Friday, May 01, 2015

Radio Active Designs Gets Cutthroat In The Kitchen

California based broadcast rental company supplies reality show with professional gear and technicians

Burbank, California-based RGEAR recently supplied two Radio Active Design (RAD) UV1-G wireless intercom systems to Food Network’s popular television show Cutthroat Kitchen.

RGEAR is a broadcast rental house that provides audio and video systems for multiple television shows – mostly in the reality genre. Unlike similar businesses, RGEAR also provides skilled technicians with their systems to ensure their clients receive the best gear and the best support.

“We use two of the UV1-G systems with 12 RAD packs on the set,” explains Nick Norton, audio technician for RGEAR. “It is an incredibly flexible system. We use it mostly for the camera operators on the stage and anyone that needs to be remote on stage like the assistant director.”

RGEAR provides a 4 RU rack loaded with the two 1RU base stations. The Enhanced Narrow Band wireless intercom system offers RF channels possessing an occupied bandwidth of a mere 25 kHz with the audio characteristics expected of a traditional FM system. The UV-1G uses VHF for the belt pack portable devices leaving more room for operation of other wireless devices such as in-ear monitors and wireless microphones.

“With the RF spectrum getting smaller, our first step is to free up our UHF frequencies – the UV1-G helps with that considerably,” Norton adds. “It is also very user friendly and intuitive which makes programming systems and belt packs easy.”

RGEAR purchased the UV-1Gs from RAD directly along with their high gain antennas deployed for belt packs transmitting back to the base stations. A custom antenna splitter combiner from Professional Wireless Systems, one of RAD’s distributors, is also utilized with the system.

Radio Active Design

Posted by House Editor on 05/01 at 07:18 AM

Tuesday, April 28, 2015

There’s Still Time! Enter The PSW Sweepstakes To Win An Audio-Technica Microphone Or Wireless System

Two more drawings left in April to win your choice of a System 10 PRO rack-mount digital wireless system or an AT4081 bidirectional ribbon microphone

There’s still time to enter to win an Audio-Technica microphone or a wireless system in the latest PSW Sweepstakes.

The sweepstakes, with two winners selected each month, has been running since February and closes at the end of this month (April).

Winners get their choice of a new ATW-1312/L System 10 PRO rack-mount digital wireless system or an ATW-1312/L System 10 PRO phantom-powered bidirectional ribbon microphone. Here are the winners so far and their choices:

Patrick C. from WI—System 10 PRO wireless
George A. from PA—AT-4081 ribbon microphone

Charlie P. from IL—AT-4081 ribbon microphone
Chad S from MI—System 10 PRO wireless

The System 10 PRO operates in the same 2.4 GHz range (outside TV bands) as the original System 10 but with expanded features and versatility. The half-rack chassis is equipped to house two receiver units that can be operated locally or released from the chassis and mounted remotely (up to 328 feet away) via Ethernet cable. It’s valued at $1,189 (USD). Find out more about it here.

Delivering the warmth and natural sound of a classic ribbon microphone, the handcrafted AT4081 offers a robust build for long-lasting performance and higher output for maximum compatibility with microphone preamplifiers. It incorporates features A-T’s MicroLinear ribbon imprint, which protects the dual ribbons from lateral flexing and distortion. It’s valued at $895 (USD). Find out more about it here.

Two prizes are still available, with the final drawing not until the end of April. Don’t miss your chance to win!

Click here to enter the PSW Audio Technica Sweepstakes now!.

Posted by Keith Clark on 04/28 at 01:27 PM
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AirNetix Releases AiRocks Pro Wireless Repeater For Loudspeakers

Multi-hop repeater system designed to transmit wireless audio to remote powered loudspeakers and amplifier racks

AirNetix has introduced the AiRocks Pro, a multi-hop repeater system designed to transmit wireless audio to remote powered loudspeakers and amplifier racks.

Developed specifically for the professional sound reinforcement market, AiRocks Pro is especially well suited for delay stack applications in traditionally challenging applications such as concerts, festivals, golf tournaments, parades, air shows, auto races, and any other event that requires professional-quality sound to be distributed to loudspeakers over a wide area throughout all weather conditions.

The company states that the 900 MHz band feature penetrates walls, trees, people and other obstructions that often limit higher frequency devices that operate at 2.4 GHz.

