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Friday, June 03, 2011

Symetrix ARC-WEB Remote Control Wins Bid For Key Atlanta Showroom

Atlanta Sound and Lighting installs Symetrix Jupiter 8 with ARC-WEB control in one of the busiest showrooms at AmericasMart

The 12,000 square-foot Ivystone and HomeStyle showroom is located on the busiest floor of AmericasMart in Atlanta, Georgia.

They recently hired local A/V firm Atlanta Sound & Lighting to install a new sound system with internet based remote control for computers and Smartphones.

The new system centers on a Symetrix Jupiter 8 “zero learning curve” processor with Symetrix ARC-WEB remote.

The fully-programmable ARC-WEB provides secure network control of input source and zone volume from any computer or smartphone, anywhere in the facility or anywhere in the world.

“The space has had a number of sound systems over the years, with people coming in to band-aid this or that,” said Bill Abner, project manager with Atlanta Sound & Lighting. “The ceiling was just a mélange of different speakers in poorly articulated zones with almost no user control.”

“Because they often have different vendors in different areas that require different volumes, they needed a new, reliable system that would allow them to easily control the volume in any situation.”

Abner and his associates showed the owners Symetrix’ new ARC-WEB remote, and that sealed the deal. The ARC-WEB implements a virtual ARC wall panel remote that can be accessed from any networked device, including iPhones and other smartphones, with appropriate security clearance.

Just as with the hardware ARC panels that have become an integral part of so many flexible installations, Abner would be able to program the ARC-WEB so that its presentation and functions were specific to the needs of Ivystone and HomeStyle.

Befitting its primary role as a background music source, the new system contains three inputs: a microphone for paging, Sirius Satellite Radio, and an iPod dock.

With eight inputs, eight outputs, and processing flexibility suitable for any modest installation, the Symetrix Jupiter 8 runs the “Priority Zone Mixer 1” app to deliver input conditioning, loudspeaker conditioning, and lightweight input logic.

An eight-channel ElectroVoice CPS 8.5 amplifier delivers 500 watts to each of eight output zones. Forty ElectroVoice EVID 3.2 speakers provide a unified hi-fi output. In addition to the ARC-WEB, Abner added a hardware ARC-2 wall panel that provides redundant control of the input selection and individual zone volumes.

“I was surprised at how easily the Symetrix Jupiter, ARC-2, and ARC-WEB went in,” said Abner. “I realize that all of the literature claims that it has a ‘zero learning curve,’ but to jaded ears that sounds like a variation on a well-played theme.”

“Sure enough, I plugged in the Jupiter and was doing everything I needed to do on intuition alone. It worked perfectly the first time.”

“That’s one of the main reasons that the Jupiter system has become our “go-to” DSP for installations, declared Abner. “Not only is the product itself outstanding, but the response to service was exceptional too.”

“We thought we had a minor issue while installing the ARC-2 wall plate, but after a short phone call with a very helpful support technician, we overcame our error and were up and running as advertised.”

The client was excited to try out the remote capabilities of the Symetrix ARC-WEB remote.

“After we installed it, they asked if one of their staff would be able to control the system from a company office 800 miles away in Dallas,” recalled Abner. “I told him that if he could access the system network from his Dallas office, that he could control the software from there. Two days later, the client sent me an email from Dallas. He was excited to be controlling the audio system in Atlanta from his desktop in Dallas.”

Symetrix

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Thursday, June 02, 2011

Church Sound Files: Equipment Should Be Seen As Well As Heard

A hidden, inaccessible sound system and equipment leads to a lot of grief, and more importantly, runs counter to our primary mission

Let’s play hide the sound equipment! Sounds like a child’s game, eh? 

Maybe so, but unfortunately, it’s also a reality that I’ve seen played out in too many churches. 

A primary purpose of a church’s existence is the delivery of spoken word and music, so it begs the question: Why place sound equipment that is so important to this purpose in locations where it cannot be seen?

More importantly, sometimes it’s even placed where the sound operator is totally out of earshot of anything going on in the church sanctuary, where the operator can’t even see the platform and pulpit, and where it is completely inaccessible to the operator.

Here are some of the oddest places I’ve found sound equipment hidden at churches:

—In a nursery three rooms down the hall from the sanctuary. Nursery volunteers, by listening to a five-dollar ceiling loudspeaker, adjusted the entire church sound system with no physical contact with the space. The church was regularly plagued by feedback and “too soft-too loud” complaints. I wonder why…

—In a closet behind the chancel area of the church, with the door constantly locked and only the pastor had a key! Adjustment to change levels or avoid feedback was impossible.

—On a shelf in an alcove well behind the pulpit next to the organ.  The elderly organist couldn’t hear very well and was always was fiddling with the system - to no avail, of course, particularly since there was no loudspeaker that provided any audio signal to that area of the church. Again the system regularly howled with feedback and distortion.

—Behind the last row of seating in the auditorium (which seats nearly 800 worshipers) against the back wall under a 30-foot balcony.  The system operator, at a quite-large console, regularly used headphones to listen to what was going on because he was completely out of the coverage range of the primary loudspeakers.

—In the basement. And who was designated to adjust levels? Why, the custodian of course! 

He listened via the cheapest of cheap ceiling loudspeakers, this time mounted on a blank panel in the equipment rack.

—In a small cabinet located under the last row of pews where an usher had to get down on his hands and knees and adjust the level of the system if there was a problem… Best wishes!

