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.
Sound Summit, Chicago
Gwinnett Church Enhances Worship Experience With Martin Audio MLA
Managing a contemporary worship service both inside and outside the walls
One of six North Point Ministries churches in the Atlanta area, Gwinnett Church recently completed construction and outfitting for a new worship center on its campus with Martin Audio loudspeakers.
The center’s main sanctuary, named the Theater, is a rectangular 1300-seat auditorium that features audio, video and lighting technology to provide a complete worship experience. Installed by Clark of Atlanta, Dallas, Austin and Los Angeles, a key component of this technology is a Martin Audio MLA Compact loudspeaker system that provides uniform coverage for every member of the congregation inside while controlling noise overspill outside the building, which is located a few hundred feet from a residential neighborhood.
Asked to describe a typical Sunday service, Gwinnett technical director Adrian Varner says, “We usually start with an announcement video about the service and upcoming events, not all communications from the stage are verbal. Sometimes we’ll have a music video as a fun attention grabber, before moving into one of three songs and a transition before the sermon.
“Because we are a North Point Ministries Church, we’ll have lead pastor Andy Stanley speak to us on video via fiber. He generally speaks 40 to 42 Sundays a year with Gwinnett pastor Jeff Henderson speaking to the audience live on other Sundays.”
A five piece electric band (two guitars, bass, keyboards, drums) with two to four worship leaders who also handle vocals provides “rock and roll style” music for the contemporary praise worship services. The audio, video and lighting systems are intended “to break down the wall between the stage and audience and bring that stage experience directly out into the audience,” according to Varner.
“With the style of worship that we’re doing, I’m trying to have an experience that really surrounds you. It doesn’t just feel like it’s coming at you from the stage, but you feel really absorbed in it as it happens all around you.”
A big part of this experience depends on the sound, which explains the choice of a Martin Audio MLA Compact system with eight enclosures a side, four DD12 for outfills and eight DD6s for front fill.
“We have a DD12 outside of each hang for front of congregation and one DD12 a side for the back of the hall,” Adrian adds. “The eight DD6s are mounted on the subs under the stage.
“Our room is 150 ft. wide by 75 ft. deep and, as a rectangle, it can be hard to provide uniform coverage to the far extremes. We’ve been able to achieve that coverage extremely well. The system has exceptional clarity for speech and we needed a system for music reproduction that could comfortably hit 100dB (A-weighted) or greater with enough headroom, which MLA does easily.”
The audio system also includes DiGiCo SD10 consoles for FOH and Monitors, a Neve 5045 Portico Source Enhancer and a selection of Shure, Sennheiser, Royer and Radial wireless and wired microphones.
Gwinnett’s video system is based on Digital Projection Titan projectors for side and center, with Panasonic AK-HC931 and HPX-10 cameras; a Ross Carbonite 2ME production switcher; Harris 96x96 router; Clear-Com Matrix for communications; Harmonic message playback, and a Renewed Vision Pro Video Server and Pro Presenter.
The lighting system includes a Jands Vista L5 console; Arkoas MediaMaster media server; ETC Source Four (zoom, ellipsoidal, and parnels) and ETC Sensor 3 for key lighting; Martin MAC Aura and MAC Viper lights; Chauvet Tri Tour and Epix Strip 2.0 LED lights; a Pathport Octo for distribution, and a ChromaQ Inspire 2 for house lighting.
In addition to providing coverage for every congregant, the MLA system also solves a noise overspill problem for the church. There is a residential subdivision located 300 feet behind the back wall of the auditorium and building.
Knowing this would present a problem given the high decibel audio for early morning sound checks and services, the church specified walls with three inches of concrete, two inches of Styrofoam, and three inches of concrete, with four inches of lightweight poured concrete on the roof. Although this “does a good job of keeping the sound inside, some still leaks out a bit, especially during soundcheck at 6am on Sunday when it’s pretty quiet outside,” according to Adrian.
Summing up the Church’s reaction to the MLA Compact system, Varner concludes, “Everyone that’s heard MLA has been incredibly pleased with it. Our music director brings in music directors from other campuses, and he’ll always ask me to turn on the sound system and show them what it can do.”