Alex Moran, owner of Spider Ranch Productions in South San Francisco and beta-tester of new AirNetix products, says, “We’ve used the AiRocks Pro system in several of our more challenging venues and it performed flawlessly. The transmit range is well beyond any other product that we have tested, and the rugged aluminum enclosure makes it perfect for the hard knocks on the road. And since any radio can be configured as a transmitter or receiver, we are able to quickly reconfigure our RF link to and from the stage during a live event.”

AiRocks Pro includes features specifically designed for mobile professional audio environments, such as built-in variable 500 ms delay, 158-398 mW of effective transmitting power, range of more than 1,000 feet, XLR line-level audio input and output, a weather resistant aluminum outdoor enclosure.

In addition, an extensive AirNetix Network Management System provides engineers with a large toolbox of real-time monitor and control functions. This includes the ability to monitor the receive signal at each remote unit from a central laptop, as well as control output volume, add audio delay, and even perform spectrum analysis at a remote site.

AiRocks Pro operates in the unlicensed, uncrowded 900 MHz radio band, offering the freedom and flexibility to utilize the system virtually anywhere in the U.S. and Canada without the burden of dealing with licensing or frequency coordination issues.

AirNetix will be demonstrating the AiRocks Pro system at the upcoming 2015 InfoComm show in Orlando (June 17-19) in booth 102.


Posted by Keith Clark on 04/28 at 01:09 PM
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Church Sound: Are In-Ear Monitors Right For Your Ministry?

This article is provided by Church Audio Video.

In-ear monitors (IEMs) are finding their way onto the wish list of nearly every church technical director and worship leader these days. But are they the right choice for your ministry?

Answering “yes” to any of the following questions may provide direction.

• Does your church suffer from excessive stage noise?

• Does your sound operator have difficulty establishing a decent mix?

• Does your sound (especially your music) always seem a bit muddy?

• Does your talent always complain about the monitor mix?

• Does your talent wish that they had “more me” in the monitors?

Ok, so I answered yes to all of those questions…but what in the name of sound reinforcement are in-ear monitors?

IEMs provides the talent with a monitor mix sent to a set of earbuds worn in the ears instead of the traditionally used loudspeaker wedges found on stage. They can either be wired or wireless, and also be user-adjustable (personal monitor mixing). Some advantages include:

Lower Stage Volume
Since fewer wedges will be needed on the stage, the overall SPL level on stage will be considerably less. This lower stage volume will provide for a cleaner, more intelligible house mix.  It will improve the effectiveness of any monitor wedges left on the stage. 

It will also improve any audio recording due to less acoustic leakage into any open mics on stage. And less stage noise will also lead to fewer instances of acoustic feedback.

Greater Flexibility & Mobility
With wireless IEMs, the talent can move anywhere they see fit without any noticeable change in their monitor mix. If a personal monitor mixing system is also used, the sound engineer will no longer hear “I Need More ME!” because the talent can take care of it on their own.

The use of IEMs requires a lot less volume than typical stage monitors and can save your hearing if worn and used correctly. If you value your hearing, then this is a way to go.

The use of IEMs allows for discreet communication from front of house. You won’t ever have to worry about getting the attention of the talent (or the first six rows) when trying to fix a sound issue on the fly.

Tip: Place a couple of ambient mics around the room and feed the signal to the IEMs or you’ll have talent taking one of their earbuds out of their ear because they feel isolated from the congregation. The practice of wearing only one IEM will in most cases require an increase in SPL, resulting in an increased chance of hearing loss in that ear.

Casey Watson is a project manager and Certified Church Consultant for Church Audio Video.

Church Audio Video specializes in the design, installation and support of high-quality and affordable custom audio, video, lighting, broadcast and control systems for worship facilities. For more information, visit the company website.

Posted by admin on 04/28 at 08:10 AM
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Monday, April 27, 2015

Audio-Technica Microphones Once Again Chosen For Rock And Roll Hall Of Fame Induction Ceremony

The 30th Rock and Roll Hall of Fame induction ceremony was held at Cleveland’s Public Hall and will be broadcast on HBO on May 20th.

A range of microphones from Audio-Technica, was again selected by the audio professionals lending their talents to the 30th Rock and Roll Hall of Fame induction ceremony, held Saturday, April 18, 2015, at Cleveland’s Public Hall. The event will be broadcast on HBO on May 20. 

