear it all over the place. When recording, you must “get it right at the source.” The idea of “fixing it in the mix” is absurd, if you aren’t diligent about first capturing the audio properly.
Analog gear will always be the only way to properly capture an analog source.
3. Analog gear never has compatibility issues
Have you ever purchased a new computer, only to find you needed to upgrade a few pieces of software to get them to work? Yeah, me too.
I’ve never heard of somebody needing to upgrade his LA-610 when he updated his operating system, have you? Me neither. Analog gear will always be relevant and useful.
4. Analog gear (for the most part) maintains its value
If at some point in the next 10 years you decide you want to sell your nice solid-state preamp for a high-end tube pre, you’ll get a lot more money for a good preamp than you will for a good audio interface. Especially if the piece in question is over 5 years old.
Imagine buying a $1,000 interface and a $1,000 microphone today. In ten years, you could get a lot of money out of that microphone.
You might not even be able to give the audio interface away. It would probably be obsolete. A good mic is never obsolete.
So, now it’s your turn. Where are the weak links in your analog chain? Feel free to let me know in the comments below.
Joe Gilder is a Nashville based engineer, musician, and producer who also provides training and advice at the Home Studio Corner.
A Forecast For The Future Of Church Audio
While some have told me they have everything they need in the way of equipment and support in the sanctuary, they are clearly not in the majority.
The future of church audio is not all pretty flowers and sunshine. A student recently asked me my thoughts on the subject and the more I dwelt on the topic, the more I saw that the future is not pretty.
Here is my view, why the church is destined for that direction, and what you and I can do to change all that.
I want to start by traveling back in time, specifically to 1896.
Frank Humphreys, a clergyman in the 1890’s, wrote a book entitled “The Evolution of Church Music.” The focus of the book was music, not audio production, however, the insight he provides at the time most definitely flows across into the view of modern day church audio production.
“We are constantly standing on the threshold of new discoveries; we are constantly opening up new and unexplored fields, and new combinations surprise and delight us, proving the inexhaustibility and endlessness of the gamut of musical expression.”
“For the soldier there is martial music to cheer him upon the march, to excite him to victory, or to rejoice in his triumph; there is music which invites us to the joy of the dance; there is the music of love, pure and impure; there is mirthful music to make us laugh; and there is the solemn music with which we follow the dead.”
“All these fitly arouse and express the ever-changing passions of man. Shall the music of the Church be less adequate to its consecrated purpose?”
Frank nailed it. Go to any venue of the performing arts, be it theater, a concert, or dare I even say opera and what happens when the audio production is bad? We complain.
Everyone complains! Now let’s move to the church environment and what is the result of poor audio production?
At some churches, there might be complaining. In some churches, no one complains because “it’s church and therefore it doesn’t have to be perfect.” The church body and church leadership have just allowed for the “less adequate.”
This “less adequate” mentality is more than just in the quality of production. Also, it’s in the quality of the environment.
Worship music has changed a lot in the last 20-30 years but the environments in which it’s performed are, by-and-large, the same. Sanctuaries that once provided wonderful acoustics for choir and organ are now blasted with bass amps, electric guitars, and huge overhead speakers without regard to the acoustic properties of the room. The result is often a bad sound due to the lack of acoustical treatment and improper equipment installation!
The “less adequate” mentality permeates all areas of audio production in the church! We are faced with churches lacking proper acoustic treatment to meet the demands of the room. To make matters worse, churches are spending more money on equipment while ignoring training, and sound guys are left to the winds of fate.
The current state of church audio is not good.
What is hurting the growth of quality audio?
There are several factors hurting the growth of quality church sound.
1. The quality of the sound guy
I have to be honest, there are many in the pro sound world who laugh at people who claim to “know audio” because they run sound at church. Unfortunately, we’ve somewhat earned that image.
The reason is that in the majority of churches, sound guys don’t get the training they need nor are they hired based on qualifications. “You’re good with computers; would you like to run sound on Sundays?”
On top of that, the average church sound guy isn’t pushing to improve their knowledge and the overall quality of their work on any other day ending in “UNDAY.”
2. Expectations are incorrectly placed on equipment
The answer to getting a better sound isn’t always buying a better sound board or more expensive stage gear. A $20,000 mixing board won’t make up for a poorly trained sound guy or bad room dynamics.
3. The church music style has changed drastically but the acoustic space has not
Additionally, many churches are being built without regard to room dynamics.
