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Monday, August 30, 2010

Shure & Millar Electronics Celebrate A 60 Year Partnership

The partnership between Millar and Shure has navigated the changing audio industry and outlasted many a challenged economic time.

When Millar Electronics, Inc. was founded in 1924 by James Millar, there was no audio industry as we know it today. 

However, their relentless focus on building quality relationships has proven that customer service never goes out of style. 

Shure Incorporated will honor Millar Electronics in October as it celebrates its 60th year as a Shure representative.

Millar’s business was initially based on electric motors and parts.  As the emerging audio business grew, large distributors of industrial equipment were joined by electronics dealers that emerged to handle specialized products like sound systems. 

Millar’s well-established relationships with these vendors made it the ideal choice to represent Shure’s line of audio equipment, and thus began a fruitful partnership in 1950.

Herman Civils, President of Millar Electronics, joined the company in 1981 and has been influential in its growth.  Under his leadership, the company has thrived while navigating a changing audio industry and a challenging economic climate.

“Shure is one of the premier companies in our industry and has brought a steady stream of innovative products to the market,” said Civils. 

“What is perhaps more important is that Shure consistently attracts and retains the best people in all facets of its business.  It is indeed a privilege and an honor to be part of the Shure team.”

“The visions of Mr. Shure and Mr. Millar are realized every day in our continued partnership,” said Sandy LaMantia, President and CEO of Shure Incorporated. 

“We can be proud of our combined achievements over the past six decades. Like all organizations who seek to thrive and prosper, we look forward to continuing our successful relationship with Millar Electronics for years to come.”

Shure Incorporated Website

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Friday, August 27, 2010

Tech Tip Of The Day: Soldering Iron Care

Is there any specific way I should be caring for my soldering gear?

 
Q: I’ve been working in a studio for many years now as an assistant, and I just recently started helping another assistant with cable and equipment repair.

My soldering technique, while not the best, is coming along nicely given that I only started a few weeks ago.

I noticed when I first started with the new soldering iron that was at the studio that it seemed to get really dirty and never really cleaned up.

Now, I realize this is a fairly dirty task, so I’m not looking to keep the iron immaculate.

However, is there any specific way I should be caring for the iron?

A: Glad to hear you like getting your hands dirty repairing your gear!

To prolong the life of your soldering iron always leave a ball of solder on the tip when not in use, then wipe it off with a wet sponge, or cloth before using.

This will help keep the plating from burning off the tip, making the job much easier.

It will also prolong the life of your soldering tip, saving you a little bit of ever-valuable cash.

As always, we welcome input from the PSW community and would love to know how you care for your soldering equipment. Feel free to let us know in the comments below.

 
For more tech tips go to Sweetwater.com

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Thursday, August 26, 2010

Line 6 Introduces XD-V Series Digital Wireless Microphone Systems

Reliable operation with proprietary DCL (Digital Channel Lock) and PDP( Proprietary Data Placement) technologies that defend against audible audio interference

Line 6 has introduced the new line of XD-V Series digital wireless microphone systems, including two handheld microphone systems and two beltpack systems that include lavalier microphones. 

The XD-V70 handheld microphone suits every vocal application with seven selectable sounds and timbres based on the world’s most popular live sound mics. The XD-V30 handheld mic has a single microphone model based on a leading live sound mic.

The handheld mics also offer cardioid polar patterns, removable microphone capsules for polar pattern and frequency response customization, and convenient internally mounted antennas.

The two beltpack systems, XD-V30L and XD-V70L, include internal antennas, convenient quarter-inch inputs, and condenser lavalier microphones.

XD-V digital wireless systems provide reliable operation with proprietary DCL (Digital Channel Lock) and PDP( Proprietary Data Placement) technologies that defend against audible audio interference. 

These new digital wireless systems broadcast in the 2.4GHz band, which successfully avoids interference from high-powered sources. The 2.4GHz band also allows for license-free use worldwide.

Delivering superior sound quality, XD-V digital wireless systems are free of companders that degrade audio by compressing and expanding the wireless signal. 

Each system’s audio specs (including 10 Hz - 20 kHz frequency response, up to >120 dB dynamic range, and 24-bit conversion) are closer to those of a cabled microphone than those of a traditional analog wireless system.

XD-V digital wireless microphone systems are available now.

Pricing:
XD-V30 digital wireless microphone system - $489.99 MSRP
XD-V30L digital wireless beltpack system with lavalier microphone - $489.99 MSRP
XD-V70 digital wireless microphone system - $699.99 MSRP
XD-V70L digital wireless beltpack system with lavalier microphone - $699.99 MSRP

“Whether you’re a seasoned pro who demands impeccable performance around the world or a budget-minded performer looking for a problem-free wireless system, only XD-V digital wireless systems have the premium features you need,” remarked Don Boomer, Microphone Product Line Manager at Line 6.  “Fourth-generation Line 6 digital wireless technology ensures rock-solid performance, simple operation and crystal-clear audio – license free.”

Line 6 Website

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Over 56 Lectrosonics Wireless Microphones Used To Shoot Budwiser Reality Web Series

Throughout the course of 32 days, the ease of use, frequency coordination agility, and rugged build quality proved essential to the show’s production.

Budweiser recently assembled an original web series, Bud House, which coincided with the recent FIFA World Cup soccer games.

Featuring 32 fans from 32 countries—all living in the ‘Bud House’ in South Africa—the show’s participants ate, slept, played and lived soccer together.

The winning ‘fanatic’ travelled to the World Cup Final in Johannesburg and presented the Man of the Match trophy to the final team’s MVP at the conclusion of the game. 

In this series, quality audio was critical, and was highly dependent upon the skills of Steve Bedaux and his arsenal of Lectrosonics wireless equipment.

Freelance Production Sound Mixer/Supervisor Steve Bedaux, C.A.S., who also serves as President of CineLUX Sound Services Inc. and its sister crewing company, Sound Department LLC, was contracted to handle location sound with VidCam for the Ridley Scott and Associates Films / Rocket Films (South Africa) production.

Armed with a large arsenal of Lectrosonics equipment, Bedaux and his crew, which consisted of recordist Steven Corbiere, field mixers Marc Gouldy (Lead Mixer), Joe Beachy, Steven “Goat” Hitselberger, Jeff Hodd, Sean O’Malley, and Jen Raudman, along with A2’s Bryan Diaz (Lead A2), Jules Joseph, Jabu Msomi, encountered numerous production challenges.

Bedaux’s Lectrosonics equipment arsenal included almost seventy UM400a Digital Hybrid Wireless beltpack transmitters (used on the fanatics, bartenders, guests, and in six portable sound rigs for stereo camera hops), plus UH400 plug-on transmitters for wireless booms and music/PA feeds. Lectrosonics SMQV Super Miniature Dual Battery, MM400c miniature water resistant, and UT handheld transmitters were also at Bedaux’s disposal.