—And our first place winner: In a stairwell to the right of the platform (with door that was always closed), placed on top of shelves that were positioned directly beneath a leaking eave of the roof, where over the course of a couple of years, water had seeped into all of the electronics. Fortunately no one ever seemed to adjusted the system, so no one was electrocuted. 

You’re probably thinking, “These examples have to be from the 1950s and 1960s, right?”

Sadly, no. These are things I’ve seen within the last 10 years, and in a number of cases, the systems were installed by so-called church sound “specialists”.

Asking why this happens leads to a couple of logical answers: aesthetic concerns and lack of understanding about the function and purpose of a sound system.

It also leads to another question: “Where should the sound equipment be located?” And this leads to the opposite answers - aesthetics cannot be allowed to overrule everything else, and the function/purpose of the system has to be understood.

Loudspeakers must be properly placed to properly perform. Beautiful architecture enhances the worship experience, but so does quality sound. Often there are choices that can be made based upon the art of compromise.

For example, if a highlight of a sanctuary is a 12-foot cross centered above the platform, do not seek to fly a big loudspeaker right in front of it. Very likely, there are other feasible loudspeaker locations to facilitate solid coverage to every seat within the space.

But it must be made clear that this central location is indeed often the optimum position, and thus the sound team is already making a compromise due to an aesthetic concern, so a reasonable alternative for optimally locating the loudspeakers needs to be accommodated.

In other words, if choice A is off the table, then choice B should be given due priority in the shared goal of the best overall presentation of worship services.

Many manufacturers offer custom finish services that do wonders in helping loudspeakers “blend in” with their surroundings. And if the loudspeakers must be covered, make sure the covering material (“scrim”) does not degrade performance.

The system operator position must be located in the primary listening area. Period. Mixing my metaphors, you don’t want a pilot flying blind, and you don’t want a system operator mixing deaf.

With this issue, two factors come into play: our old friend aesthetics (“people don’t want to see that ugly mixer”), and taking up too many “good seats.”

First, there are all sorts of ways to make the operator position attractive, ranging from custom carpentry to off-the-shelf cabinetry that is purpose-designed for AV equipment.

Second, the definition of “good seats” must also include sound quality, not just sightlines. Simply put, if system operators can’t do their best, there are far fewer good seats for the entire congregation. 

Other key system components must also be easily accessible to the sound operator, because if there’s a problem, it should be able to be addressed immediately.

It is true that there are audio components and systems designed to be “set and forget” - largely run without an operator. But these are usually for applications without the dynamics and variables of worship services - conference rooms and boardrooms, to be specific, and even in churches in the form of distributed audio to ancillary rooms outside the sanctuary.

These types of systems usually cannot account for the wide range of factors involved with worship services, where a pastor experienced with public speaking can be immediately followed by a layman who’s never used a microphone, where a soft soprano singer performs a duet with a robust tenor singer, where dramas involving several participants all need microphones and then this diverse range of speaking styles all needs to be clearly heard through the sound system.

A hidden, inaccessible sound system and/or components leads to a lot of grief, and more importantly, runs counter to our primary mission.  We can buy components of the highest quality, but if we can’t use them properly and optimally, the only guarantee is disappointment.

Charlie Moore has been involved in management positions at various professional audio manufacturers and large installation contractors for more than 40 years. He also has first-hand experience in live mixing, system design and installation and has been active as a volunteer in a number of church sound system operations.

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Thursday, May 19, 2011

Solid State Logic Duality The Choice Of The Zoo In Studio-A Upgrade

The sound, operational reliability, and feature set of Duality were key factors in the Zoo's decision.

The Zoo, a production facility in Oakland, CA, recently selected a 48-channel Solid State Logic Duality SE console as the upgrade for Studio A.

Acting as a creative collective, The Zoo offers high quality recording and production facilities as well as entertainment attorneys, managers, labels, video producers, artists, engineers and writers.

Duality is the audio centerpiece for the facility providing SSL’s SuperAnalogue™ sound with VHD mic pres for tonal color and integrated DAW control.

“We found the most promising producers and artists in the bay area and have brought them under one roof to build what we call the Zoo Community,” says David “D1” Watson, producer for The Zoo.

“I have been interested in an SSL console for a while and Duality is certainly the best board SSL ever built. I work sessions between R&B, rock, hip-hop and alternative artists and Duality is the tool that lets me do them all.”

“When you set out to build what we’re doing, you need the best tools to attract the best people. Duality is one of the tools that appeals to them.”

The Zoo’s mission is to create a symbiotic relationship with its partners allowing affiliated members the opportunity to produce in one of three production rooms. Located in Studio A, Duality gives the artists and engineers a wide sonic palate to work with.

“Duality’s VHD mic pres are very impressive,” D1 states. “The variable harmonic distortion (VHD) feature gives me the opportunity to rough up a track to add color, giving me more choices to work with.”

“Historically, there has always been an argument between producers who like to capture rough and mix clean and the producers that like to capture clean and rough things up in the mix. Duality let’s me work either way so I can accommodate any working style.”

According to D1, the commissioning of Duality was straightforward, easy to install and the reliable, compact design and green power draw was a big plus. For example, at one point during a recent session, a speaker amplifier tripped a circuit breaker, the control room went down and everyone immediately thought they had lost the mix.

Upon re-booting, Duality went back to where they were and the mix continued without missing a beat. While operational reliability was a lifesaver, the integrated DAW control delivered a new level of functionality.

“In my former work life I was a software engineer and I am very comfortable with working in the box,” D1 explains. “With Duality, I now have an additional tool to control our Pro Tools system and it is nice to move some of that DAW functionality in front of me.”