Monday, April 06, 2015
New Gem Center In Ho Chi Minh City Launches With Host Of Harman Professional Components
Basao Investment installs an integrated audio system to reinforce a function space of 7,200 square meters
Recently opened in the heart of Ho Chi Minh City in Vietnam, the new Gem Center is designed to host corporate conferences, artistic performances and more, equipped with an integrated audio system developed by local Harman Professional distributor Basao Investment.
Specifically, the system for the 7,200-square-meter venue incorporates components from JBL Professional, Crown Audio, Soundcraft, dbx Professional, Lexicon and AKG.
The integrated system delivers reinforcement to a coffee shop, a restaurant, two meeting rooms, two ballrooms, a sky bar, a runway and a balcony in the facility. The background music system incorporates 12 JBL Control 23T loudspeakers, 39 JBL Control 25T loudspeakers, 15 Control 28T-60 loudspeakers, and 12 Control 28 loudspeakers. Other components include eight PRX715 powered loudspeakers, two PRX735 powered loudspeakers, 18 VerTec VT4888DP-DA powered line array loudspeakers and eight VerTec VT4882DP-DA powered arrayable subwoofers.
The background music system is powered with four Crown CTs 1200 amplifiers and two CTs 600 amplifiers, as well as two 1160 mixer-amplifiers. Two Soundcraft Si Expression 3 and two Soundcraft Spirit GB2 consoles with two mini Stageboxes handle mixing. The system also includes dbx ZonePro 640m digital zone processors for expanded processing capability, plus four Lexicon MX400 multi-effects processors.
“There is no other venue in the city that is so well-equipped,” said Nguyen Khac Anh, managing director of Basao Investment. “The equipment list that we provided works well for this venue, as it will allow guests to enjoy crystal clear music in the background as well as onstage. We have relied on Harman for many years, because its products give us a lot of flexibility when it comes to designing integrated systems for special venues like the Gem Center.”
DPA Microphones Take On A Downpour At The 2015 BRIT Awards
d:facto vocal microphone shines through the rain onstage
Paloma Faith’s appearance at the 2015 BRIT Awards was a major achievement - especially for DPA Microphones. After winning the award for Best Female Solo Artist, Faith performed Only Love Can Hurt Like This, using DPA’s d:facto Vocal Microphone, while singing the last verse and chorus in the pouring rain.
“We knew the water effect was going to soak her microphone,” Faith’s monitor engineer James Neale explains. “It was definitely more of a downpour than a shower. To minimize the risk we went for a cable version of DPA’s d:facto vocal microphone as we weren’t sure we could waterproof the electronics of the wireless version she normally uses. We were relying on the double protection layer between the grill and the capsule in the d:facto and luckily this proved to be very effective against the downpour of rain used in the effect.”
Neale, who has been working with Faith since 2014, is a fan of DPA microphones, especially the d:facto vocal microphone, which he first started using in 2013 with Ellie Goulding
“The d:facto has an amazing sound quality - I especially like the virtually flat response,” Neale adds. “The low frequency proximity effect is almost non-existent. Furthermore, it is ideal for singers who sing on and off the microphone. I would definitely recommend this microphone to my fellow sound engineers.”
Faith’s front of house engineer, Huw Richards, carried out some listening tests at SSE Audio Group in Redditch. He tried out a series of microphones and preferred the d:facto. “We tried out the d:facto with Paloma in rehearsals and she immediately liked it. She has been using custom decorated Sennheiser wireless handles for some time now, so we purchased a d:facto and adapter for that system. She moves all over the stage during her shows so her microphone really does need to be wireless.”
Friday, April 03, 2015
Listen Technologies Expands ListenIR With New Products
Delay compensation, expanded coverage and advanced management tools in a small package
Listen Technologies, has expanded its IR technology offerings with the new LT-84 ListenIR Transmitter-Radiator and LA-141 ListenIR Extended-Radiator, as well as the new iDSP IR Receiver.
In creating these new IR solutions, Listen Technologies considered how the product would be used, focusing on the user experience, ease of dispensing, inventory management, and battery management at the venue—all based on input from consultants, system integrators, venue owners, and end users.