On the receiving side, eight UCR 411a compact receivers were used in each of the crew’s audio field bags. Another two UCR 411a’s were used on each of their six main cameras, with another three UCR 411a’s assigned to the story producer cameras. 

In all, there were over 75 UCR 411a’s covering seven different blocks. Completing the picture, Lectrosonics Venue receiver systems stocked with VRT modules and UDR200C diversity receivers were deployed in the Control Room.

“In all,” said Bedaux, “we used over 56 coordinated wireless transmitter frequencies daily.  Since this was a non-elimination reality show, all of the wireless needed to work 24/7 for 32 consecutive days of production. RF coordination was tight, but with Lectrosonics’ wireless and special coordination software, I knew it could be done.”

“Due to time and budget constraints,” Bedaux continued, “I was unable to personally perform a standard pre-production RF site survey at any of the excursion locations or at our secret Bud House resort location.”

“Fortunately, Lectrosonics introduced me to Jeff Hodd at Stratosphere in Cape Town. Jeff is a sound mixer and also serves as Lectrosonics’ representative for all of South Africa. He saved the day!”

“Through many detailed emails, Jeff and I were able to communicate my audio requirements for the project. Jeff took time out of his schedule to perform our crucial RF surveys and he also conducted cable run measurements at the Bud House location.”

In addition to the relative ease of coordinating all those RF signals, Bedaux is equally enthusiastic about several other aspects of the Lectrosonics equipment. “One of the many attributes of Lectrosonics’ equipment— especially in the field of reality TV—is that it is bullet proof, extremely reliable, and the sound quality is unbeatable.”

“The equipment’s range is amazing, especially with the new SMQV in ¼ watt mode. If a transmitter can handle an extreme reality TV cast such as the Bud House fanatics, it can handle any reality show.”

“Within just three weeks of being hired by RSA Films, in partnership with VidCam, I was able to design, coordinate, build, test, and ship four tons of audio equipment to South Africa.”

“I could not have done this project without all of the additional technical support of the VidCam Team—Clay Harris and Mark Gouldy (Bud House Lead Field Mixer)—and the amazing organizational skills from my lead A2 and mixer Bryan Diaz. Being a long time owner/operator of Lectrosonics wireless products, I have come to trust and rely upon this equipment.”

Lectrosonics Website

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Wednesday, August 25, 2010

Church Sound Files: What You Need To Know About Wireless Systems

An in-depth yet easy-to-understand discussion of wireless systems, how they operate, issues that can plague performance, and solutions that do the trick in the vast majority of situations.

Editor’s Note: This article provides straightforward explanations of the primary issues that account for a full 80 to 90 percent of all wireless microphone system problems, while also presenting solutions that will do the trick in most cases.

However, keep in mind that the best solution is avoiding these problems from the outset. Certainly this won’t guarantee completely trouble-free operation, but the odds dramatically improve.

This compilation of wireless system knowledge is provided by several highly qualified professionals, with Gary Stanfill, who has worked with wireless and related technologies for more than 40 years, topping this list.

Our sincere thanks to Gary as well as others who have contributed this important information.

This primer is presented in three parts.

Part 1, Getting Started, begins directly below.

Or, go directly to the other parts:
Part 2: Avoiding Wireless System “Issues”
Part 3: Downsides Of Digital

Part 1: PSW Wireless Primer
 
Getting Started
Anyone who has used wireless microphone systems for even a short time doesn’t need to be sold on their advantages. “Going wireless” allows concentration on the message rather than on the mechanics of delivering the message. (No more pesky mic cables!)

Yet wireless systems can be slightly mysterious, prompting suspicion among some users - particularly if they’ve experienced problems for unclear reasons.

The easiest way to understand wireless systems is to think of them as small-scale radio and TV broadcast stations – a transmitter sends out a signal that is picked up by a receiver.

For a number of reasons, including size, weight, battery life and government regulations, wireless systems operate at quite low power and thus have limited range.

The wireless microphone (or bodypack) is the transmitter, complete with a mic capsule, some audio circuitry, and an antenna (usually built into the case). It sends radio signals to its companion wireless receiver, which also has an antenna and some circuitry to select and process the signal, which is then sent via a cable to the sound system.

The transmitter and receiver of each wireless system must share the same frequency. Any other wireless systems in use in the same area must have their own frequencies as well. Ugly noise is produced if two wireless systems are using the same frequency in the same area. 

The same goes for other transmitters, especially those of TV stations.

And because these transmitters send out very powerful signals, they are a common cause of interference for wireless systems.

Even though a wireless system needs a clear frequency for the area where it’s going to be used, every frequency is used again and again across the nation.

Again, this is because the power of the output signal of wireless systems is very low.

Keep in mind, however, that there is no absolute guarantee that a clear frequency in one area will be clear elsewhere, even just across town.

This is an aspect about wireless systems that sometimes puzzles users; the government takes care of the problem for the high-power signals of commercial broadcasting, but wireless system users are responsible for avoiding this problem on their own.

Fortunately, most modern wireless systems (developed in the past 15 years or so) offer some degree of frequency agility (also called frequency synthesis). This means that the user is able to select an operating frequency from a number of possible choices, ranging from as few as four frequencies to 1,400 or more, depending upon the model.

The more frequencies offered by a wireless system, the better the chance of finding a clear frequency that is not being used by someone else in the area. Further, in larger cities, where there are more frequencies occupied by numerous users, the ability to choose from a larger number of frequencies is especially important.

Having plenty of open frequencies also helps wireless system users get around another potential problem: intermodulation (or intermod for short). This can occur where the frequencies of two transmitters (of any type) “combine” in a wireless system receiver, resulting in noise and interference.

Most often, intermod is caused by a combination of the frequencies from two TV transmitters, or by the frequency of a TV transmitter combined with the frequency of a wireless system transmitter.

Because the source of intermod is usually not under the control of the wireless user, there is usually little choice except to change the frequency of the wireless system. This is yet another reason for choosing a wireless system outfitted with a wide range of frequency selections.

By law in the U.S., wireless systems are supposed to operate only on TV channels not in local use. If a wireless system happens to cause interference to TV viewers in the area of its use (and this can happen even with their lower output level), the interference is likely to be reported, resulting in the user drawing unwanted attention from law enforcement. 

Thus it’s vital for the wireless system user to keep handy a list of local TV frequencies in use (available online at www.antennaweb.org/aw/Address.aspx), and to avoid those frequencies.

Although many wireless systems can “automatically” select frequencies or scan to see local RF activity, it is still possible to select the frequency of a local TV channel and get the innocent user into trouble.