A highlight of the show was the segment honoring soul legend Bill Withers, who made a rare appearance and an even rarer on-stage performance at the event. R&B singer John Legend and Hall of Fame member Stevie Wonder each performed in this segment using Audio-Technica’s 5000 Series UHF Wireless System with AEW-T5400a handheld microphones. Wonder performed “Ain’t No Sunshine,” followed by Legend’s performance of “Use Me” and both singing “Lean on Me.” 

The backline mic complement of A-T wired microphones included AT4050 Multi-Pattern Condenser Microphones, used for drum overheads and bass; AT4050ST Stereo Condenser Microphone, used for audience ambience; AE5400 Cardioid Condenser Handheld Microphone, used for background vocals; AE5100 Cardioid Condenser Instrument Microphones, for hi-hat and audience ambience; AT4047/SV Cardioid Condenser Microphones, for B3 cabinet; and AT4081 Phantom Powered Bidirectional Ribbon Microphones on guitar amps. 

The technical staff for the induction ceremony was made up of professional audio industry veterans. Remote recording specialists M3 (Music Mix Mobile) were responsible for both recording the program and mixing the show for broadcast. M3’s Mitch Maketansky served as audio coordinator, John Harris as recording engineer, Joel Singer as truck engineer-in-charge and Brian Flanzbaum as Pro Tools operator. M3 A2s included Mike Fortunato and Jimmy Goldsmith. The P.A. was provided by New York-based sound company Firehouse Productions. Ron Reaves served as front of house Mixer, with Simon Welch as monitor mixer. Skip Kent served as audio tech manager.

Maketansky stated, “Many of my associates and I have relied on A-T mics and wireless systems over the years for a variety of live broadcasts on account of their consistency from mic-to-mic and their reliability as products. Across artists and genres, there is an Audio-Technica solution for any application you can think of, allowing us to capture the performance the way it’s intended to be heard.”


Posted by House Editor on 04/27 at 08:01 AM
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Thursday, April 23, 2015

Listen Technologies Assistive Listening Products Chosen For First Presbyterian Church

The church’s floorplan posed a challenge to providing comprehensive and consistent coverage for an assistive listening system

First Presbyterian Church in Greensboro, North Carolina, recently underwent a renovation that included components from Listen Technologies, manufacturer and distributor of assistive listening products.

The church’s floorplan of approximately 65 feet by 100 feet posed a challenge to providing comprehensive and consistent coverage for an assistive listening system. The use of two Listen Technologies MLD9 loop systems, whose cabling traversed the sanctuary floor more than 50 times underneath a complex combination of floor coverings, in addition to 23 Listen Technologies CMR3 calibrated receivers, assures that audio is available for all congregants.

“This was by far the largest loop project we have ever done,” observes Brent Everhart, sales engineer at Audio & Light, the Greensboro AV systems integrator that sourced the Listen Technologies system and installed it, in conjunction with Curtis Kasefang of the Theater Consultants Collaborative, the design consultancy on the project. The total square footage is over 6,500 square feet, and there was a unique challenge in keeping the cabling intact as the flooring was being installed.

“The materials are different in various parts of the room, with either carpeting or vinyl covering on the floor,” Everhart explains. “The concern was to avoid having the flooring installers damage the loop by cutting it as they installed the coverings. We trained them on the loop’s location, but we also set up an alarm system that would alert us via the Crestron touch panel control system if it was cut, so we could repair it before the floor was finished.” 

Listen Technologies’ MLD9 loop system (with features such as Automatic Gain Control and Metal Loss Correction), provides an area of coverage of 13,990 square feet or can be used to drive two Perimeter Loop areas of 35,520 square feet, each with a clarity of sound for music and intelligibility of speech. 

The MLD9 MultiLoop Driver provides a solution for situations where a simple loop around the room perimeter will not work.

Phased arrays, such as those used at First Presbyterian Church, provide a solution for buildings with metal structure or reinforcements by decreasing the spill of the magnetic signal outside of the room, allowing hearing loops to be installed in adjacent rooms without interfering with one another. Arrays can also be used to change the way two loops interact with each other, providing solutions to complex installation problems.