4. Audio production is not a priority by church leadership
When the economy takes a downturn, it’s one of the first budgets to get cut. This past year, I’ve heard from a couple of technical directors who had to cut many of their paid positions and change them to volunteer positions.
5. No Source of change / mentoring
Each church is at the mercy of the one person in the church who has the motivation for always improving the audio quality. In churches where there is only one person like that, that person can have tons of drive but little experience or knowledge of how to proceed.
When they don’t have a mentor, they are limited in how they can improve the audio because they are limited in knowledge. I’ve even been at a church with a 5-person audio team where no one had been trained and they behaved as “volume controllers.” No mentors and no push for improvement leads to zero improvement.
6. The “less adequate” mentality
What more can I say than to quote Frank’s words again; “Shall the music of the Church be less adequate to its consecrated purpose?”
Over the next ten years, none of this is going to change. As long as these six points are still issues in the church, the quality of sound production is going to suffer.
How We Can Change All of This
1. Quantitative analysis
The first thing that must be done is taking a survey of all aspects of your church’s audio.
This means the quality of the room, the usability of the equipment, the views and criticisms from the musicians, the views of the congregation on the quality of audio, and an honest appraisal of your own knowledge of audio production. At this point, all the other points follow as means of goal setting and achievement.
2. Educate church leadership in the importance of what we do
In his essay, “The Cathedral: a School of Music,” the Dean of Norwich wrote, “...that [music] is the highest, truest, deepest expression of devotional feeling.”
Music, being a subject of such value means that its creation in the sanctuary must be regarded as more than just the musicians but also the presentation which is where audio production comes into play.
One pro-audio sound guy said it like this “if you are ever questioned on the value of what you do, turn off the system when the band is playing.” Educate church leaders by asking one to shadow you for a day. Then show them the differences between what is and what could be.
3. Hire professionals
Acoustic analysis and treatment is not for the armchair sound guy. By hiring an audio professional who works in these areas, they can recommend (and sometimes install) the treatment necessary and make changes to your house EQ that produces a better overall sound.
4. Require (Demand) training
Require training for anyone joining your team as well as existing team members. You train them yourself, use online courses, and go to training seminars. Be the best sound guy you can be and demand that of others.
5. Aim for a higher quality of your own work
Every audio event you work is an opportunity to improve. You might improve the music mix, the monitor mix, or even your methods for dealing with musician issues.
Always be striving for improvement. In the pro-audio realm, they say you’re only as good as your last gig. Who are you working for? God, almighty so give Him the best you have each and every time.
6. Reaching out to area churches
Reach out to area churches for two reasons; find a mentor or become one. We can’t improve our churches solely from the inside. Let’s be the brothers in Christ we are called to be.
7. Establishing such a high quality of work that anything less is noticed.
The better the sound, the higher the expectations of the congregation.
8. Push for budgeting
I hear of churches that don’t even have audio budgets. Back at point #2 I discussed having a church leader shadow you for a day. If you don’t have a budget, it’s a great time to bring up the cost of maintaining your equipment and what happens when that doesn’t happen.
Create a budget; even if “we don’t have money,” a budget is a great way to show the leadership the maintenance costs and the costs of replacement.
9. Train musicians in stage performance
Musicians have the ability to improve the sound in the sanctuary.
Through better equipment usage such as microphones, monitors, and amp’s, they can give you a better sound for mixing.
They can also learn the expectations of the sound guy and how you can work together. You can train them yourselves or let me train them for you.
10. Regard your work with the utmost respect
If you and I are to change the course of audio production in the churches, we must regard our work with the utmost respect. Stay focused, stay motivated, be considered a role-model of a change agent.
I wish I could say churches across the country are spending money on all areas of training, equipment, and acoustic treatment. I wish I could say that in ten years from now, every church is going to be producing beautiful music.
Today, I don’t see that on the horizon. But I am encouraged. I’m seeing more and more sound guys on web sites like this.
I’m seeing more and more people looking for training. I see people like you who have the desire to be change agents.
And it’s people like you who I thank for your efforts every day in improving the quality of audio so the congregation can worship fully, completely, and that everyone can see the Glory of God in what you do.
Of course, there are always exceptions to what I’ve said, but my general premise still stands.
Some have told me in the past they have everything they need and the sanctuary is ideal for modern worship music. However, they are not in the majority.