Wireless systems are available for “VHF” and “UHF” frequency ranges (also called bands), roughly corresponding to VHF TV channels 7 though 13 and the UHF TV channels 14 through 69.

The question as to which range is “best” has pretty much been settled by the wireless manufacturers, who generally only offer systems with numerous frequency choices in the UHF band.

Additional bands used by wireless microphones include the “944 MHz” band between 944 - 952 Mhz. This is a band reserved for use exclusively for broadcasters.

Also, the “ISM” band between 902 - 928 MHz is an unlicensed band used by several wireless microphone products. Finally, the 2.4GHz band is another unlicensed area used by wireless manufacturers.

Although the UHF TV band classically extended up to channel 69, channels 52 to 69 (698 MHz to 806 MHz) has been converted to non-TV use - divided up by the U.S. government/FCC and auctioned to various companies for wireless devices available on the consumer market.

Accordingly, it is now against the law to use wireless microphone systems in this band. Even though a system has operated in this range without problems for years, it is illegal.

With all these competing signals in the air throughout the VHF and UHF bands, even high-quality wireless systems can run into problems when operating at distances of 100 feet or less between the transmitters and receivers.

Range problems usually appear as “fizzing” or “swishing” noises, perhaps followed by the complete loss of the audio signal. (This is called dropout.)

In addition to the low transmitter power, two other problems can limit the range of wireless systems. The first is signal absorption due to building construction and internal equipment, or shielding by metallic objects such as electrical wiring, air conditioning ducts, storage cabinets and the like between the transmitter and the receiver.

The term “line of sight” is often used to express the idea that the signal path from the transmitter to the receiver should be open and clear of obstructions.

This simply means that if the wireless user can physically observe the receiver antenna, RF signal absorption is likely to be low.

The second problem is called multipath. It’s a phenomenon that results in numerous small areas where little or no wireless signal is present because of reflections and the resulting phase cancellations, and it often tends to occur within a fairly short distance between transmitter and receiver.

To overcome the problem, a majority of modern wireless receivers now use a technique called diversity. With diversity, two slightly separated receiver antennas are used, making it very unlikely that both will simultaneously be in one of the low signal (multipath) areas.

The receiver automatically selects the antenna with the strongest signal, not only solving multipath, but also increasing the reliable range of a wireless system.

A final note: most users are surprised to learn - despite urban myths to the contrary – that the U.S. government requires wireless systems to be properly licensed prior to use. 

Unfortunately, the agency in change of issuing these licenses (Federal Communications Commission, or FCC) makes it very difficult for conscientious users to actually comply.

As a result, the vast majority of users don’t go to the trouble. But keep in mind that unlicensed wireless systems are in technical violation of FCC rules, and therefore are theoretically subject to fines.

As a practical matter, the FCC has neither the resources nor the inclination to go after the “average” wireless user, so the risk is low. But not zero. Due to the recent changes in spectrum allocation, this issue is being re-visited.

It appears that the FCC may make it easier for typical wireless microphone users such as churches, theaters, musicians, etc. to register their products.

This would also be beneficial in the event that additional types of consumer devices appear and complete for the same spectrum we are currently using.

Click here to continue to Part 2 (Avoiding Wireless System “Issues”) of this series, or click here to go directly to Part 3 (Downsides Of Digital).

Part 2: PSW Wireless Primer
 
Avoiding Wireless System “Issues”
Although the popularity of wireless microphones continues to grow, there’s no denying that they present more opportunities for problems than their wired counterparts.

In addition to the normal acoustic concerns that come with any mic are the complications of RF (radio frequency) transmission, interference, frequency selection, batteries and several other issues.

And technical improvements in wireless systems have not entirely kept pace with increasing frequency congestion, digital television and other recent complications.

Still, the hundreds of thousands of wireless systems employed in the U.S. is compelling evidence that the majority of users will live with the added challenges. Besides, many of the problems encountered by wireless users are largely avoidable, and happen primarily due to oversights, mistakes and misunderstandings.

Addressing the following common issues greatly improves the reliability of wireless systems and goes a long way toward ensuring trouble-free operation.

Issue: Frequency planning and coordination. Wireless systems share the RF spectrum with TV stations and several other types of authorized users. As a result, interference is very likely unless appropriate precautions are taken.

Solution: The first step is to determine the TV channels that broadcast over the air in your area.

When the local TV channels are known, they can be compared to the frequencies of the wireless systems. If there’s a conflict, the wireless frequencies must be changed. This is relatively simple for synthesized systems as well as ones that search for vacant frequencies, but the solution is more difficult for fixed-frequency wireless.

Despite the inconvenience, wireless systems should not be used on occupied TV channels. Not only is interference almost certain, the practice is illegal. 

Issue: Intermodulation. Wireless systems can also experience severe interference even when operating on “vacant” frequencies. This is created by intermodulation distortion - basically two strong signals on other frequencies combining in the wireless receiver to create an interfering signal.

Called “intermod” for short, generally this type of interference is more common than direct on-frequency interference from other transmitters.

Intermod is typically caused by other wireless systems, or by other wireless in conjunction with local TV signals.

Even single systems can be affected, but the probability of problems grows roughly proportionally to the square of the number of systems in simultaneous use, plus the number of active analog TV channels present. 

By the time eight or more wireless systems and six or more TV channels are involved, it can become quite challenging to find usable frequencies.

Solution: One or more wireless frequencies will have to change. There is generally no other practical solution.

Again, synthesized systems and “auto-search” frequency finding can be very helpful.

However, any frequency can potentially interact with any other, so changing one frequency can solve one problem can create another - or several others.

When changing frequencies or searching, it’s absolutely critical that all RF systems of any type at the location be turned on and operating.

As one clear wireless frequency is found, that system must be left on, and the next system tested until all are operational.  Otherwise, the situation can quickly become a snarl of changes and more changes, “phantom” problems, confusion and frustration.

Some manufacturers offer assistance in selecting usable frequencies, and as always, don’t hesitate to get your sound contractor involved.

In addition, there are a number of readily available software packages that are designed to aid in calculating your frequencies so that intermod problems are avoided.

Several manufacturers of wireless microphones offer this kind of software, and there are third-party options as well. Often, the third-party solutions are the most flexible – offering coordination of many types of systems by most manufacturers.

Issue: Shielding or covering antennas. In order to properly launch a radio wave, a sizeable volume of free space is required around an antenna, and in general, they must be unobstructed.

Solution: For efficient operation, all wireless system antennas must be kept clear of metallic objects that can weaken and distort signals in addition to reducing range. With bodypack transmitters, the antenna must be kept away from the mic cable, the bodypack case and ideally, the wearer’s body.