“Between improved signal strength and the control of overspill, we get a strong, consistent signal throughout the sanctuary,” says Everhart. “When the new systems were first used, at a service on December 21 of last year, everyone noticed the improvement. The Listen Technologies system made a huge difference in a very large space.”

Listen Technologies

Posted by House Editor on 04/23 at 10:28 AM
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Wednesday, April 22, 2015

Point Source SERIES8 Earset Microphones On The World Premiere Of SEVEN

San Francisco based sound designer describes his first experience using the miniature microphones

Sound designer, Alan Chang recently described his first experience using Point Source Audio’s SERIES8 earset microphones.

Chang was retained as live sound engineer for the world-premiere of “SEVEN” a one-time-only theatrical reading staged in recognition of International Women’s Month in February, sponsored by the National Council of Jewish Women Sacramento Section at the Congregation B’nai Israel. SEVEN tells the true stories of remarkable women and their extraordinary achievements. The occasion featured playwrights telling inspirational stories through the words of the seven heroes.

Chang, principal of Coral Canopy, based in San Francisco, is a multimedia production house that covers film, television, concert, theater, orchestra, and chorale sound design and system integration. Chang said his first experience using the hi-performance miniature SERIES8 earworn microphones was a “eureka” moment that will “forever stand out in my mind.”

Chang’s sixteen-year career spans overseeing technical and creative direction for everything from TEDx events to the experiential NASA “Ground Control: An Opera in Space”, a world-premiere consisting of a 3-month musical and orchestral process by the International Space Orchestra that culminated in the kick off in 2012 of the ZERO1 Biennial and the recording of an album at Skywalker Sound.

Chang explained that the Point Source earset mics are so tiny they almost disappear. “It’s hard to believe so much technology can be contained in something this miniature”, he said. “Despite the marbled floor and challenging room acoustics, each word and lyric was clearly reproduced for the attendees excited to hear these performers’ every word. We received rave reviews from the audience as well as the performers, unusual in my experience since most folks take sound for granted.”

Chang said he had been hearing good things about the Point Source Audio earset mics and he decided to try them. He had heard how dependable they are for theatrical production — waterproof, makeup resistant, durable, very bendable—and most importantly precise. He especially appreciated the sales support he got from Point Source Audio and their local dealer, CyberLogic, and now considers the team friends.

Chang said, “Because the microphone boom is securely positioned near the mouth, we heard every nuance, from quiet whispers to sudden bursts of shouting. Even during sudden choreographed movement, the SERIES8 microphones performed dependably and seamlessly; every spoken word was coherent.” During the production Chang said he could actually relax; he didn’t have to be super-vigilant guarding against “gain before feedback.” And because he’s now using them consistently for all of his projects, he can attest to how robust they are not just during production but over time. He says, “They’re built to perform—and to last.”

Point Source Audio
Coral Canopy

Posted by House Editor on 04/22 at 11:08 AM
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Audio-Technica Provides Microphones For 2015 Academy Of Country Music Awards

Three endorsers performed using Audio-Technica’s Artist Elite Series UHF Wireless Systems

Audio-Technica provided wireless solutions for the 50th Academy of Country Music (ACM) Awards, broadcast live on the CBS Television Network from the AT&T Stadium in Arlington, Texas, Sunday, April 19, 2015.

Three Audio-Technica endorsers –

Male Vocalist of the Year winner Jason Aldean,

New Artist of the Year winner Cole Swindell,

New Artist of the Year nominee Thomas Rhett,

- each performed using Audio-Technica’s Artist Elite 5000 Series UHF Wireless System with the AEW-T6100a Hypercardioid Dynamic Handheld Transmitter during the course of the show.


Posted by House Editor on 04/22 at 08:08 AM
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High Noon Entertainment Goes To Extremes With Lectrosonics Digital Hybrid Wireless

Current productions include TLC’s Cake Boss, HGTV’s Fixer Upper, the Travel Channel’s Trip Flip, and The Weather Channel’s Prospectors

Camera operators in the world of extreme reality television production need their equipment to be robust, reliable and lightweight. For High Noon Entertainment, a content creator specializing in unscripted formats and docu-series, Lectrosonics Digital Hybrid Wireless audio equipment covers offers solutions without weighing operators down.