LT-84 ListenIR Transmitter-Radiator and LA-141 ListenIR Extended-Radiator
The new LT-84 ListenIR Transmitter-Radiator provides coverage up to 30,000 sq. ft. (2700 sq. m), and features delay compensation, with up to four frequencies (2.3 MHz, 2.8 MHz, 3.3 MHz, or 3.8 MHz), eliminating the need to purchase additional transmitter-radiators.
Up to four LA-141 Extended-Radiators can be added to the LT-84 for additional coverage. And, when coupled with iDSP IR Receivers, the experience includes enhanced management and storage tools for venues end users.
ListenIR iDSP IR receiver
Listen also expands its iDSP (Intelligent Digital Signal Processing) offerings with a new IR version, joining the previously introduced iDSP RF 72 MHz receivers (LR-4200-072 Intelligent DSP RF Receiver and LR-5200-072 Advanced Intelligent DSP RF Receiver). The iDSP IR receiver features an integrated neck loop/lanyard for end users; streamlined dispensing, collecting and care; and environmentally friendly advanced battery technology.
The integrated neck loop/lanyard improves the experience for people who have hearing aids and cochlear implants with telecoils. iDSP IR receivers are small, making them easier for venues to store, charge, and distribute; it also makes it easier for end users to wear and operate. Additionally, iDSP IR receivers use lithium-ion battery technology with battery management (same as a smartphone), eliminating traditional AA alkaline batteries.
iDSP IR receivers can be programmed (using free iDSP software) with unique display names, like Theater, Chapel, Classroom, or more. Additionally, the iDSP software allows venue inventory management and a convenient USB port makes it easy to set up software and apply updates.
System components include the charging tray, charging case; optional cable management system; earphones (with leatherette cushions, or hard plastic, solving certain sanitary issues); log book; free setup/inventory software; and signage. Two headphone jacks accommodate neck loop/lanyard or two sets of headphones.
Listen Technologies Corporation
Infostrada Deploys Riedel Intercom Solution To Support Technical Production Of German Reality Show
Using digital intercom and wireless systems for on-site and remote locations
Delivering intercom systems for live production, Riedel Communications has provided an Artist digital matrix intercom system and Acrobat wireless comms to Infostrada Creative Technology, a Dutch company responsible for technical production of a reality show in Germany.
During production, Infostrada is using the Riedel equipment to create an intercom system that connects Infostrada’s Mobile Datacenter with remote locations on site.
“We are using Riedel’s intercom solution because it has a strong record in terms of performance and ease of use, and it comes with excellent local support and service,” said Casper Choffat, r&d manager at Infostrada Creative Technology. “The solution’s innovative use of MADI audio was another important factor, as it will enable us to configure and route extensive communications audio with ease.”
Infostrada has used Riedel equipment throughout its own facilities for many years, so the company is familiar with how the company’s Artist and Acrobat intercom systems may be configured and operated. For this production, Infostrada developed a complete mobile datacenter within a 40-foot container, installing systems including the Riedel Artist system.
Using fiber, the company has extended the intercoms externally to remote locations on-site, where the panels are connected over AES connections. All connections to and from the mobile datacenter are on fiber, and a total of 14 multicore fiber cables connect the container to all remote locations.
Supporting wireless intercom communications, the Acrobat element of the Riedel installation gives headset users in remote locations the flexibility to move about without compromising audio quality or continuity. The integration of the Riedel RiFace system further extends the communications network to include the operational crew, working in the field with digital radios.
“Infostrada is a long-time customer of ours, and we’re pleased to be working with the company in building the versatile communications network critical to challenging and unusual live production environments,” said Wilbert Kooij, director of Benelux at Riedel. “The very nature of this production presented obvious communications challenges. While this particular use case is new for Riedel equipment, the flexibility and reliability of the Artist and Acrobat systems — and their success in many similarly difficult environments — make them an ideal fit for this production.”
Posted by House Editor on 04/03 at 07:36 AM
Thursday, April 02, 2015
New Line 6 Relay G70 Digital Guitar Wireless Now Available
Multi-instrument support, rugged construction, 24-bit digital signal, sleep mode and intuitive features are all included
Line 6 has announced the availability of the Relay G70 digital wireless system. Relay G70 provides hands free support for multiple instruments and is designed to be the control center of musicians’ live performance rigs, with solid audio quality and rugged metal construction.