Securing antennas to the transmitter case and tying antennas to cables, as is sometimes done, can be absolutely deadly to range. Skin and flesh can absorb RF energy, so it is best to have the transmitter case and antenna away from the body.

Further, receiver antennas must extend away for the receiver case, as well as away from other antennas, equipment racks, other equipment, cabling and, again, metallic objects.

It’s best to mount receivers at the top of the rack so that the antennas extend above and away from the rack and other equipment. Using rear-mounted antennas inside a metal rack will almost always result in very poor reception.

For multiple receiver installations, the common practice of positioning front-mounted antennas in a “V” configuration, with all the antennas parallel, will also reduce range. It causes them to function together somewhat like a TV antenna that’s pointed upwards.

Even worse is when antennas from two different receivers touch. Not only will range be seriously compromised, interference becomes much more likely. In such a situation, it is much better to incorporate a single pair of antennas and then an antenna splitter to distribute the signals to the receivers in the rack.

Issue: RF path. A clear path between the receiver and the transmitter is also required. This is sometimes called a “clear line-of-sight,” but remember, light will pass in a straight line through a small hole while radio waves will not.

Solution: Similar to the free space needed around an antenna, radio waves require a sizeable space in which to travel.

The amount of space necessary depends upon frequency - the lower the frequency, the more space needed.

Create an imaginary tunnel of open air between the transmitter and the receiver antennas.

For UHF systems, a tunnel diameter of 3 feet or so is usually adequate, but for VHF systems, it should be at least twice as large. There also should be no metallic objects - scaffolding, iron beams, cables, cabinets, pipes, etc. - within this space.

In particular, large flat metal objects such large ducts, rows of cabinets, truck bodies and the like that are parallel to the path should also be avoided.

Even though they might not be in the direct path, they can still act similar to a mirror, reflecting RF energy away from the direct path. Systems with diversity reception help avoid dropouts in these situations, but range still can be reduced considerably.

Issue: Long antenna cables. Sometimes it’s necessary or desirable to locate antennas at a farther distance from a receiver. RF coaxial cables can be used to connect the remote antennas to the receiver inputs.

However, they typically have considerable losses that will reduce operating range. The amount of loss depends upon the size, construction and quality of the cable, and upon the operating frequency.).

Even high-quality RG-58 cable will have a loss of about 8 dB per 100 feet at 200 MHz, and about 17 dB at 700 MHz. Since every 6 dB of loss cuts range by half, the working range with 100 feet of this cable will be only 40 percent of normal at 200 MHz, and a mere 14 percent of normal at 700 MHz. 

Premium RG-58 type cables, such as Belden 7806R, are better, offering about 4.7 dB loss at 200 MHz and 8.9 dB at 700 MHz.  Still, at 700 MHz, only 68 feet of this cable will cut range in half.

Solution: If long cable runs are s necessary for your wireless systems to work properly, skimping on the cost of the highest quality cables available is a bad decision. For the best results, a premium foam-dielectric cable such as Belden 9913 should be used. This cable has only 1.8 dB of loss per 100 feet at 200 MHz, and 3.6 dB at 700 MHz.

Generally, it’s preferable to run audio cables out to remote receivers, keeping RF cables short. This is particularly true with runs longer than 75 feet or so. If remote location of the receivers is not feasible, go with the high-quality, low-loss cable noted above.

In-line RF amplifiers can also be used to boost the signal before the long cable run. These devices require power, and add cost. So before thinking that RF amps are the way to go, consider how the system can be configured to avoid using them and still keep your cable loss to a minimum.

Issue: Batteries. Simple but true and most certainly the number-one cause of wireless problems the world over!

Fortunately, it’s the one that’s easiest to fix.

The most common cause of short battery life is poor quality or old age, along with mixing used batteries with new ones and simply losing track of how long a battery has been in use.

Some sound operators also fail to understand that, when turned on, wireless transmitters draw power even if not being used, and that the “mute” switch does not affect the current drain.

Solution: Check transmitter batteries prior to every use. Get a battery tester to help you determine a good battery from a bad one. And when in doubt, change to a new battery!

Name-brand alkaline batteries such as Duracell and Eveready are the best bet. While private label batteries are often nearly as good, their useful life can vary considerably from purchase to purchase.

Make sure that to buy batteries that are date coded, and don’t accept any whose expiration date is less than three years away. And never use zinc carbon or toy batteries; most can’t even properly power up a modern wireless transmitter.

Classically, many techs recommend against use of rechargeable batteries, and for good reason. Rechargeable batteries used to have much lower capacity than alkalines, and the useful life was usually short. This was particularly true of 9-volt units, whose operating life was a fraction of that of an alkaline.

In the past five years, the technology for rechargeable batteries has improved dramatically. Now, NimH and LiPoly batteries are every bit as good as alkalines, and in some cases even better.

Still, it is important to recognize the added complexity of using rechargeable batteries – a clear strategy will be needed for keeping them charged, tested, and removed from the pool when the time comes. By doing this, you can save considerable costs and it’s also better for the environment.

Even more issues that are relatively simple to address can impact wireless performance.

Part 3: PSW Wireless Primer
 
Downsides Of Digital
Issue: Digital interference. Modern digital audio equipment, including processors, equalizers, controllers and other gear, operate at high clock frequencies that generate considerable radio frequency (RF) noise. (By the way, this noise is often termed RFI.)

As a result, it’s not at all unusual for such equipment to interfere with wireless systems.

Symptoms include low-level spurious tones, buzzing sounds, hissing and a varying noise floor.

Digital interference can also cause an unexplained loss of range and other problems.

Although FCC rules require that such equipment be tested to meet spurious emission standards, it’s a fact that not all units are indeed tested.

In addition, loose covers and casings, warped metalwork, lax grounding and other mechanical shortcomings can greatly increase spurious RF emissions.

Even properly approved digital equipment, in good working order, may generate enough RFI to affect wireless receivers located nearby.

When wireless interference occurs, one of the first things to do is to temporarily turn off digital devices to see if they are the source of the problem.

Solution: As a general precaution wireless receivers should be located as far as possible from digital gear. Often just moving the equipment a few rack spaces apart is enough to solve a problem.

More severe cases may require separating the wireless power, signal and RF cables from those going to the digital equipment.

Using remote antennas with the wireless systems may also be helpful.

And finally, try tightening up the covers on any offending digital gear and also adding a ground strap to the cabinet or other local ground point.

Issue: Lapel (or lavalier) (microphone sound quality. Lapel mics can cause a number of different problems. A common complaint is thin sound quality, which often occurs when the user has previously used only mics intended primarily for vocal applications.