“Lectrosonics SR series receivers have been huge for us,” says Andy McDonald, director of photography at High Noon Entertainment, which was founded in 1997 in Denver, CO, with offices now also in Los Angeles. “As a camera operator I’m always trying to find ways to make my camera lighter. The Lectrosonics dual-channel SR is our go-to and it’s the receiver that I’ve been buying the most.”

McDonald has been impressed by the Lectrosonics SRa5P, he says. “That particular version represents an upgrade to the standard SRa receiver that enables both channels to be fed into the Panasonic AJ-HDX900 camera used by many reality TV producers. “We upgraded one to see how it was,” he says. “And the results were so impressive, it was—it was awesome. So we’ve upgraded all of our units to SRa5Ps.” McDonald estimates that the company currently owns about 10 of the Lectrosonics receivers.

McDonald can be forgiven for not knowing exactly how many SRa5P camera-mount modules the company owns. High Noon Entertainment, which was acquired by the UK media company ITV Studios in 2013, is usually working on more than two dozen shows at any one time, he reports. Current productions include TLC’s Cake Boss, HGTV’s Fixer Upper, the Travel Channel’s Trip Flip, and The Weather Channel’s Prospectors among many others.

On larger productions with many more channels of wireless audio, McDonald will often bring in independent sound mixer Bruner Dyer and John Sayles and his Usable Audio team. “These guys are my gurus of sound, my two mad scientists of audio—and their entire arsenal is all Lectrosonics,” he says.

To offer one large-scale example, the Food Network’s Last Cake Standing included eight contestants, each with an assistant, along with four judges and a host. “Plus, there was a producer for each kitchen, and each producer had an IFB. A lot of time we use UCR100 belt-pack receivers for IFB,” he says. That’s a lot of wireless channels, but as McDonald points out, “The versatility of the Lectrosonics units allow us to be frequency agile. We usually use block 21 and block 26; you can see the brown and blue antennas sticking up.” (Antenna caps are color-coded using the standard resistor band color corresponding to the last digit of the block number.)

Yet not every show employees a sound mixer. “Sometimes I’ll be sent out with just a producer. I’ll have as many as two SR units stacked on my camera. That’s another thing I love about Lectrosonics—I only need two units to receive four channels,” he says. “We use the UCR401 receiver if it’s just a single microphone going into a smaller camera. We’ve also used the UCR100s, the 200s and the 411a’s.”

High Noon’s talent will often use SMV and SMQV body-pack transmitters. For participants in the extreme outdoor shows, “We use the waterproof WM transmitters a lot of the time,” he adds. “The nice thing about Lectrosonics systems is that they’re robust. Lectrosonics is my product of choice because of the versatility and durability.”

McDonald continues, “Dude, You’re Screwed, a survival show we do for the Discovery Channel, is one of the shows where we really need durability and range. We exclusively use the WMs—our talent has gotten so used to them that they jump in the water without any remorse. The variable output is also key. When we’re at Basecamp we don’t need that much range, so we dial them back and the batteries last longer. But when we’re out in the elements we need as much range as possible because some of those guys—one is an ultra-marathoner—like to run in the woods. So we dial it up to 250 mW and let them go.”

Lectrosonics customer support is also a factor for McDonald.  “The Lectrosonics service department has been a life-saver,” he adds. “With Lectrosonics, I sat down and talked to my local rep for two and a half hours about subjects like what we use the equipment for and the features that we are looking for. Lectrosonics is one of the few manufacturers that I work with where I have that kind of relationship, and it’s amazing. They allow me to actually have input into the products that they are creating.”


Posted by House Editor on 04/22 at 07:50 AM

Thursday, April 16, 2015

Audio-Technica Offers System 10 Camera Mount Wireless System

Operating in the 2.4 GHz range, System 10 camera mount wireless avoids TV and DTV interference

Audio-Technica (NAB booth C1745) offers the System 10 Camera-Mount Digital Wireless System, a digital wireless system designed for ENG/EFP and other broadcast applications along with easy setup.

Featuring a compact design, the system is available in handheld, lavalier and body-pack configurations. Operating in the 2.4 GHz range, far from TV and DTV interference, this system offers easy operation and channel selection. Up to eight channels may be used together without frequency coordination problems or group selection issues.