“I think that SSL did a great job with Duality. The EQ’s are smoking, the dynamics are great and the meters, the routing and the split design are working super good for us. In short, Duality is awesome.”

Solid State Logic

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Friday, May 13, 2011

Factory Direct: Inside The Powered By Crown Monitoring & Control Solution

Amplifier monitoring and control made possible with iOS native Apps.

The digital revolution roars ahead at a mind-boggling pace.

Ten years ago, few of us would have imagined that, by 2011, comprehensive power amplifier monitoring and control would be so easy, robust, portable, and almost ridiculously inexpensive.

We sought to extend this capability even further, leveraging the recent developments in mobile device technology to create a new iOS native app called Powered by Crown.

It allows the operator of networked Crown amplifiers to control settings and monitor performance from anywhere in range of the connected WiFi access point, using an iPad, iPhone, or even an iPod Touch.

Available from the Apple App Store (at a cost of $3.99), Powered by Crown can be installed from a computer via iTunes, or with newer versions of iOS, downloaded directly to the iDevice.

It’s important to emphasize that this is not merely a VNC remote desktop for a computer; the iDevice is exchanging real-time data directly with amplifiers on the network.

Although a computer running HiQnet System Architect can connect to the same network, it’s not needed. All networked amplifiers can be controlled and monitored directly by the iDevice.

Forward-Looking Foundation
Fast-track development of Powered by Crown was possible largely because the foundation was already in place.

Nearly a decade ago, Crown made the transition to Ethernet-based monitoring and control systems, which means that all data traffic is carried by standard, off-the-shelf networking components.

No “two-step” translation process was required: all we had to do was plug Apple’s iOS framework into our compatible TCP/IP-based protocols.

From there, it was an intuitive step for Bruce Vander Werf, a senior software engineer at Crown. Earlier, he had developed similar functionality for Crown IQwic on Windows Mobile, a platform that (for various reasons) never found widespread professional use.

The user friendliness of the iPhone immediately captured his imagination, and he was well underway with a proof of concept using iOS when Apple introduced the iPad.

Although the concept worked smoothly on an iPhone, the limited screen real estate required scrolling from one panel to another.

With iPad, multiple panels could be viewed simultaneously, making it a far more useful tool.

Fork In The Road
Since much of the nuts-and-bolts work had already been done, by our own team and by Apple’s, we could focus on the essentials.

What feature set should be included in the app? And what kind of graphic user interface would be most useful and least prone to “uh-oh” moments?

The project was undertaken by Vander Werf, Brian Pickowitz (market manager for tour sound), Bradford Benn (director of application engineering), and myself.

Within the first few weeks, we came to a fork in the road. We realized that the potential for integrating the in-depth functionality available for Crown products via System Architect was practically limitless.

But what features really made sense – for the majority of users – on this compact, highly mobile format? On the other hand, what if advanced users wanted to access sophisticated features?

We resolved the dilemma by giving Powered by Crown a dual personality.

The app comes equipped with default control panels for all networkable Crown amplifiers, as well for as JBL VerTec loudspeakers with DP-DA modules. Each amplifier can be called up for monitoring and control as needed.

However, for advanced users, we created an option for importing custom control panel files (for Crown products only) from System Architect.

It’s a simple drag-and-drop operation via iTunes, and the custom panels can include multiple amplifiers and the entire range of amplifier monitoring and control features.

How It Works
The download and installation process is the same as any other iOS app, and the Crown amplifier network needs to be in place, with all firmware updates, and connected to a wireless router. We also advise that your network be password protected.

Once you log on to your network, simply tap the “Crown” button. The app opens instantly and within seconds you will see it populate the amplifiers on the network. Everything should be up and ready in a fraction of the time it takes just to boot Windows.

It is possible to make changes to amplifier parameters in the app when the amplifiers are offline.

However, when they come back online, parameters in the app immediately revert to those stored in the amplifiers, assuring there will be no unexpected changes to your system.

As a side note, anyone without networked Crown amplifiers can still satisfy their curiosity by downloading and running the app in offline mode.

A full system using any combination of amps can be created, and most configuration and level controls will work. But, of course, no monitoring parameters will display.

Panels & Features
Each amplifier model has its own dedicated monitoring and control panels.

Features available will depend on the number of channels in the unit, as well as input options (analog, AES3, CobraNet).

We can’t describe each in detail in this limited space, but in brief the factory defaults provide the following functionality:

• Devices Tab Shows all amplifiers on the network as automatically populated when going online. (In offline mode, it shows the amps you put there using the “+” button.)

This tab also has a refresh button and a counter of online and offline devices. Tapping on an amplifier selects it and takes you to…

• Factory Panels The default control panels for the selected model will display. On an iPad, all three or four panels will show at once. On an iPhone or iTouch, you swipe from one panel to the next.

Panels displayed for most models are Metering, Levels/Mute, Input Routing, and Signal Generator; panels for the JBL DP-DA modules will look and function similarly.

Again, control and configuration features will vary, but most panels will offer input selection and routing, muting, level control (with manual keyboard entry option), and signal generator.

The Metering panels show levels (input with clip indication, output, gain reduction) and also monitor temperature, limiting, load status, and, often quite handy, line voltage of the AC input. The signal generator function is selectable for pink or white noise, and includes channel routing and level fader.

Overall, functionality of the app is intuitive. Meters and warning indicators are clear in any lighting conditions, the buttons are responsive yet not hypersensitive, and faders have a “tactile” feel.

To prevent inadvertent changes, panel functions can be locked on the devices tab for a “monitoring only” mode.