These mics generally boost low frequencies to make the voice sound warmer and fuller, but the omnidirectional mics normally used with wireless bodypack transmitter systems don’t have this boost and thus can sound noticeably different.

Another cause of “thin audio” from lapel mics is interference. RF energy can “couple” into the mic cable and affect the preamplifier circuitry in the mic capsule. A high percentage of all lapel mics exhibit this problem under at least some circumstances.

If the voice quality and level varies when the mic and cable are moved around in close proximity to the wireless transmitter antenna and body, it is almost certain that RF interference is present.

Solution: In all cases, the manufacturer of the wireless system exhibiting this problem should be first contacted for specific recommendations. However, the problem is often solved with the addition of small RF bypass capacitors to the mic connector. Note that this should only be done by a qualified service professional only.

Issue: Lapel mic feedback. Users new to wireless often complain that a system is defective because feedback occurs where none was present before. Part of the problem is that the lapel mics typically used with wireless are not directional and thus provide little feedback protection.

However, the larger problem is usually that the mobility of wireless allows users to walk into zones more likely to cause feedback.

Solution: Use lapel mics with a unidirectional pattern, or use headset mics. Moving the mic closer to the mouth and lowering gain is also helpful. Many users think headset mics are unsightly, but unidirectional mics can suffer from sudden drops in level when wearers turn their heads.

The better solutions are acoustic, either by training users to avoid feedback zones, or by modifying the loudspeaker configuration to put feedback zones out of reach.

Issue: Lapel mic mechanical problems. This is common to lapel mics, in particular because their cables are small, often delicate and typically get considerable abuse.

Even if not damaged outright (i.e., the cable pulled out of the mic connector), lapel mic cables eventually wear out.

Most often this wear occurs first at the connector end, but keep in mind that it can also happen at the capsule end. Usually the cable shield fails first due to constant bending in the area where a cable leaves the connector’s strain relief.

When this happens, clicks, pops, other noise and “lost audio” are experienced. Even before there’s a complete break in the shield, pops and clicks due to RF disturbances can happen.

Therefore, it’s always prudent to check the cables when experiencing lapel mic noise of any type. Breaks at the connector end can usually be repaired (and don’t forget the bypass capacitors), but a break at the capsule end may not be fixable.

Mechanical noise due to lapel mic capsules rubbing on clothing is relatively common and can usually be eliminated by using the right type of mic clip, one that holds the capsule away from the fabric.

It may also be necessary to carefully secure the cable near the mic capsule. Static electricity sometimes creates audio noise, especially with certain types of fabric. Clothing anti-static spray usually solves this problem.

Issue: System quality. It may seem strange to list “system quality” as a wireless problem, but a great many wireless difficulties start with inferior equipment. Inexpensive systems can often work well in rural areas and/or in relatively undemanding applications.

But in larger cities and their surrounding suburbs plagued by typical frequency congestion and myriad interference sources, something better may be required.

The same is usually true when more than a few systems must be operated at the same site. And, this situation is going to worsen, with more and more digital signal sources going on the air almost daily.

The adoption of digital technology has greatly lowered the price of many audio products, but the impact of these advantages on wireless systems has been relatively small to this point. Wireless systems are still largely analog-based, and their manufacture is more labor intensive due to the requirement of considerable tuning, testing and tweaking.

Quality components also tend to be expensive in comparison to digital components and are less adaptable to low-cost automated assembly.

Unfortunately, there is yet no new magic technology that can cut the cost of a quality wireless system significantly - say 30 to 40 percent. Right now, if cost goes down, so do quality and performance. And it’s easier and cheaper for manufacturers to promote their mic capsules and “features” rather than build in better performance.

Consequently there is a growing tendency to regard the RF portion of a wireless system as being relatively unimportant. This is a serious mistake.

Solution: If a wireless system doesn’t have the selectivity and interference rejection to cut through all of the “junk” in the air, it doesn’t matter which mic elements it has, how neat the feature set, or how much money was “saved”. You’re simply left with something that doesn’t work like it should.

The recommendation is to pay a little more and go for performance over features. High-quality wireless systems cost less than half of what they did 10 years ago, and they work better in virtually all cases.

Final Thoughts: All in all, wireless microphone and in-ear monitoring systems can significantly enhance the experience for audiences and performers alike. Freedom of movement for actors, musicians, minsters, orators and politicians is a major benefit.

However, the complexity, cost and potential problems are the risks of using microphones. By following the guidelines presented in this series of articles, you should be well on the way to flawless operation from wireless systems.

Don’t forget that this is a changing world with respect to the RF spectrum and thus the operation of wireless mic systems. What works today may not work tomorrow.

Your best bet is to stay informed and educated. Watch for announcements about RF issues related to the FCC and potential other users of the spectrum. Keep up with the technology as manufacturers introduce new systems.

And most of all, stay up on troubleshooting skills so you can identify where the problems originate. Sometimes the wireless will be at fault, and sometimes not. It’s best to know the difference.

Click here to go to to Part 1 ("PSW Wireless Primer”) of this series, or click here to go directly to Part 2 ("Avoiding Wireless System “Issues").

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Monday, August 23, 2010

Clair Global Announces Broadcast Services Division

The new division will provide global, packaged options for live production.

The global sound reinforcement provider Clair today announced that it has reached an agreement to purchase the assets of New York-based Wireless First, Inc. and GTO Live, Inc.

The acquisition took place on August 9, 2010.

Clair plans to retain both companies’ employees and maintain the names under its newly-formed Broadcast Services Division.

The new division will be managed by Shaun Clair and Kevin Sanford, founder of Wireless
First and GTO Live.

“This new partnership will offer unprecedented service options for the touring, production and broadcast markets,” said Sanford. “By combining forces, we can now provide a true ‘one-stop shop’ solution for the live entertainment industry.”

Sanford founded Wireless First in 1996 and GTO Live in 2008. Wireless First specializes in wireless microphone and communications technology for television and live event production, while GTO offers full backline capabilities and services.

Clients include the Tony Awards, MTV Video Music Awards, Country Music Awards, and other high-profile live televised events.

“Combining our collective expertise will not only allow us to offer a broader range of services, but also provide an opportunity to enter new markets,” said Clair.

“This partnership will allow us to provide these services on a global scale while continuing our reputation for quality service and attention to detail.”

Clair Global Website

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Thursday, August 12, 2010

What, Me Worry? Ruminations On Potentially Troubling Developments

Changing definitions of "audio equipment," more RF spectrum rumblings, understanding the basics...

A fair portion of the grumbling among the “more seasoned” generations of sound professionals can simply be chalked up to our inner curmudgeon.

Every generation thinks the next wave of “kids” is largely comprised of know-nothing, spoiled brats who “have no idea how tough this job used to be, and by the way, their music is a bunch of noisy dreck.”