What do you think? Am I right? Am I wrong? What are you doing about it? Let me know in the comments below!
Ready to learn and laugh? Chris Huff writes about the world of church audio at Behind The Mixer. He covers everything from audio fundamentals to dealing with musicians. He can even tell you the signs the sound guy is having a mental breakdown.
Jupiter DSP The Choice Of Pinstripes Italian Restaurant
GMK Integrated Audio designed and installed the audio system using Symetrix' new Jupiter DSP.
Pinstripes delivers to its patrons the unique combination of superb Italian-American fare, stately lanes of bowling, bocce courts, and banquet and party space for up to six-hundred guests.
Until recently, only the denizens of suburban Chicago enjoyed Pinstripes in its two locations, but success spurred the owners to open a third location in Edina, Minnesota, just past the Minneapolis city limit.
GMK Integrated Systems designed and installed the audio systems in all three locations, turning, in the newest location, to Symetrix’ recently-introduced, “zero learning curve” Jupiter hardware and “app-based” software for system processing in the banquet rooms.
The audio systems in the older Pinstripes locations worked well enough, but when GMK system designer Chris King heard about Symetrix’ new Jupiter series, the functional fit seemed perfect, despite Jupiter’s lower cost.
Unique in the industry, the Symetrix Jupiter hardware operates with software “apps” that are inspired by contemporary smartphone technology.
Users select an “app” that fits the needs of a particular sound processing scenario, upload it to the Jupiter hardware, and make minor tweaks via an intuitive interface to dial in the perfect sound.
“When I saw the Jupiter programming GUI - how easy and fast it is to set up - the decision was obvious,” said King.
“The feature set is perfect for a modest job like Pinstripes, and the user interface is tremendously flexible.”
“Unlike the dozen or so analog controls offered by some manufacturers, the Jupiter system works with the Symetrix ARC wall panels or third-party controllers to offer a tailor-made user interface with up to a hundred digital controls.”
King selected the Symetrix Jupiter 12 hardware, which accepts twelve inputs and delivers four outputs, and the “Gain-Sharing Automixer 1” app.
The hardware takes both mic-level and line-level inputs from each of three rooms, which are capable of being combined in any linear permutation. In addition, King selected Symetrix ARC-K1 volume controls as well as the SW4 for this installation. The Jupiter system handles compression, limiting, EQ, and automatic feedback elimination at the inputs and a full suite of loudspeaker conditioning tools at the output. “The app had everything I needed for this job,” King asserted.
The Jupiter outputs to an Ashly ne4250.70 four-channel amplifier, which delivers clean, clear power with fully integrated networking at a very competitive price point. “The network capability of the Symetrix and Ashly units was particularly important for this job,” explained King.
“We have both units tied to a switch that we can access via VPN from anywhere in order to troubleshoot or make program changes. Since we’re in Illinois and the establishment is in Minnesota, seven hours away, that represents a huge cost savings for us and for the client.” Audix microphones and Atlas ceiling speakers link the acoustical signals to their analog and digital representations on either end. Draper video screens, NEC projectors, and Kramer matrix switchers provide visuals.
Programming the Jupiter proved to be simple. “Inside of fifteen minutes, I had the GUI mastered, and a half-hour after that the app was tweaked to the particulars of Pinstripe’s setup,” said King.
“I didn’t even crack the manual.” From the start, the system has performed flawlessly, and the Symetrix ARC-SW4 wall panel provides end-user control that is so intuitive the staff is comfortable operating it without having received a single word of training.
“The Jupiter was as simple and effective as promised,” summarized King. “I’ll be calling on Jupiter quite a bit in the future.”
Tuesday, March 08, 2011
Harman Hosts Fifth AVnu Alliance AVB “Plugfest” For Audio Video Interoperability & Performance
Engineers from the different companies had a rare hands-on opportunity to test connectivity, interoperability and interfaces
The AVnu Alliance presented an AVB plugfest last week at the Harman Professional Signal Processing Group in Salt Lake City.
The AVnu Alliance is the industry forum dedicated to the advancement of professional-quality audio video by promoting the adoption of the IEEE 802.1 Audio Video Bridging (AVB) standards over various networking link-layers.
The plugfest - an invitation-only gathering of hardware manufacturers with near-market ready products - featured Harman and five other manufacturers testing interoperability and performance of AVB prototype technologies. During the plugfest, engineers from the different companies had a rare hands-on opportunity to test connectivity, interoperability and interfaces.