When it comes to importing custom panels from System Architect, the possibilities are virtually limitless. Tour sound operators, for example, can create panels for monitoring levels on all amps in one or more racks, or for muting amp channels in arrays.

For installed systems, contractors can create custom panels for setting levels or muting in different zones of a restaurant, club or casino.

What to Do?
How users choose to deploy Powered By Crown in the field is up to their imagination, though some uses are obvious.

Many operators of small systems will discover that, in conjunction with what’s on their digital console, Powered by Crown is all they need for all set-up, configuration and operation.

Unless the deep-level functionalities of System Architect is needed on a daily basis, the iDevice should take care of business on everyday gigs.

Making tweaks to the system from anywhere in the venue is simple. For example, if a fill or delay is needs a bit of boost or attenuation, it can be done right on the spot. It’s also a handy troubleshooting tool as you walk the venue.

If that fill or delay isn’t working, or is distorting, you can check the status immediately. And even if you’re already in the amp room, the app can be very handy when you’re working behind the amp rack. No more wishing that the front panel display was also on the back.

Durable Deliverable
Finally, for those who don’t yet own an iDevice, it’s important to note that both the hardware and the iOS software have an solid track record for durability and stability.

Though technically consumer products, they have earned the trust of professionals.

For a touring systems tech, Powered by Crown can be a tool that saves time and even adds a degree of optimization accuracy - particularly in seats away from front coverage - that will enhance the audience experience.

For system contractors, a new iPad that’s pre-loaded with custom panels can be a value-added deliverable at system handover.

Powered by Crown is a significant step toward offering our customers a better user experience, one that ideally complements the power and performance of our amplifiers.

Eric Friedlander is business developer - tour sound for Crown Audio International.

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Friday, April 29, 2011

IK Multimedia Announces Availability Of iRig Recorder App For iOS Devices

The iRig Recorder makes it easy to make high quality recordings on the iPad, iPhone & iPod Touch.

IK Multimedia has announced the launch of the iRig Recorder App for iPad, iPhone and iPod touch on the App Store.

The app offers professional audio recording that is convenient and easy to use.

The iRig Recorder App is an intuitive recording tool featuring editing functions and various export options to fit your audio needs.

Additionally, the iRig Recorder App has intuitive editing tools to cut, crop or loop your audio.

Users can optimize tones for speech or music; clean up background noises; brighten voices for clarity and presence; smooth out vocals in harsh or overly bright recordings; and change the speed of tracks without affecting their pitch.

The effects processors in the iRig Recorder app are easy to use and can quickly produce high-quality audio material in seconds.

iRig Recorder organizes your recordings by date and time and also tags them with a geographic location for easy and reliable file management of your recordings.

Users can export files via email, Wi-Fi, FTP and iTunes File Sharing in a variety of sizes and formats (including CD-Quality uncompressed audio- 16-bit 44.1 kHz).

iRig Recorder features:

• Convenient, easy-to-use mobile recording and editing app: just launch the app and press record.

• The perfect companion to iRig Mic for your podcasts, interviews, concert and field recordings.

• One-touch recording with real-time monitoring.

• Intuitive, non-destructive editing tools to cut, crop and loop your recordings.

• Pitch and time–based effects include changing the speed of your recordings (without affecting pitch) to adapt your content to other media such as audio and video.

• Organize your recordings by creation date and tags with geographic location.

• Eight intelligent effects processors automatically optimize your recordings – no audio knowledge required.

iRig Recorder App is available for $4.99 / €3.99 from the App Store on iPad, iPhone or iPod touch.

IK Multimedia

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Tuesday, April 26, 2011

K-array The Choice Of Rock and Roll Hall Of Fame & Museum Chooses For Display Exhibits

Key in the decision was the intelligibility and diminutive footprint of K-array.

The Rock and Roll Hall of Fame and Museum (RRHOF) contains the most comprehensive collection of rock music exhibits and artifacts in the world.

Recently, in order to enhance the overall experience for its 400,000 plus annual visitors, the Rock and Roll Hall of Fame and Museum decided to upgrade the loudspeaker system in its main exhibit halls.

Following an extensive evaluation, K-array loudspeakers were chosen due to their outstanding audio intelligibility, sound dispersion characteristics and diminutive footprint. 

The museum, which has seven floors and over 150,000 square feet of exhibition space, explores the entire history of the genre through the eyes and ears of the musicians, producers and engineers who made it all possible.

One of the primary installation locations is an exhibit called City and Sounds, which takes visitors through different locations and time periods that were instrumental in the evolution of rock music.

In addition to priceless artifacts and displays, the exhibit contains plenty of music and interviews to lend first person perspective and insight. Physically, the exhibit environment is a semi-circle, with roughly 20 displays encasements on both sides in addition to seven audio/video exhibits.

“Before installing the K-arrays, we had a lot of unintelligible sound coming from rather important audio sources, as well as a lot of bleed over between the casework,” recalls Raymond Kent, director of the innovative technology design group at system designer Westlake Reed Leskosky.

“The previous loudspeakers were pointed out in the space at a rather high SPL and a 90-degree dispersion—effectively throwing sound everywhere. We wanted to provide more focused sound dispersion within each exhibit, while providing greater control over audio bleed into adjacent exhibits.”

Westlake Reed Leskosky and A/V integrator AVI/SPL introduced the K-array KK50vb as a prospective solution, and set up a mock environment that included two other competitive speaker brands.