That said, there are some emerging issues that really do keep me up at night worrying about the future.

For example, what is now defined as “audio equipment” runs a very wide gamut from complete junk all the way up to truly professional gear.

There’s even an inside joke in the industry that anything with the word “pro” in the name certainly isn’t. Why this is a problem is harder to define.

Let me put it this way: when I was a young buck, I knew that a certain well-known 4-track cassette recorder was a decidedly amateurish piece of gear. The real stuff was to be found in big studios and on big stages.

The difference was quite obvious and the thought of getting to work on the big-time systems provided inspiration to learn, study, practice, experiment, and move forward inch by inch.

I knew that I wasn’t big time yet but I definitely wanted to get there, and there was a lot of learning along the way: how to be efficient with your time, gear, money, while taking the patience of friends to the limit.

Fast forward to today. Sure, there’s still a difference between levels of gear, but the lines aren’t nearly as clear.

You can literally buy “audio equipment” at national discount chains, along with car parts, kitchen accessories, greeting cards, toys, garden implements and even a dozen eggs and a gallon of milk. Ditto musical instruments. Meanwhile, Garage Band comes free on iMac.

One can argue that this puts music- and sound-making equipment into the hands of a much wider base group of people, thus making it possible for more and better music to be made.

However, I think it can also be argued that we’ve not seen that kind of result. If anything, there’s more formulaic, pre-packaged “teen pop” drivel than ever before.

Both Sides
One of the effects of having this equipment available so widely and cheaply is that it may not seem special in any way.

And it may also not be obvious to the aspiring musician, producer, engineer, tech, etc., that this stuff is not pro.

By the same token, of course, using “real pro gear” does not make someone good at their craft. The two go hand-in-hand: improvements in the quality of the gear can only be fully utilized by the improved skills of the operator.

Unfortunately, as we’ve all seen, clients often don’t know the difference either. They ask to “borrow a microphone” and then are taken aback when “there’s no way to get the sound out.” (Oh, you meant the PA system?)

In general, this is an effect of globalization. Should we really expect to get a toaster for $9.99 or a printer for $29.99? How about a 24-channel mixer for $199? If you know anything about manufacturing, you’ll recognize that the toaster costs about $2 to produce and the mixer costs about $40. Difficult to comprehend, isn’t it?

Of course, this is a complex issue with many facets, and I don’t profess to have the answers, but at times, thinking about it does deprive me of sleep. That is, unless I’ve been hitting the bottle of Laphroig18 I received for Father’s Day…

Lack Of Balance
Another troubling subject: the government of the United States is currently hard at work on possibly further screwing things up for wireless microphone systems.

Didn’t we just get through a decade of warnings, misunderstandings, deliberate obfuscation, fear and panic over the 700 MHz issue?

Now it looks like the FCC wants to take even more spectrum from broadcasters. They want 500 MHz overall, and claim to expect about 120 MHz or so to come from broadcasters. Say what?

It’s all part of the “National Broadband Plan,” and the FCC is hoping that the broadcasters voluntarily “give up” this spectrum. In fact, they’ve proposed that the broadcasters share in the auction proceeds when it’s sold off to broadband network providers.

Yes, these are the same broadcasters that A) had to invest heavily in DTV technology just a few years ago, and B) already had to vacate the 700 MHz band. I can’t imagine that they’re too happy with this proposal. The government hints that if the spectrum is not given up voluntarily… well, you get the idea.

So what about wireless microphone systems? The vast majority of these systems, whether analog or digital, share the spectrum with the broadcasters.

What’s troublesome about all of this? It’s not that there aren’t efforts by wireless manufacturers to develop new products and new technology platforms - in fact we’ve even seen products that work outside the broadcast spectrum brought to market by an intrepid few.

And it’s not that everyone involved hasn’t already made significant sacrifices - from TV broadcast equipment makers and users to wireless system makers and users - because they have.

No, what is really troublesome about all of this is that the government still does not seem to understand that there must be a balance between content creation and content distribution; they’re seemingly only concerned with the latter. 

It begs the question: just how is content going to be created? Clearly, the message that major sports, casino showrooms, Hollywood, theme parks, TV production, Broadway, churches, major tours, and so on rely heavily upon wireless systems has not sunk in with these folks. Even political debates and campaign tours benefit from this very same technology!

Why is this so difficult to understand? No wonder more scotch is required for me to sleep. Preferably at least 15 years old, Islay. Thank you.

Doing The Homework
Let me get back to audio for a minute. This is related to the first part, where I think equipment has been watered down and manufacturers are ever-tempted to cater to the lowest common denominator. As already stated, equipment is only half the issue.

What concerns me even more is that it has become increasingly rare to talk with someone who really understands the fundamentals of audio.

It seems a lot of folks have long-held beliefs about audio issues that are based on anecdotal information, an isolated personal experience, a less-than scrupulous manufacturer’s marketing literature - or parts of all of the above.

It leads me to posit (once again) that not enough people in our industry are learning the fundamental principles behind the work they’re doing.

There was an interesting post on ProSoundWeb recently that linked to an article about how “experts” quite often steer us wrong.

The only solution, really, is to think for ourselves. But before we can do that, we need to educate ourselves about the important issues. And to do that, we must first understand the fundamentals.

How many times have you heard someone say “Sorry, captain, but I can’t change the laws of physics?” (With or without a Scottish accent).

So, what laws of physics are we trying to break when doing our jobs? Inverse Square Law? The speed of sound? Ohm’s Law? The fact that latency is inherent in A/D conversion? Mismatched impedance?

O.K., maybe all of them aren’t laws of physics, and hopefully we know which is which. But still, they’re all based on those laws.

Hopefully, none of this causes you to lose sleep, but just as hopefully, all of this does provide something to think about. And maybe we can talk about it further, preferably over a glass of single-malt.

Karl Winkler is Director of Business Development at Lectrosonics and has worked in professional audio for more than 15 years.

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Tuesday, July 13, 2010

Audio-Technica Expands SpectraPulse Wireless System Offerings With New rcu104

Allows a SpectraPulse system to operate with up to four drm141 digital receiver modules, increasing the robustness of the UWB connection and expanding the coverage area

Audio-Technica has added to its SpectraPulse Ultra Wideband (UWB) wireless microphone system with the rcu104 receiver coordinator unit, which expands SpectraPulse coverage area and robustness of the UWB signal through the use of multiple drm141 digital receiver modules.

It also allows a single SpectraPulse system to be shared between two closely-located or adjacent rooms, making it a good addition to a SpectraPulse system for fixed installation scenarios, rental staging, corporate boardroom applications and much more.