“The promise of AVB is universal connectivity with no performance compromises,” says Rob Urry, Harman Professional CTO, vice president/GM Harman Professional Signal Processing Group. “But to achieve this, all participants on the AVB network need to be able to connect and comprehensively test their technologies on the network.
“The plugfest enabled this testing but also provided a platform for remarkable, valuable dialog between very smart, committed engineers from a host of companies. We were very pleased to host this plugfest and to mark another important milestone in the advancement of AVB.”
Lee Minich, marketing working group chair of the AVnu Alliance, and president of Lab X Technologies adds, “Communication — whether it’s for performance, commercial, medical or educational applications — is accelerated enormously by AV technologies. In turn, AVB is already making AV communications more effective, more usable and more affordable than ever before. This transformative IEEE protocol is enabled by the AVnu Alliance companies who attend plugfests to share ideas and experiences. Their communication at this event will eventually advance AV communications across our industry around the world.”
As many of the products and technologies tested in the plugfest are still in the development phase, details of the participants and the technologies they tested must be retained until market-ready.
The first AVnu Alliance AVB plugfest was also held at Harman Professional Signal Processing Group in Salt Lake City and featured technologies from four AVnu Alliance member companies.
AVnu Alliance Website
Christ Covenant Church Offers Praise For New DiGiCo SD8 Mixing System
Requirements for the project included a console that could accommodate 60-plus inputs, a mix of EtherSound and analog outputs, an in-ear monitoring system interface, and plenty of local inputs and outputs for wireless microphones and playback sources
When the tech staff of Christ Covenant Presbyterian Church in Matthews, NC was searching for the best digital console to replace an aging and inadequate mid-level analog desk, the worship facility’s missive was to secure a system that would meet all of their technical requirements yet include a logical and intuitive user interface, which would not intimidate its inexperienced, volunteer operators.
Christ Covenant’s technical director, Jim Deal—also a veteran audio consultant in the area—took control of the project, specifying a DiGiCo SD8 system, coupled with a 56-input DigiRack. Hudson-Seymour, an integrator based in the Charlotte, NC area specializing in house of worship installs, handled the installation.
“The system that was in place was installed when the church was first built in 1998,” Deal explains. “And as is always the case, technical systems are rarely adequately budgeted into the initial building cycle, and compromises were inevitably made with the system that was installed. Over time, we were experiencing more and more problems with that existing system—which used a Bantam ‘TT’-style patch bay with phantom power supplied by the console.
“Weekly, there were incidents of hum in the system, crackling, and popping. The old console’s power supply was failing, we had dead channels, and signals were dropping out because of poor connections. Those are the kinds of things that you expect to see towards the end of a component’s life, so the need was becoming fairly urgent. Obviously there are quite a few good options available now in digital consoles from various manufacturers, but we needed to find the best solution for our particular needs and program.”
Deal’s laundry-list of requirements going into the search included a console that could accommodate 60-plus inputs, a mix of EtherSound and analog outputs, an in-ear monitoring system interface, and plenty of local inputs and outputs for wireless microphones and playback sources.
Also, he needed to be able to record multiple channels for later mixdown. Deal knew a digital solution was the direction that they needed to go, but as an analog aficionado, he had been disappointed with many of the early digital products on the market.
With DiGiCo’s SD8—first explored at the 2009 WFX Expo in Charlotte, North Carolina—he found that the technology had matured in the mid-range digital desks. He was able to get both the warm, sonic performance and ease of use found in an analog solution, with the added functionality offered in a digital desk.
“The DiGiCo gave us the perfect, no-brainer solution,” he states. “I very much appreciate the feature set in the console. The layout is very intuitive; I’ve never found myself wishing for resources that were not there, which is a very good thing. Christ Covenant Church has production requirements ranging from contemporary worship bands to full-scale concerts with choir and orchestra, and we also do some theatrical style productions for Easter and Christmas.
“The SD8 has the input/output capacity we needed, the ability to adapt and expand and be flexible, as well as give us all the functionality that we needed. It’s made the transition from the analog desk an easy one, and has been seamlessly integrated into our production workflow.
The SD8’s logical and efficient scene snapshot management capabilities made complex productions for the church a simple task to organize. The work surface is one of the most flexible I have seen, and the ability to shift banks of faders to the center section, in effect, creates a traditional-style channel strip for soundcheck.