“We put up all three speakers and did sort of a ‘blind taste test’—not just for ourselves and the museum staff, but also for the visitors,” Kent recalls. “Based on the impressions of everyone that listened to them, the K-array was clearly the right choice.”

After handily passing the preliminary evaluation, the team installed a total of 14 K-array KK50vbs, along with seven K-array KA10 four channel power amplifiers.

The elevation in audio quality was noticeable: “Since installing the K-arrays, we have had a more focused sound, and we’ve been better able to direct and control the audio,” observes Rob Weil, director of production at RRHOF.

“The KK50vb also has an extremely small footprint so it works well in a museum with casework where you want the audio to be heard, but not seen. In fact, we were able to discreetly mount the KK50vb directly on the case; this would not have been possible with a more traditional speaker.”

While the extremely small footprint of the KK50vb as a key factor, Kent concludes the ultimate decision to go with K-array was based primarily on audio quality. “We had great intelligibility and a very focused sound dispersion,” he says.

“Everything sounded much clearer with the K-arrays—this difference was audible to everyone.”  Moving forward, the RRHOF has already specified K-array for its Rolling Stones and Beatles exhibits, and it is expected to complete installation of the new K-array units by this May.

The KK50vb is a compact line array element comprised of 9 x 2-inch neodymium transducers in a strong stainless steel chassis. The dispersion pattern can be configured for 7-degree ‘spot’ coverage or 120-degree ‘flood’ coverage. The speaker has an impedance of 16 Ohms, eliminating the need for 70-volt transformers in distributed systems.

Features
• Unique performance-to-size ratio
• Vertical, horizontal and 3D line-array applications
• Multiple 2–inch-long-excursion full-range cone drivers
• Wide horizontal coverage
• Switchable vertical coverage: 7 degrees or 120 degrees
• Electronically protected
• Integrated mounting hardware and accessories
• Selectable channel 1 or 2
• Top quality components for outstanding performance
• Weather proof, suitable for outdoor installations
• Available in black or white

K-array

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Wednesday, April 20, 2011

Digigram Announces The Availability Of AQONDA EtherSound Stagebox

AQONDA is now available with direct remote control from Studer, Soundcraft, Innovason and Yamaha consoles.

Digigram has announced that their AQONDA EtherSound stageboxes are now remotely controllable via Soundcraft and Studer digital consoles, as well as Innovason and Yamaha.

Building on the success of Digigram’s original EtherSound audio bridges, these “latest generation” devices are capable of converting up to 16 analog signals into as many EtherSound channels and vice versa (extracting EtherSound channel to analog outputs).

Furthermore, both AQONDA units (8-in/8-out or 16-in/16-out) offer high end switchable mic/line inputs, Neutrik connectors and state-of-the-art preamps for uncompromising Digigram audio quality throughout.

In addition to their remote control capabilities, AQONDA devices are the first in the world to be ES-Giga ready (EtherSound 2 x 256 channel count plus additional network and control capabilities).

Time and money saving features will include support for ES-Giga TCP/IP data tunneling, allowing for remote control of various components such as amp control devices, DMX lighting controllers, processors etc.

According to Digigram’s EtherSound product manager, Joffrey Heyraud, AQONDA is a worthy successor to the original range of EtherSound audio bridges.

“AQONDA optimizes the latest technological developments to take the product range to the next level,” he noted.

“The result is a compact, 2U device that is remotely controllable from a number of different digital control surfaces from several manufacturers and offers future-proof EtherSound technology thanks to its full compatibility with both ES-100 and upcoming ES-Giga.”

“A simple switch on the back panel determines network choice, ready for the day when ES-Giga setups are widely available. These developments confirm AQONDA as the choice of excellence regarding EtherSound stageboxes, and an ideal partner for live sound or OB applications.”

Digigram

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Thursday, April 07, 2011

Roland Systems Group Debuts R-1000 48-Track Recorder/Player For Live Events & Sound Checks

Designed to work with the V-Mixing System and can also connect with any digital console that has MADI output capabilities by pairing it with the Roland S-MADI REAC MADI Bridge

At the Prolight + Sound show in Frankfurt, Roland Systems Group has added to its V-Mixing System lineup by introducing the new R-1000 48-track recorder/player.

The R-1000 is an intuitive stand alone, dedicated recorder/player designed to work with the V-Mixing System and it can also connect with any digital console that has MADI output capabilities by pairing it with the Roland S-MADI REAC MADI Bridge.

As a recorder, the R-1000 captures up to 48 channels of discrete audio all as separate broadcast wave files ready to open in a DAW of choice.

As a playback device it can be used in live events to play back selected channels to augment a live performance or as a multi-channel playback deck in a theater or amusement park application. Sync two units together for a 96-channel recorder/player or sync to video with SMPTE (LTC) or via black burst.

All files are stored on a removable hard disk drive (HDD) or solid-state drive (SSD). Material can also be transferred via USB to a connected drive.

Virtual Sound Checks are now possible when the R-1000 is integrated with a Roland V-Mixer digital console.

Using a song previously recorded on the R-1000, simply switch to playback mode when arriving at a new venue and all the sources play back through the appropriate channels on the console.

Adjust the preamp gains on the console as you would if the band was live and the R-1000 takes care of the gain compensation. Then set compression, EQ, monitors, and effects.

When the band takes the stage, the user can be confident it will sound the way it did during the virtual sound check.

Setup and configuration can be done using the color LCD touch panel on the front panel or with the PC Remote Control software via a USB connection.

The R-1000 is based on REAC (Roland Ethernet Audio Communication) and eliminates the bulk and noise susceptibility typically associated with analog snakes and replaces it with Cat5e/6 (Ethernet/LAN) cable.