A completely new application of UWB technology, SpectraPulse offers secure wireless operation for the installed sound market, free from RF competition, frequency coordination and “white space” issues.

The rcu104 allows a SpectraPulse system to operate with up to four drm141 Digital Receiver Modules, expanding the coverage area of the system while increasing the robustness of the UWB connection beyond the range provided by a single drm141.

Each rcu104 incorporates connections for up to four drm141’s and a SpectraPulse aci707 audio control interface. The rcu104 receives the incoming data streams from the drm141s, and creates a single data stream that can be interpreted by up to two linked aci707 units.

The rcu104 supplies power for all connected drm141’s. Front panel LED indicators on the rcu104 provide visual status of drm141 power, firmware conflict error, data connection communication and mtu signal activity.

Designed for easy plug-in installation, the rcu104 also manages UWB pulse timing, data coming from the aci707, and correct programming of encryption keys.

Occupying a single rack space, the rcu104 easily interconnects using standard RJ45 connections, and it can be located up to 500 feet from the DRMs and 200 feet from the aci707.

Audio-Technica Website

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Monday, July 12, 2010

Zaxcom TRX900LT Encrypted Digital Wireless Audio Transmitter Makes European Debut

The TRX900LT will be unveiled for the first time in Europe at IBC2010.

Zaxcom has announced that the new TRX900LT digital audio transmitter will make its European debut at IBC2010.

The TRX900LT combines wireless transmission, recording, and remote control receiving functions into a single, low-cost system.

The new digital audio transmitter features 100-percent digital transmission.

All audio transmissions from the TRX900LT are fully encrypted to eliminate the possibility of production audio interception and theft.

It also includes a patented internal timecode-referenced audio recorder that backs up all wireless transmissions on a removable microSD card which eliminates the possibility of audio loss due to interference or signal dropout.

The TRX900LT is designed to be lightweight and durable, housed in a high-strength, impact-resistant nylon polymer casing that provides protection from both corrosion and water damage.

Zaxcom Website

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Friday, July 09, 2010

Lectrosonics Chosen For Historic BBC Documentary

Wireless technology from Lectrosonics helped to re-trace the tales of Maori warriors as they confronted British Empire.

In 1845, Maori warriors challenged the British Empire after Hone Heke—one of the tribal leaders— felt that British settlers had reneged on their treaty obligations and infringed upon the North Island of Aotearoa, known today as New Zealand.

The Maori fought tenaciously and developed defenses that would have been perfectly suited to a First World War battlefield.

This story lives on among Hone Heke’s ancestors and is part of a three-part documentary series call Victoria’s Empire that was produced by Tiger Aspect Productions of London and televised on the BBC, the sound which was captured using wireless technology from Lectrosonics.

Auckland, New Zealand-based production sound mixer Mike Westgate received the call to handle location sound for this challenging project. “The Maori war canoe, Waka Taua, is low-to-the-water and a cramped vessel,” said Westgate.

“I knew that, with all the oars propelling the canoe, there would be lots of splashing. Water, of course, is not the friendliest of elements toward electronic equipment.”

“For this reason, it was clear to me that if I was to have any success; the only equipment for the job was one of my Lectrosonics’ MM400A water-resistant miniature beltpack transmitters.”

Westgate’s two MM400A transmitters were paired with Countryman B6 omnidirectional lavaliere microphones. These transmitters communicated with a pair of Lectrosonics UCR100 beltpack receivers. Westgate also used two Lectrosonics UM200 frequency agile beltpack transmitters (also with Countryman B6 microphones) with a pair of UCR201 compact diversity receivers.

According to Westgate, “We were shooting in India, Hong Kong, Borneo, New Zealand, Australia, and Zambia. We had two equipment sets to ensure against any accidents or frequency conflicts and this particular combination of equipment worked very well for us.”

“The fact that the two pairs or radio microphones were on different blocks was another advantage. I kept the UCR100 receivers on block 24 while the UCR201’s were on block 22.”

“I work under some very demanding conditions, so the gear takes a fair amount of abuse and it has to work consistently,” he said. “The build quality, the logical menus, and the level of support Lectrosonics provides are first rate. It all adds up to a very positive field experience.”

“All the interview dialogue was achieved using wireless microphones,” Westgate said, “and the audio quality is superb on the film’s DVD. We filmed from an adjacent boat and it was a last minute decision of mine to place the Lectrosonics MM400a onboard the canoe.”

“Once we started shooting, I handed my headphones to director Ben Warwick. He simply could not believe the results that captured the power of the moment. Coupled with the sight of the Maori canoe filled with men and women rowing and chanting, the sound of paddles and water swishing was an experience that made me feel very proud.”

Click Here for a sample recording from the Maori war canoe.

Lectrosonics Website

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Wednesday, July 07, 2010

AKG USA Extends 700 MHz Wireless System Rebate Program Through September 2010

Program allows users to receive a rebate of up to $500 on the purchase of a new system, and up to $750 on purchase of a combo system

AKG has extended its 700 MHz wireless system rebate program an additional three months, to end on September 30, 2010.

The program - which went into effect March 1, 2010 - allows owners of any old 700 MHz system to trade it in and receive a cash rebate following the purchase of a new AKG non-700 MHz band, FCC compliant wireless system, or components that comprise a system.

The program extends to any level of any manufacturer’s 700 MHz wireless product as a trade-in against the rebate amount of a new AKG wireless system, and users can group components together to assemble their own eligible wireless system.

Along with the WMS40 Pro, WMS40 Pro Dual, WMS40 Pro Flexx, and WMS450 systems, users can group either the SR4500 single channel receiver or DSR 700 2-channel digital receivers with the PT4500, HT4500, DPT700, or DHT700 transmitters, but the purchase must include at least one receiver and at least one transmitter.

Additional transmitter rebates may be offered if the transmitter purchases were made in connection with the receiver purchase, and there is a corresponding trade in transmitter for every transmitter-rebate request.

“After seeing the positive effect that our rebate program has had on our customer’s ability to upgrade their systems, we decided that everyone would be better served if it was extended,” commented Joseph Wagoner, Product Manager, Wireless/Tour/Install, AKG.

“We’re dedicated to ensuring that our customers receive the best possible service, even after they have purchased our equipment, and extending this program allows us to provide them with exactly that.”

The program is accessed by logging onto AKG’s website, clicking on the USA logo, and following the links to the rebate documents.

Once accessed, users must fill out the documents according to the products they are trading in and submit them along with the trade-in unit, the original UPC label from the new product and a copy of the purchase receipt.

The program allows users to receive a rebate of up to $500 on the purchase of a new system, and up to $750 on purchase of a combo system. 

For more information on AKG USA’s wireless rebate, download the PDF Mail-in Rebate Form or contact a participating AKG dealer.