The receiver supports multiple transmitters (additional transmitters sold separately) and allows musicians to instantly switch between instruments. Each transmitter features a locking 1/4-inch input that allows guitarists to plug right in without requiring a special cable. User-programmable presets on the receiver enable performers to control each instrument’s signal routing, levels and more, with the single press of a footswitch.
For example, guitarists can route an electric guitar to an amp via one of two assignable 1/4-inch outputs, and an acoustic guitar to the PA system through the assignable XLR output. A dedicated always-on 1/4-inch tuner output is also provided, in addition to a built-in tuner. And to preserve battery life in multi-instrument setups, the new intelligent sleep mode allows you to leave all your transmitters on with minimal battery drain on any instruments you’re not playing.
Relay G70 provides the lowest latency of any digital wireless system (under 1.5 ms). A custom-designed radio with four calibrated internal antennas delivers a lossless 24-bit digital signal and a wide dynamic range of over 120 dB. Battery life is stated as 8 hous with standard AA batteries, plus up to 70 hours of standby time due to the intelligent sleep mode.
Relay G70 (with one receiver and one transmitter, $699.99 MSRP), and additional Relay TB516G transmitters ($279.99 MSRP) are available now. Relay G75 ($699.99 MSRP) will deliver the same functionality in an amp-top form that supports an optional footswitch, and will be available in Q2 2015.
Relay Wireless System
Posted by House Editor on 04/02 at 03:39 PM
Sennheiser Mics & Wireless Systems Deliver At Juno Awards, Canada’s Biggest Night In Music
An elaborate live production is supported by an assortment of Sennheiser microphones
A range of Sennheiser microphones and wireless system were utilized at the recent 2015 Juno Awards, supporting Canadian recognition for technical and artistic achievement in music.
The event was broadcast on CTV Television Network and hosted by Jacob Hoggard, lead singer of pop-rock group Hedley, regular users of Sennheiser products and honored with three nominations, including “Album of the Year” for Wild Life.
The broadcast reached 1.6 million viewers in Canada and presented an array of talent, featuring live performances and awards in a broad range of genres. Sennheiser was well represented, with Hoggard relying on a Sennheiser SKM 2000 handheld transmitter and MMD 935 capsule for the duration of the ceremony – including his live vocal performances with Hedley.
Other Sennheiser users that were recognized during the evening included The Weeknd, which picked up”‘Artist of the Year” and “R&B/Soul Recording of the Year.” Singer Abel Tesfaye treated the live and broadcast audiences with a rendition of hit Earned It from the movie Fifty Shades of Grey, captured through his customized, grey camouflage Sennheiser SKM 5200, which was coupled with an MD 5235 capsule.
Arkells gave a performance of Come to Light off the High Noon album, complete with a 16-piece orchestra and all vocals running through Sennheiser MD 431-II dynamic microphones. During the evening, they also picked up JUNOs including “Rock Album of the Year” for High Noon and “Group of the Year” – their second such award in four years.
Arkells’ front of house engineer and tour manager, Dave Gardner, utilizes the Sennheiser MD 431-II both on tour and in live award broadcasts. “As soon as I tried the MD 431-II I fell in love with it,” he says. “The feedback rejection is exceptional. I can get Max’s [Kerman, lead vocalist] microphone louder than I’ve gotten any other microphone, then I can swing the microphone around and point it directly at the monitor and it doesn’t even make a chirp.”
In addition to relying on Sennheiser MD 431-IIs, Gardner also used a Sennheiser 300 IEM G3 system for wireless monitoring and an assortment of Sennheiser and Neumann microphones for drums and backline – including Sennheiser MK 4 large-diaphragm microphones. “I find these work very nicely as drum overheads,” he explains. “They don’t add anything I don’t want, and they don’t take anything away. Some of the other large condenser microphones tend to add coloration that is not necessarily desirable – the MK 4 is very balanced.”
Sarah McLachlan came through this year for Canadian fans with Shine On, her new album that was recognized with “Adult Contemporary Album of the Year.” McLachlan, a longtime Sennheiser user, is currently on tour with her Neumann KMS 105 and Sennheiser e 935 dynamic microphones.