System 10 Camera-Mount Digital Wireless System Features:

Digital 24-bit/48 kHz wireless operation
Automatic frequency selection
Three levels of diversity assurance: frequency, time, & space
3.5 mm (1/8”) output jack with switch to select between TRS balanced and unbalanced (dual mono)
Features rechargeable internal battery
Receiver and transmitter battery level displays
Removable antennas
Camera shoe mount
1/8” headphone jack with volume control

The System 10 Camera-Mount Digital Wireless Systems are currently available in the following configurations and U.S. estimated street prices:

ATW-1701 body-pack system: ATW-R1700 receiver, ATW-T1001 UniPak® body-pack transmitter: $380.00.
ATW-1701/L lavalier system: ATW-R1700 receiver, ATW-T1001 UniPak body-pack transmitter, MT830cW omnidirectional condenser lavalier microphone: $450.00.
ATW-1702 handheld system: ATW-R1700 receiver, ATW-T1002 unidirectional dynamic microphone/transmitter: $400.00.


Posted by House Editor on 04/16 at 01:35 PM

Sennheiser Launches AVX Wireless Microphone Systems For Video Cameras

The system automatically selects a suitable transmission frequency within the license-free 1.9 GHz range

At NAB in Las Vegas, Sennheiser [Booth C2055] is introducing its AVX wireless microphone systems for video cameras. The compact AVX receiver plugs directly into the XLR of a camera, where it automatically pairs with the microphone and switches on when the camera does. The system automatically adjusts the correct audio levels and transmits using a specially protected link in the license-free 1.9 GHz range.

“Whether you’re a journalist compiling a show report, a professional videographer filming a documentary or an in-house marketing specialist making a product video – AVX gives you the room to concentrate on your creative work”, says Sven Boetcher, portfolio manager broadcast & media at Sennheiser. “No licensing is required, the system automatically selects a suitable transmission frequency and also makes all necessary settings – that’s true ease of use.”

AVX comes in ready-to-use systems that contain everything required to go live. Alternatively, systems can be put together from a wide choice of individual components.

Ease of use right from the start
Convenience starts with not having to register the system or pay for its use: AVX operates in the license-free 1.9 GHz frequency range, which can be used in many countries worldwide. The convenience continues in operation: the plug-on receiver automatically switches on with the phantom powering of the camera, and automatically pairs with the transmitter. The system immediately sets the correct audio level, matching it to the camera’s input sensitivity, selects a free frequency – and is ready for the job at hand. If a source of interference appears, AVX will inaudibly shift to a new frequency.

Range on demand
AVX is equipped with adaptive transmitting power, meaning that the system always uses the power that is required to maintain a reliable connection between the microphone and the camera receiver. This not only provides a stable link, it also reduces battery power consumption – as does the automatic on/off function.

Energy management
The AVX receiver and transmitter are powered by special lithium-ion batteries, which can be recharged via a USB port. To avoid nasty surprises when filming for a long time, the transmitters display the amount of battery life remaining.

DSLR accessories included
For DSLRs with a jack audio input, the AVX systems include an XLR-3/mini-jack adapter cable and the mounting accessories needed to attach the receiver to the camera hotshoe.

Sets or individual components
AVX is available in three different sets: with a handheld transmitter (evolution microphone head), with a bodypack transmitter and ME 2 clip-on microphone and in a special professional version with a bodypack transmitter and an MKE 2 clip-on microphone, for film and TV productions.

For the USA, a special combo pack is issued, which includes both a bodypack and a handheld. The microphone head is an MMD 42, the capsule of Sennheiser’s MD 42 reporter’s microphone.

All system components ‑ plus additional items such as a handheld transmitter with on/off switch ‑ are available separately so that users can put together their own AVX systems.

The AVX systems and components will go on sale from June 2015.


Posted by House Editor on 04/16 at 07:17 AM

Wednesday, April 15, 2015

Soundcraft And Shure Collaborate On Digital Consoles And Microphones

Soundcraft Vi5000 and Vi7000 Digital Mixing Consoles to support Shure’s ULX-D and QLX-D Digital Wireless Systems

Harman’s Soundcraft and Shure announce a new collaboration that enables native monitoring and control of select Shure wireless systems on Soundcraft Vi Series digital consoles.

The initial implementation is being showcased at Prolight + Sound, where the new Soundcraft Vi5000 and Vi7000 Digital Mixing Consoles support Shure’s ULX-D and QLX-D Digital Wireless Systems.