The R-1000 records superior audio by capturing the converted sound connected to the Roland digital snake systems. Analog inputs and high-quality mic preamps are located close to the source where audio is immediately converted to 24-bit digital streams and sent over Ethernet.

Using REAC, the digital audio signal is transferred throughout the complete system path en route to the R-1000 hard drive and then back to any outputs and on to limitless split positions. Using the REAC system for recording provides the highest quality possible not found in any other live multi-channel recording solutions.

The North American debut of the R-1000 will be at the upcoming NAB show in Las Vegas, at Roland Systems Group booth #C4345.

Roland Systems Group Website

 

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Tuesday, March 22, 2011

Anton / Bauer To Present At NAB 2011

The company will offer presentations from leading industry professionals in the Vitec Group’s live event area.

Anton/Bauer has announced they will feature several presentations from industry experts discussing on-location shooting and proper battery care and maintenance in The Vitec Group’s Live Event Area during the 2011 NAB Show in Las Vegas.

“Each year, NAB provides Anton/Bauer with an opportunity to not only share our expertise with the industry, but to gain insight from other highly skilled professionals who will be in attendance,” says Shin Minowa, vice president of marketing and business development.

“We are pleased to be presenting on such relevant topics regarding batteries and power and look forward to a productive and enlightening show.”

The following is a list of Anton/Bauer presentations, along with the dates and times:

Monday, April 11, 11:30 am – 12:00 pm, “Shooting on Location with Buck McNeely”

Buck McNeely, host and producer of the Outdoor Adventure TV series “The Outdoorsman with Buck McNeely,” has been using Anton/Bauer batteries exclusively for more than 20 years. The largest syndicated outdoor adventure series in the world,

“The Outdoorsman” is broadcast on over 500 TV stations in the U.S. and on many networks worldwide. McNeely has been working as a cameraman, producer and director in the TV and film industry for more than 30 years and will be on hand to discuss shooting on location with Anton/Bauer.

More information on McNeely and “The Outdoorsman,” on their website.

Tuesday, April 12, 2:00 pm – 2:30 pm, “Battery Master Class – Proper Care and Feeding for Your Batteries” (this session will recur on April 13 from 3:00 pm – 3:30 pm)

Batteries are a part of our everyday lives, from cell phones to laptops to cameras, and can be the cause of great irritation when they don’t work properly. But most people are unaware of the basics – How long do your batteries typically last and why? How do batteries work? Why don’t they work sometimes?

As the experts in battery innovation and technology, Anton/Bauer will present the Battery Master Class. Aimed at educating NAB attendees about batteries and power supplies, the Battery Master Class will focus on the many different types of battery chemistries and the advantages/disadvantages of each, charging routines and voltage, getting the longest life from your battery and will conclude with a question and answer session.

Throughout the NAB Show, various Vitec Group brands will share the same Live Event Area stage and feature presentations from leading industry professionals, including Vincent Laforet (Monday, April 11, 12:00 pm – 12:30 pm), Vincent Laforet and Phillip Bloom (Monday, April 11, 3:30 pm – 4:00 pm), Phillip Bloom (Tuesday, April 12, 12:00 pm – 12:30 pm) and Michael Huss (Wednesday, April 13, 12:00 pm – 12:30 pm).

The agenda and guest speakers at the events may be subject to change.

For up to the minute information about this exclusive event, and to register for any of the sessions, please visit the Vitec Group’s website.

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Monday, March 21, 2011

Clear-Com Names Richard Palmer Regional Sales Manager, Southern Europe & Africa

Will be developing and maintaining key dealer and reseller relationships, while actively pursuing and cultivating new sales opportunities in the region

Clear-Com has announced the appointment of Richard Palmer as regional sales manager, Southern Europe and Africa.

In this role, Palmer will further strengthen Clear-Com’s rapidly growing market presence in Southern Europe and Africa by developing and maintaining key dealer and reseller relationships, while actively pursuing and cultivating new sales opportunities in the region.

Palmer comes to Clear-Com from Solid State Logic, where as international distribution manager he handled all activity for the worldwide distributors of the company’s analog and digital pro audio portfolio. He also has held similar responsibilities at Audio-Technica and Advitel.

“Clear-Com’s refreshing, innovative and flexible approach to bringing unique quality solutions to its client base are just some of the reasons that it is truly an honor to work for such a world-class company,” says Palmer. “Clear-Com’s excellent reputation, broad product range and solid international partner network will be an excellent platform from which to grow the business in both traditional and new markets.”

The appointment of Palmer is part of Clear-Com’s commitment to offer the highest level of service and support to its customers and partners across the world. In addition to his expertise in audio sales and management, Palmer is an educator, having worked as a lecturer in music technology and audio production at De Montfort University. He also served as a course team leader in music technology at Leicester College.

“Richard’s wide-ranging background in audio sales and management is an excellent compliment to our sales team and its goals for Southern Europe and Africa,” states Karlie Miles, Clear-Com director of EMEA sales. “We are confident he will provide our customers, dealers and distributors with the kind of hands-on support they deserve, and help to further continue our success in the region. We warmly welcome him to the company.”

Clear-Com Website

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Wednesday, March 16, 2011

Tascam Announces The DR-07mkII Portable With Revamped Mics & New Features

The new DR-07mkII is ideal for remote or board recordings when footprint is an issue.

Tascam has updated their best-selling portable recorder to the DR-07mkII, a new handheld recorder with adjustable microphones and high-resolution audio quality that’s simple to use.