“Using Sennheiser has proven to be an integral part of Sarah’s show,” says Alex Fedrizzi, systems tech, Sarah McLachlan, Solotech, who works alongside monitor engineer David Retson. “We work towards being as consistent as possible in order to produce the best possible show every night. The reliability and sonic quality of Sennheiser is a big part of achieving that goal. We are currently carrying a combination of Sennheiser wired microphones, RF handheld systems and wireless in-ear monitor systems, specifically the 2050 transmitters with A 5000-CP antennas, and we have been extremely pleased with the results.”
From Mark Vreeken’s perch as main mix engineer of the Juno Awards of 2015, the key to delivering a great show is ensuring audio quality and dependability. “There are many variables in a live TV show, and Sennheiser microphones and wireless systems help bring predictability,” he says. “For example, a lot of bands like to change their approach to these kinds of award shows by adding different elements such as orchestras or choirs which makes it interesting.”
“Arkells added a 16-piece orchestra that sounded huge, and Hedley added 12 drummers to their lineup,” he continues. “Whatever the artists want to achieve creatively on shows such as this, we need to ensure the best possible audio results. The biggest reward is having a fantastic sounding show in the arena and on-air. To that end, the Sennheiser microphones and wireless systems are extremely dependable and sound great.”
Wednesday, April 01, 2015
Happy April 1! Lectrosonics Unveils Smallest UHF Bodypack Microphone Transmitter Available
Super Slight Micro transmitter is the result of a revolutionary new "3-D Eraser" manufacturing process that removes nano-particles from a product...
In celebration of its 10th anniversary of introducing products on April 1, Lectrosonics is introducing the smallest full-featured bodypack transmitter available—the SSM (Super Slight Micro).
Part of the Digital Hybrid Wireless Series, the SSM is fully compatible with all current Lectrosonics receivers including the UCR411A, SRB, LR and Venue, and several older models. It offers a wide tuning bandwidth of three standard Lectrosonics blocks or up to about 76 MHz depending on the specific frequency range.
RF power is selectable at 25 or 50 mW for flexibility depending on the application. Dimensions for the SSM are 2.52 x 1.48 x 0.57 inches (64.25 x 37.6 x 14.5 mm), and weight is 2.3 ounces (66 grams), including battery.
Lectrosonics president Larry Fisher explains the revolutionary new process used to manufacture the SSM: “With the advent of 3-D printers, we asked ourselves if it weren’t possible to make a 3-D eraser, a device that would remove nano-sized particles from a product, thus making it smaller. For instance, if you removed every other atom from a solid it would end up half the length, a fourth the area and an eighth the weight of the original object. We modified one of our laser markers to use black light instead of infrared light and found that, though time consuming, we could indeed reduce the size of an object without changing or destroying its desired properties. The 3-D Eraser™ is a success!”
The SSM has a rugged, all-metal housing and is available on four different frequency ranges for worldwide use: A1 (470.100 - 537.575 MHz or blocks 470, 19 and 20), B1 (537.600 - 614.375 MHz or blocks 21, 22 and 23), C1 (614.400 - 691.175 MHz or blocks 24, 25 and 26) and D1 (for export only, 691.200 - 767.975 MHz or blocks 27, 28 and 29). Tuning steps of 100 or 25 kHz can be selected in the menu, allowing for up to 3,072 frequency choices.
The microphone connector is the industry-standard Lemo 3. An infrared sync port on the SSM allows for quick setup with compatible receiver systems. A backlit LCD allows for ease of setup in any lighting conditions. A micro-B USB port makes it possible for firmware updates in the field as advanced features are added in the future.
“We applied this revolutionary new process to one of our SM series transmitters to create the SSM transmitter or the (S)ubtractive SM transmitter,” adds Gordon Moore, vice president of sales for Lectrosonics. “There had to be some compromises in the length, width and thickness because of available batteries, but overall it was a tiny success. We found that the high cost of the subtractive printing process was partially offset because it was very easy to build the oversized transmitter before running it through the subtractive process of the 3d Eraser. We still expect to make a small profit.”
Price for the SSM MSRP: $1,998, Availability in Q3, 2015.