“The obvious benefits of having the snapshots and recall were being able to create the overall session files and very quickly restructure the entire console, especially as we were doing the Christmas production. It was a completely different setup as far as patching inputs even auxiliary send allocations, control group setups, all those types of things.
“It was a real blessing to be able to see all of that in a separate file and then on Sunday morning, when we reverted back to the normal worship configuration that we have 52 weeks out of the year, I just pulled up our session files from the previous Sunday morning, and off we went. It’s like having several different consoles at your disposal that you can just swap in and out, and have so many different configurations in a matter of seconds.”
The addition and implementation of the 56-input DigiRack was another major accomplishment in achieving Deal’s overall vision. “I wanted to eliminate as much copper between the chancel platform area and the mixing position in the balcony as possible. The original contractor had pulled several 24-gauge audio snakes up to the control booth, in a fairly circuitous path, so there was some signal degradation going on, high frequency loss, quite a bit of crosstalk between lines, and a lot of issues that we wanted to resolve all at one time.
“My goal was to place a stage box located as close to the chancel as possible without it being on the platform and visible. We ended up locating the DigiRack in a storage room adjacent to the platform with all the floor boxes and inputs, with a very short cable run from the floor boxes to the DigiRack and running MADI (56ch. Input & 56 Ch Output via 75 Ohm Coax cable with BNC connections) up to the balcony.”
The removal of the old patchbay not only instantly eliminated all of their problems with the copper wire—no more hums, pops and crackling originating from dirty and oxidized jacks—but also offered a plethora of internal resources including great sounding effects, onboard signal processing, and myriad patching options.
“The patching options have been a real lifesaver,” says Deal. “We use the control groups quite a bit. They’re functioning more like VCAs on an analog console allowing us to group things together like the choir mics—we have 8 of those on a control group—and a lot of line-level playback sources from video and CD, and then different instrumental groups. That allows us to minimize the amount of switching between fader banks we have to do.
“Another plus were the “flexi” input channels that can be configured as a mono channel with an alternate (spare in) or as a stereo channel strip. This greatly reduces the required fader footprint by allowing stereo sources such as drum overheads, piano, etc., to occupy just one channel strip on the work surface. But one of the coolest features is the ease of which you can move channels around. On a lot of other consoles, that’s problematic. Being able to pull something from one fader bank to another with two pushes of a button is unprecedented… I haven’t seen any other console that makes it seem as easy as it is.”
For recording and virtual sound checking, Christ Covenant is also employing an RME MADIFace card in tandem with a PC notebook computer running Cubase. “I mentioned how seamless it is to operate the SD8 for a volunteer, but DiGiCo did the same thing with the Virtual Soundcheck feature,” Deal explains. “With the touch of one button, I can flip from my live band to the high-resolution multitrack recording that I had just made and the tracks play down the same input channels as if the band was still playing live and I can continue my soundcheck without them. Also, we can use this feature for easy, real-world training with my volunteers, too.”
That ease of use training capability was perhaps the biggest boon for Deal and the house of worship staff; with many of them up and running literally after a single orientation session. “From my perspective—which is more than that of consultant/specifier, but also primary users and operator—I oversee the crew of volunteers that assist with the technical needs of the church. It’s important for those volunteers, who work other jobs during the week and must transform into technical people on the weekend, to be able to pick up the console fairly quickly.
“I felt that the SD8 had a very small learning curve—without getting into the deeper functions—and it’s an easy control surface to train people on. If they’ve mixed on the analog console previously, they can easily see the equivalent functions on the DiGiCo.
“We’ve had a very positive reception with all of our volunteers and staff operating the system, including Director of Worship, John Haines, who would probably admit that he’s not the most technical person around. His needs are to be able to come in, switch the system on, and to facilitate the rehearsals during the week that are not attended by an operator. It’s been a very simple thing to get him a few recallable snapshots so he can instantly be up and running.
Overall, Deal and the Christ Covenant staff are very happy with the improvement the SD8 has made to its production environment. “The improved sound quality is noticeable, and the desk’s resources have greatly exceeded our expectations at a price point that we could manage,” concludes Deal. “The SD8 has the look, feel, and features you would expect to find in a console costing many times more. All of this, coupled with a well-thought-out user interface that is useful for both seasoned professionals and volunteer operators has made this console a fantastic fit for us.”