The stereo recorder features a pair of adjustable condenser microphones.

The built-in mics can be moved from an XY position, for tight imaging, to an AB position, for a wider ambient sound.

A dedicated power supply for the codec enables the full capabilities of the A/D and D/A converter, and separate analog & digital circuit boards and low impedance circuit design reduce noise in the design.

The DR-05 records to microSD or microSDHC media, recording in MP3 or WAV (BWF) file format at up to 96kHz/24-bit resolution.

Sharing some features with the new DR-05, the DR-07mkII makes recording simple enough for any musician. The Peak reduction function sets the optimum recording level even in recording to avoid the over level.

Quick Menu selects commonly used parameters in playback or record like auto level setting or limiting, while deeper settings are available through a full-featured setup menu. The 1/8” mic/line input can supply power for microphones.

A Level Align function prevents uneven volume levels during playback through the 1/8” headphone output or built-in speaker.

Variable-Speed Audition – which changes playback speed without affecting pitch – and looping are also available during playback for transcription or learning new music. 17.5 hours of longer battery life at 44.1kHz/16-bit, WAV (BWF) is long enough for any recording situation.

Some DR-07mkII features that aren’t found on the DR-05 include Overdub mode, which records over your previous take but keeps a copy of the original.

The portable recorder also includes Auto Record and Auto Mark settings for hands-off operation. A reverb effect is also available to give your recordings a mastered polish.

Features:
• Handheld Portable Recorder
• Adjustable Stereo Condenser Omnidirectional Microphones (XY or AB)
• Up to 96kHz/24-bit WAV (BWF) linear PCM recording
• Stereo MP3 recording from 32-320 kbps bit rate
• Reverb effect
• Overdub recording mode
• Auto Record and Auto Mark functions
• Peak Reduction function to set the optimum recording level automatically even in recording
• Limiter and low-cut filter to help prevent distortion
• Automatic or manual level setting
• Self timer recording starts recording 5 or 10 sec. after pressing the record button for waiting until you are ready
• Auto and manual track increment
• Variable speed playback (50%-150%) without changing the pitch
• Loop and repeat playback
• Level Align feature prevents uneven volume levels during playback
• Playback EQ setting
• Editing function (Divide and delete)
• Up to 99 mark points on each file
• Chromatic tuner
• 1/8” stereo mic/line input
• USB 2.0 port for transfer to PC and external power
• Up to 2-second pre recording buffer
• Jump back function returns to previous point with one action (1-10, 20, 30 sec.)
• 1/8” headphone/line output
• Built-in speaker
• microSD (64MB – 2GB)/microSDHC (4GB – 32GB) card slot (2GB card included)
• Powered by 2 AA batteries, AC adapter (optional: PS-P515U), or USB bus power
• Tripod socket hole
• Dimensions: 2.2” W x 5.5” H x 1” D (55mm x 141mm x 26mm)

Tascam Website

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Thursday, March 10, 2011

Millennia HV-3 Preamps (96 Channels) Utilized For Live Broadcast Of 83rd Annual Academy Awards

“As we have for so many years, the Academy Awards Orchestra used 96 channels of Millennia preamps to send line level to the Neve VR in the remote recording truck." - David Hewett

Millennia HV-3 preamps were chosen once again for the live broadcast of the 83rd annual Academy Awards.  Unlike other “live” shows, this one isn’t delayed to other time zones, so there is no second chance to fix something in the delayed broadcast.

The remote audio team headed up by Dan Vicari, David Hewitt and Tommy Vicari (these guys have enough awards between them to hold their own show) handled the immense task of bringing a constantly changing live event to the world.

David Hewett (multiple TEC, Grammy, Emmy and CAS award winner), comments, “As we have for so many years, the Academy Awards Orchestra used 96 channels of Millennia preamps to send line level to the Neve VR in the remote recording truck.

“Their high voltage rails and huge dynamic range make them ideal for this work. It’s all about people and preamps in this business, so the Millennia coupled with our crew and Tom Vicari’s mixing skills result in HD sound before it ever hits digital converters. No digital console I know of can match that combination,” Hewett continues.

“Virtually every instrument you heard on the show went through a Millennia preamp; HV-3Rs or HV-3Ds.” adds Tommy Vicari. “When you have only one chance to capture it live, you want accuracy and dependability. Millennia made a very challenging event sound amazing!” 

Millennia Website

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Monday, March 07, 2011

Hosa Technology Debuts Goby Labs Screen Cleaner

The safe, alcohol- and ammonia-free solution ideal for wide range of displays.

Hosa Technology has announced the introduction of Goby Labs Screen Cleaner.

The safe, alcohol- and ammonia-free solution cleans without dripping or streaking and is ideal for cleaning LCD, plasma, and touch screen displays.

It is a must-have cleaning solution for all computer-based recording studios.

Goby Labs Screen Cleaner is formulated to lift dust, fingerprints, and other contaminants from computer monitors, television screens, and other displays as well as other sensitive plastic surfaces.

The anti-static formula repels dust after cleaning. With its fresh lemon scent and the included microfiber terry cloth specifically designed to safely clean any screen, Goby Labs Screen Cleaner is the ideal studio maintenance companion for musicians, videographers, students, and virtually anyone who works with a computer.

Jonathan Pusey, Hosa Technology’s Director of Sales and Marketing, commented on the new Goby Labs cleaning solution. “Most recording studios—home and pro alike—are computer based,” Pusey said.

“Computers have screens and these screens need cleaning. If one is using a handheld device with a touch screen, the issue only compounds itself.”