With the introduction of the Vi5000 and Vi7000 Consoles comes the new extension to the Vi’s VM2 radio microphone status monitoring feature, with Shure’s digital wireless systems now recognized alongside AKG’s DMS800 and WMS4500 systems.

This integration enables automatic Shure device discovery, identification, and mapping of each wireless system to the appropriate mixer channel. When that channel is selected on the console, all essential wireless parameters are displayed. This enables live monitoring of the channel’s RF and audio metering, with the ability to adjust receiver gain from the console, much like trim adjustment for a wired mic. In addition, battery life status for Shure rechargeables and standard AA alkalines is supported.

“We are very pleased to be collaborating with Soundcraft to enable remote monitoring and control of networked Shure wireless systems,” said Shure president and ceo Sandy LaMantia. “Providing the essential wireless functions within the console inspires user confidence and adds value to both systems by providing a more seamless, integrated experience.”

Dave McKinney, general manager and vice president of Soundcraft and Studer notes, “The Vi Series consoles are designed to deliver the features and technology that our customers demand, so collaborating with Shure to deliver wireless data, natively and automatically, was an easy decision as it creates a smoother workflow for our users – something we are always striving to achieve.”

Models ULX-D and QLX-D are two of the newest digital wireless systems from Shure. Both use Ethernet connectivity to deliver system data to Soundcraft Vi Series consoles. ULX-D Dual and Quad systems also offer networked digital audio connectivity via Dante. Along with the new Vi5000 and Vi7000, a subsequent software update will support Shure wireless integration, including the current Vi1 and the Vi3000.

Harman Professional

Posted by House Editor on 04/15 at 09:00 AM
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Wednesday, April 08, 2015

Clear-Com Presents New IFB Assignment And Management Capabilities At NAB 2015

Unit features include touch-screen and drag-and-drop capabilities and the convenience of managing IFBs from a portable device

Clear-Com presents a newly-designed set of IFB assignment and management capabilities within EHX configuration software and the integrated Production Maestro Pro assignment facility. The system’s new IFB capabilities deliver routing visibility for both single matrix systems and for multi-user, multi-site facilities, in one of the most challenging areas of broadcast production.

“Matrix systems on the market today offer a one-dimensional view of IFBs and are operationally inefficient. The problems become acute where broadcasters need to scale up quickly for special events and where broadcast communications systems are geographically distributed,” said Peter Stallard, senior product manager at Clear-Com.

The new IFB management facility can support installations from a few IFBs to hundreds of lines from a single central view, making it suitable for small studios, large events and geographically distributed intercom infrastructures. Up to 200 virtual IFBs are supported on a single matrix system and up to 64 matrices can be networked together to form one system. As many as 15 system administrators can work in parallel using Production Maestro Clients to manage a network of Eclipse-HX matrix frames.

The “See-Hear-Touch” feature offers interactive options and clear management support. Dynamic visual views are provided for monitoring IFB status and troubleshooting, such as a detailed and a summary view; an option for assignable VU meters; dynamic assignment of program sources, intercom panels, destination ports and talent return; multi-level undo and redo of all assignments; and configurable screen layouts tailored and annotated for changing requirements. All operations within the system are transparent and give a view of resources in single and multiple matrix intercom set-ups.

In addition to visual support, the operators can manage the IFBs by touch, with touch-screen and drag-and-drop capabilities enabling IFB assignment and user management operations. MCR operators can select to hear the various IFB contributors as they are modified in real time and monitor the final mix to the on-air talent - a benefit to broadcasters that need to make instant adjustments.

All IFB parameters are easy to change dynamically and independently from one or more work surfaces. The user interface has been designed to scale up to large touchscreen monitor size and down to ergonomically fit into tablet devices such as the Apple iPad. At this level of interaction, IFB users gain operational efficiencies with the convenience of managing IFBs straight from a portable device, from anywhere in the studio.

Visitors to Booth C5409 at NAB 2015 will be able to see, hear and touch the new IFB management capability within Eclipse-HX, together with the complete Clear-Com line of new and enhanced products.


Posted by House Editor on 04/08 at 10:47 AM

Tuesday, April 07, 2015

Radio Active Designs Puts Wireless Intercom Systems To Work At NBA All-Star Game

Coordinating communication in VHF and UHF frequencies between four different locations in New York City

Redhook, New York-based Firehouse Productions put a number of Radio Active Design UV1-G wireless intercom systems to work during the recent NBA All-Star Weekend held at Madison Square Garden in New York City.