Audinate Dante Technology Key To New All-Digital Control Room At Millikin University
Dante-MY16-AUD cards for Yamaha DM2000 console signals beginnings of the university's first all-digital control room
Millikin University, a private comprehensive university located in Decatur, IL, recently decided it was time for a new recording facility, and further, Ronnie Dean, professor and technical director for the Music Industries program, thought it was time to start thinking about the digital recording side of the industry.
Dean, who has been with the school for 26 years, started in Nashville, TN, as a radio, television and recording engineer working at various studios on many different projects. For many years, he taught his students analog recording in Millitrax, Millikin’s recording studio, and the theory involved in understanding recording, and then came the recent upgrade.
With the help of Ken Musselman at Milam Audio, Dean purchased two Audinate Dante-MY16-AUD cards for their new Yamaha DM2000 console and started the beginnings of the university’s first all-digital control room.
“The use of the Dante-MY16-AUD is working out fantastically,” says Dean. “It’s been a boom from both a teaching and day-to-day operational standpoint. By using the Yamaha console and the Dante MY cards, the students are able to do things that were unheard of when I started years ago. I’m teaching them skill sets and practical recording knowledge that they can take into the real world, along with a greater understanding of Dante and how easy it is to use”.
The recording studio, two audio control rooms, and video editing facilities are the property of the School of Music. One of the classes started by the Music Industries Program department chair, Dr. Dave Burdick, is called “Studio Pressure Night,” where students studying songwriting, arranging, production, engineering, and musicianship all come together to practice their field of study or particular interest.
Once a project is recorded on ProTools in the analog control room, it is taken to the digital control room and routed through the Dante-MY16-AUD cards to a second Pro Tools system for remixing. Because of the total recall capabilities of the Yamaha DM2000 equipped with the Dante Cards, faculty can work individually with any of the students associated with a particular project.
Dean says,” using these two products together helps the department accomplish the learning goals of the Music Industries Program and facilitate the university in graduating competitive students.” He is now one of the newest engineers singing the praises of Audinate’s Dante-MY16-AUD card.
SurgeX International Introduces SX2200 Series Surge Eliminators & Power Conditioners
All models have six grounded industrial grade AC outlets on the rear panel, with five switchable and one permanently on
SurgeX International announce the release of the SX2200 Series of surge eliminators and power conditioners providing proprietary Advanced Series Mode surge protection and power conditioning for all types of audio, video and computer equipment.
Four ranges offer region-specific connectivity and load-capable circuitry, with three models available in each range (RT, RL and standard). This gives consultants, contractors and end users a choice of surge eliminators with application-specific features, such as remote turn-on or front-panel task lamp connectivity.
SX2210 models are 10-amp load-capable (for China and Australia), SX2213 models are 13-amp load-capable (UK), SX2215 models are 15-amp load-capable (South Africa) and SX2216 models are 16-amp load-capable (Europe).
All models have six grounded industrial grade AC outlets on the rear panel, with five switchable and one permanently on. Both RT and standard models also provide a front-panel courtesy outlet.
The SX2200RL has two XLR connectors for task lamps to provide dimmable illumination of equipment racks in recording studios, custom design/build installations and sound reinforcement applications.
The SX2200RT has remote turn-on capability for use in integrated power distribution systems. A rear-panel Phoenix connector allows the unit to be connected in a master-satellite configuration with a controller, such as the forthcoming SurgeX SEQ1200i, for the sequential power-up of multiple components.
“We are extremely pleased to extend the peace-of-mind that SurgeX has long provided to an even broader cross section of the fixed installation, touring and broadcast sectors,” states Daniel Chang, IAG managing director. “The new connectivity options now ensure that all sensitive electrical equipment with standard domestic connectivity can be protected by SurgeX’s patented technologies. We anticipate huge interest from the international marketplace, as with previous SurgeX International products that have already proved to be runaway successes in their own right.”
“Like the highly acclaimed SX1200 Series the SX2200 Series truly represent the culmination of all of SurgeX’s finest technologies to date,” adds SurgeX founder and senior principal Michael McCook, “They are another huge step towards the long term goals of the SurgeX International partnership with IAG.”
The reliability of all SurgeX products are backed up by a full 10 year manufacturer warranty. As with all SurgeX International products the SX2200 range is A-1-1 and IEC/EN 61643-1 certified.
SurgeX International Website
Monday, March 07, 2011
Gefen Releases The Dual Link DVI To Mini-DisplayPort Converter.