AKG Website

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Thursday, July 01, 2010

Shure Announces Formation Of Netherlands Distribution Organization

Shure distribution Netherlands is the newest subsidiary of Shure Europe.

Shure Incorporated has announced the formation of Shure Distribution Netherlands. 

The new Shure subsidiary began operations on June 1, 2010, and will be responsible for the distribution of Shure products in the Netherlands.

The subsidiary, based in Culemborg, will also provide sales, marketing, and applications support to Shure’s pro audio and consumer partners in that country.

“We are looking forward to serving our customers with outstanding products and services,” said Willen van Zuilekom, Managing Director of Shure Distribution Netherlands.

“Being close to the market will allow us to even better understand customer needs and offer strong solutions.”

“With the formation of a Shure-owned distribution organization in the Netherlands we take the next step in supporting the positive development of our business in Europe,” said Markus Winkler, Managing Director of Shure’s Europe, Middle East, and Africa (EMEA) Business Unit.

“Close relationships with our customers are key, and we are proud to have industry experts like Willem and Eric on board to foster those relationships.”

Shure Incorporated Website

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Zaxcom Introduces Miniature Timecode-Referenced Audio Recorder

The ZFR200 is an ideal tool for high-RF environments.

Zaxcom has announced the ZFR200 audio recorder, designed to act as an ultra-compact and lightweight replacement for wireless microphones.

The ZFR200 records on microSD cards and features an integrated SMPTE timecode reader/generator.

The unit features a high-strength nylon polymer casing that provides water and corrosion resistance and weighs just 3.5 ounces.

The ZFR200 can receive remote control and timecode signals via Zaxcom’s IFB100, the new ZaxNet 2.4-GHz wireless network, or a manual timecode jam.

A timecode jam enables audio professionals to use any quantity of ZFR200 units in sync all day, with the integrated timecode generator ensuring one-frame accuracy over a six-hour period.

The ZFR200 can output audio as either 24-bit/48-KHz timecode-stamped broadcast wave (.wav) files or timecode-stamped MP3 files. Each unit is powered with a single AA battery with up to 14 hours of run time.

“Our new ZFR200 is an excellent tool for reality television and similar productions where the production team is faced with interference issues, poor RF range, or no available wireless frequencies,” said Glenn Sanders, Zaxcom’s president.

“By recording directly to microSD cards on the bodypack, the ZFR200 is an excellent low-cost, low-weight replacement for wireless mics.”

Zaxcom Website

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Wednesday, June 30, 2010

WTVF Nashville NewsChannel 5 Expands Wireless Tooolkit With Lectrosonics

New equipment was chosen for its sound quality and rugged design.

WTVF NewsChannel 5, a CBS affiliate in Nashville, recently retired a portion of their wireless microphones that fell within the 700 MHz band and replaced it with Lectrosonics wireless equipment.

Mike Rose, Chief Video Photographer for WTVF TV supervises a 21-person camera crew for the station’s news operations.

“We are responsible for all general news coverage, including investigative reporting, sports, and local news,” said Rose.

“In this line of work, the equipment is in the field everyday and is used in a variety of shooting situations.”

“In May, Nashville received 17 inches of rain in 48 hours. Every crew was out in the rain, around the clock, filming high water rescues, flood damage, FEMA press conferences…you name it.”

“Equipment performance was critical so crews could focus on the story. We never had wireless issues.  These were by far the most extreme, humid, conditions I have ever worked in.”

“Failure was not an option. Because of the robust nature of the wireless units, we were able to tell some incredible stories.”

Rose reports that in addition to the equipment that had to be replaced to address the FCC ruling, every camera operator also had a Lectrosonics CR185 compact receiver, an M185 beltpack transmitter, and an H185 plug-on transmitter in their kit.

“These systems have been in service for a long time,” said Rose, “so we already had a high level of confidence in Lectrosonics products.”

Ultimately, Rose purchased 19 Lectrosonics SRa5P dual channel slot mount ENG receivers, 19 HM plug-on transmitters, and 19 UM400a beltpack transmitters from Nashville’s Trew Audio

“By getting our new Lectrosonics SRa5P dual channel receivers, along with our HM plug-on and UM400a beltpack transmitters,” said Rose, “every operator now has two systems available—and all of it Lectrosonics.”

After roughly six months of field time with their new Lectrosonics equipment, Rose has nothing but praise for both the gear and Lectrosonics’ customer/technical support services.

“I’m particularly impressed with how easy it is to change frequencies,” he says. “This is great for those times when you want one microphone to feed multiple cameras. Over the years, I’ve been equally impressed with the company’s tech support.”

“On those occasions when I’ve need something adjusted or a firmware update, the company has been very responsive. A tech always calls to advise me what work has been performed and the equipment has been returned very quickly.”

“When I watch the news at home in the evenings,” he said, “the audio is clear, I’m able to hear all the sound bytes that I know should be there, and I don’t hear any RF interference.”

“Sound quality is first rate and that’s the bottom line. When I watch the news, I want to be able to close my eyes and visualize the story by way of the sound—and our Lectrosonics gear gets us there.”

Lectrosonics Website

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Tuesday, June 29, 2010

Shure Names Audio Geer As Its Representative Of The Year

“Audio Geer consistently goes above and beyond to service its customers." - Jim Schanz, Shure

Shure has named Audio Geer as the company’s sales representative of the year for 2010. 

Audio Geer President Alan Geer received the award at the recent InfoComm Show in Las Vegas.

“Audio Geer consistently goes above and beyond to service its customers,” said Jim Schanz, Shure director of U.S. and Canada field sales. “Alan Geer has assembled an outstanding sales team with a broad array of real-world experience in live sound, contracting, and retail. 

“The firm also maintains a sophisticated internal infrastructure that gives it instant access to key sales data in the office and in the field.”

“We’ve been part of the Shure family for 10 years, and it’s nice to be recognized as a leading contributor by receiving this award,” said Alan Geer. 

“I’m very proud of my team, all of whom contributed to this success, and we’re looking forward to another great year.”

Audio Geer has represented Shure in southern California and southern Nevada since 2000. The company maintains offices in Los Angeles, Orange County, San Diego, and Las Vegas.

“Audio Geer was selected as our Rep of the Year for several reasons,” added Schanz. “Audio Geer has committed its resources to working with our customers to not only grow their business, but to look for ways that enable our customers to stay on the forefront of technology through training and education. 

“At Shure, we feel that the interaction with our customer must continually go beyond the everyday sale. Being there for dealer events, the planning and designing of new projects, challenging installations, and day-to-day opportunities that arise is pivotal in partnering with our customers.  Audio Geer shares that same work ethic.”

Shure Website

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