“Those of us at Hosa Technology believe musicians should be able to buy screen cleaner along with cables, strings, and other musical supplies at their local music store rather than be forced to go into a consumer electronics store for a single $10.00 item.”

“This is not only a matter of convenience, it’s a matter of hygiene—and Goby Labs Screen Cleaner is one of those everyday essentials that, we believe, should be far more accessible.”

Goby Labs Screen Cleaner ships in a 2-ounce container with a microfiber terry cloth and carries a MSRP of $10.00. The product will be available Q1, 2011.

Hosa Technology Website

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Friday, February 18, 2011

Six New Apps Unveiled For Symetrix Jupiter Audio Processor

“The Jupiter system is unique in its ability to take on multiple personalities while placing little demands on the programming expertise of the user." -- Mark Ullrich, Symetrix

Symetrix recently announced new apps for use with its Jupiter audio processor.

Modeled after smartphone technology, the Jupiter system is comprised of hardware units that users program with apps that they download from the Symetrix website.

The apps instantly program the Jupiter hardware to perform a multitude of common audio processing tasks. Then the user only needs to tweak the settings to meet the needs of the particular installation.

Six new apps join the existing library:
—Sound Reinforcement 11 (multi-source mono or stereo selection routed to processed direct outputs)
—Stereo SPL 1 (automatic level adjustment for multiple stereo sources based upon ambient noise levels)
—Retail SPL 1 (automatic volume level controller), Priority Zone Mixer 1 (multi-zone priority mixer)
—Home Theater 1 (precision 5.1 loudspeaker management with subwoofer management)
—Home Theater 2 (precision multichannel loudspeaker management)

“The Jupiter system is unique in its ability to take on multiple personalities while placing little demands on the programming expertise of the user,” says Mark Ullrich, senior technical sales engineer at Symetrix. “It is tremendously flexible, easy to use, and affordable. So far, the Jupiter paradigm is resonating very well with the market and the speed at which it’s being adopted is unprecedented.” Like the existing library of apps, users can load the newly released apps to any of the three Jupiter hardware units, instantly creating a “purpose built” device.

“We are continuing to develop the library,” he adds. “Users can expect a range of new apps to appear in 2011.”

Symetrix Website

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Thursday, February 10, 2011

Telefunken The Choice Of Big Head Todd For Stage And Studio

The M80 was the choice for vocals on their Red Rocks DVD and Vintage Tubes were used on their new album at Ardent Studios.

Big Head Todd and the Monsters were the first group to embrace the M80 dynamic microphone from TELEFUNKEN Elektroakustik, now a favorite stage mic for bands such as Green Day and ZZ Top. 

For the recording of their new album, “100 Years of Robert Johnson,” the band chose a selection of TELEFUNKEN large diaphragm condenser tube mics, including the U47, AK-47 MkII, ELA M 260, and the stereo AR-70.

The band recorded the new album with producer Chris Goldsmith and engineer Jimmy Hoyson. “For my voice, the new TELEFUNKEN U47 is the best,” said Todd Park Mohr.

“I have a low, kind of powerful voice and there’s something about the way that microphone handles the thick end of my voice that’s really wonderful.  It’s definitely a vintage sound but it has a beautiful high end as well.  It’s a very balanced microphone—very flat, but hi-fi.”

Formed in Colorado, 1986, Big Head Todd and the Monsters consists of Todd Park Mohr (guitars/vocals), Rob Squires (bass/vocals), Brian Nevin (drums/vocals) and Jeremy Lawton (keys/steel guitar/vocals).

While recording in Memphis, the band invited special guests B.B. King, Charlie Musselwhite and Ruthie Foster to join a grand collaboration for blues and rock fans around the world.

“I was very impressed with the sound of all the new TELEFUNKEN mics,” commented engineer Jimmy Hoyson. “The U47 has great clarity and body, a worthy successor to it’s vintage namesake.  The AK-47 MkII was our go-to mic for acoustic guitar - good clarity and low end, and not mid-range heavy in the 500-700 Hz frequencies I like.”

The band recorded in Ardent’s large Studio A, which has ample isolation areas conducive to recording all instruments at once.  “I was really happy with the clarity and low end of the ELA M 260 on acoustic piano,” added Hoyson, “and the stereo AR-70 is a terrific room mic—clarity in the high end and warmth in the low end without sounding ‘honky’.”

“I was also impressed with the solid construction of all the TELEFUNKEN mics, including the power supplies, the cabling, the cases—great job all the way around technically.  And I’d like to add that the rooms at Ardent have a World Class sound, and there’s a great, professional staff that that takes care of you technically as well as personally.”

BHTM drew from their recent concept tour with David “Honeyboy” Edwards, Hubert Sumlin, Cedric Burnside & Lightnin’ Malcolm, playing the music of legendary bluesman Robert Johnson. 

The band has completed a DVD of their recent sold-out show at Red Rocks in Boulder, CO, where their original Beta version TELEFUNKEN M80s handled stage vocals.

“We started using the M80s three years ago as Beta models,” said Jeremy Lawton, keyboardist for the band and producer of the previous “Rocksteady” album.

“The M80s have a better low end focus than the common vocal stage mics, making them more predictable and easier to control.”

“We’ve heard it described as an extremely smooth vocal sound from engineers and those who listen to the front of house,” added Big Head Todd himself.  “The M80 also has great rejection with a nice proximity effect.  I sing really close on mic, and as a guitar player I like having a mic than enable me to hear my voice over everything else.”

TELEFUNKEN Elektroakustik

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