The adapter connects any computer using High Resolution Dual link DVI Graphics to a 27-inch Apple LED Cinema Display using Mini-DisplayPort.
Gefen has announced the release of the Dual Link DVI to Mini-DisplayPort Converter.
A new GefenTV DVI Dual Link to Mini-DisplayPort Converter offers plug and play connectivity between the DVI graphics ports on today’s most popular computers and Apple’s new 27-inch LED Cinema Displays. Housed in an attractive enclosure, this tiny converter supports resolutions up to 2560x1600, delivering vibrant video for professionals and consumers alike.
The GefenTV DVI DL to Mini-DisplayPort Converter is cross-platform in capability and can be used to expand the digital workspace or add a second high resolution display to your computer system. It comes equipped with a USB port that powers the device and is used for field upgrades to ensure performance over the long haul.
Though designed to support the connection of existing computers to Apple’s new 27-inch LED Cinema Display equipped with Mini-DisplayPort, this converter can be combined with a passive Mini-DisplayPort to DisplayPort cable to connect to any other display using full-size DisplayPort.
Extron Now Shipping HDMI Audio De-Embedder
The HAE 100 is HDCP compliant and compatible with HDTV 1080p/60 or computer-video resolutions up to 1920x1200.
Extron Electronics has announced the immediate availability of the HAE 100, an audio de-embedder that extracts the audio from the HDMI signal and provides outputs for analog stereo and digital S/PDIF audio.
The HAE 100 supports data rates up to 6.75 Gbps for compatibility with HDMI 1.3 Deep Color. It is HDCP compliant and compatible with HDTV 1080p/60 or computer-video resolutions up to 1920x1200.
The HAE 100 is equipped with several integrator-friendly features, including a buffered HDMI video output with EDID Minder for simplified EDID management between the input source and the display, plus input cable equalization and comprehensive LED status display.
“The HAE 100 offers a convenient and simple solution for integrators needing audio to be extracted from any HDMI signal when separate routing of audio is required for the sound system,” says Casey Hall, Vice President of Sales and Marketing for Extron.
“It is part of a growing family of HDMI problem-solving products from Extron, designed to simplify the process of integrating HDMI signals into pro A/V systems.”
EDID Minder automatically manages EDID communication between the input source and the display, ensuring the source powers up properly and reliably delivers content to the display. Input cable equalization compensates for weak source signals or signal loss when using long input cable assemblies.
LEDs on the front panel offer comprehensive, real-time device status monitoring, including HDMI input / output and audio output signal presence, HDCP authentication, and whether the extracted audio is two-channel PCM or encoded bitstream audio for Dolby Digital or DTS Digital Surround.
A mini USB port on the front panel provides convenient access for device configuration. The HAE 100 is housed in a compact 1U, quarter rack width metal enclosure.
Friday, March 04, 2011
Utah Scientific Joins With Brazil’s Video Systems To Expand South American Market Presence
Video System will be Utah Scientific's exclusive distributor in Brazil.
Utah Scientific has announced the expansion of its market presence in South America by means of a new partnership with Sao Paulo-based Video Systems.
Under the agreement, the reseller and systems integrator will be Utah Scientific’s exclusive distributor in Brazil.
“With its outstanding reputation for professionalism, Video Systems is exactly the type of partner we want representing our product line in Brazil,” said Rich Hajdu, Utah Scientific senior vice president.
“Utah Scientific designs advanced products specifically for broadcast operations, and Video Systems understands the benefits our products and support provide to the growing Brazilian market. We look forward to incorporating Video Systems into the worldwide Utah Scientific family.”
Kazuyki Tsurumaki, director of Video Systems, said he sees the agreement with Utah Scientific as an excellent opportunity to serve existing customers and expand its customer base.
“Utah Scientific has provided advanced routing and master control solutions to broadcasters around the world, and we are proud to represent the company in Brazil,” Tsurumaki continued. “The 10-year warranty is the best in the television industry and shows the high quality of Utah Scientific products. We look forward to a successful partnership.”
Later this year, Utah Scientific will further demonstrate its commitment to the Brazilian market by joining Video Systems in exhibiting and meeting customers at the 19th Broadcast & Cable Show in Sao Paulo.
Set for Aug. 25-27, the show is a major event for television, radio, and telecommunications engineering in Latin America.
Utah Scientific Website