Four of the new UV1-G base stations and 24 beltpacks – commonly referred to as RAD packs – provided communication between production managers, riggers, special effects, carpenters, screens and automation professionals during the busy weekend.

“These are key roles and we need a comm system we can rely on,” explains Vinny Siniscal, director of the wireless & communications division for Firehouse.

“We provided sound reinforcement, wireless hardware, frequency coordination and communications for the entertainment and broadcast portions of the event in arenas and theaters as well as half-time and pre/post game shows at four separate locations,” he adds. “New York City is a busy RF environment, and we were working with well over 1,000 frequencies – anywhere you can save space on the UHF band you do.”

A typical FM wireless intercom system requires 300 kHz of radio band to function properly. By implementing Enhanced Narrow Band technology, the UV-1G intercom system requires less than 30 kHz of the VHF band freeing up valuable UHF bandwidth. In addition, because the VHF band is virtually empty, every comm operator can have their own channel, eliminating issues that can occur when forced to “double-up” in a UHF system.

“I also like the frequency agility of the UV1-G in the UHF band – it is tunable through the entire spectrum, from 470-698 mHz,” Siniscal says. “It can transmit within whatever bandwidth is available—another really nice benefit of the system.”

As with any event the size and scope of NBA All-Star weekend, reliability and durability are key qualities for gear in constant use. Although a relatively new product, the UV1-G system consistently proves itself capable in demanding RF environments.

“The system is rock solid,” Siniscal concludes, “I plan on using RAD on every event I do this year, and in years to come—it is now my primary wireless intercom system of choice.”

Radio Active Design

Posted by House Editor on 04/07 at 11:21 AM

DPA Microphones, Lectrosonics & Sound Devices Hosting Second Sound Summit

Three manufacturers of professional location audio capture products come together for training event in Chicago

On Wednesday, May 13, 2015 at the Cinespace Chicago Film Studios Ballroom on the west side of downtown Chicago, DPA Microphones, Lectrosonics and Sound Devices will host the Sound Summit, Chicago. The second of many being planned throughout the U.S. as an informal mixing and discussion event for the audio community.

These three manufacturers of professional location audio capture, with products commonly used in the field, including DPA’s d:screet 4061 and 4071 Miniature Microphones, d:screet Necklace Microphone and d:dicate 4017B Shotgun Microphone; Lectrosonics’ new L Series units, SSM “Super Slight” micro transmitter and SR Series receivers with SuperSlot compatibility; Sound Devices 688 Field Production Mixer with SL-6 SuperSlot accessory and the 970 64-Track Dante and MADI Audio Recorder.

The event will be held from 3 p.m. to 8 p.m., with short presentations from each of the manufacturers from 4:30 p.m. to 5:30 p.m., followed by food, refreshments and social time. Presentations by location sound practitioners will take place from 6:30 p.m. to 7:30 p.m. Representatives from all three companies will be available throughout the event to discuss practices for utilizing all three brands during a production.

“Following the open dialogue we had at our first event in Los Angeles, we recognize how valuable the Sound Summits are to our sound mixing user base and were inspired to improve and develop new products for, and communications to, the industry,” says Christian Poulsen, ceo of DPA Microphones. “We’re very much looking forward to this Chicago event, as well as future Sound Summits, such as the one planned for Atlanta later this year. We’re confident each one will only grow larger and more popular.”

“We’re extremely excited to host the second Sound Summit event because it allows us to share ideas and learn from the community in a relaxed setting,” says Karl Winkler, director of business development at Lectrosonics. “We anticipate the Chicago event to be very valuable and to be able to host future events in other large metropolitan areas in the coming year.”

“It’s always great to have the opportunity to get together with our users and peers to discuss and learn more about the current trends in sound mixing,” says Paul Isaacs, vice president of marketing and product design at Sound Devices. “The LA event exceeded our expectations and we can’t wait to meet with our current and potential customers from in and around Chicago.”

Chicago Film Studios Ballroom is located at 2621 W 15th Pl, Chicago, IL.

DPA Microphones
Sound Devices
Sound Summit, Chicago

Posted by House Editor on 04/07 at 09:59 AM
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