Monday, March 30, 2015
Dante Networking Helps Rush Street Productions Increase Efficiency While Reducing Costs
New flypacks with Sound Devices and Lectrosonics technology benefit Poker Night in America
Dante networking from Audinate is helping Rush Street Productions increase efficiencies while reducing costs across the production and post cycles from set-up to tear-down. Rush Street Productions is now in its second season producing the TV show Poker Night in America, seen on the CBS Sports Network.
Cinequipt, a Minneapolis-based systems design and integration firm, built the flypacks for Rush Street Productions. The Dante-enabled equipment includes three Sound Devices PIX-260i recorders to capture all of the audio tracks and video, and a Lectrosonics ASPEN SPN2412 digital signal processor (DSP) to ingest analog signals into the Dante network.
Once ingested, the board operator creates mixes for the local PA system and a live web stream, with a redundant Dante network to maximize reliability and availability across main and backup paths.
The transition to the Dante digital media networking system has simplified setup for multi-camera shoots, taking as little as 30 minutes. This efficiency is welcome given Rush Street Productions’ hectic shooting and post-production schedules as they shoot a new episode every week at locations across the United States.
Matt McGregor, producer at Rush Street Productions, notes that another benefit of the is the increase in channel counts, which has quadrupled channel capacity for the company. “Previously, we were limited to eight tracks,” he says. “Dante gives us the capacity to record 32 separate tracks. Our goal has always been expandability, and now we have it. Additionally, we can easily separate each microphone onto a different track during the editing process using Dante.”
The typical show includees nine poker players at the table, each equipped with a wireless lavaliere microphone. There is also a backup shotgun mic hung above the table, as well as the floor director’s mic. The extra channel capacity enabled through Dante enhances the live recording quality today, and gives the team the opportunity to work in more audio feeds—both live and canned—in the future.
According to Bryan Heiber, project manager and design engineer for Cinequipt, Dante has also simplified the wiring between the main audio rack and the video production rack where the recorders are located. A single Cat-6 cable supports all audio networking, eliminating the need to carry heavy, multichannel analog interface cable from city to city.
“We’ve clearly saved costs through an efficient use of rack space, integration time for Cinequipt, and set-up and tear-down time for Rush Street Productions,” he states. “Even though this was our first experience with Dante networking, it was incredibly user-friendly and made our job much easier.”
Friday, March 20, 2015
Carlos Elizalde Of Rúckatan Gears Up For Band’s 5-Year Anniversary With AKG Microphones
Percussionist, singer and songwriter relies on WMS4500 wireless with a D7 mic, an IVM in-ear monitor set and C214 condenser microphone.
As a percussionist, singer and songwriter for Rúckatan, Carlos Elizalde combines Latin and Reggae dance-oriented music with highly energetic and crowd-electrifying moves. On Friday, March 27, the band will celebrate its 5-year anniversary with a show at Club Fox in Redwood City, California, where Elizalde will rely on Harman’s AKG microphones to support his mesmerizing vocals and percussions.
Elizalde’s AKG live setup includes an AKG WMS4500 Wireless Microphone System with a D7 microphone and an IVM 4500 In-Ear Monitor Set, along with an AKG C214 large-diaphragm condenser microphone.
“Since I incorporate a lot of dancing into my performances, I prefer microphone systems that allow me to move freely onstage,” said Elizalde. “I am always pumped with energy and enthusiasm, so I use the AKG wireless microphone sets to project that emotion to the audience. Even after putting the microphones through countless demanding performances, the WMS4500 and D7 microphones still put out top-quality sound. That’s why I continue to rely on them.”
Elizalde recently added the AKG C214 microphone to his inventory, and it serves as a budget-friendly option for live performances on the road. It borrows from the legendary C414 dual-capsule system and the patented AKG Back-Plate Technology, resulting in a reduction in mechanical noise and a rugged design.
“I am very excited to perform our anniversary show with the C214 microphone, since I know it will be able to keep up with my energy onstage,” said Elizalde. “AKG microphones have lasted a long time with us, and in that sense they belong with us onstage to celebrate how far we have come together.”
Thursday, March 19, 2015
Audio-Technica Now Shipping System 10 PRO Rack-Mount Digital Wireless System
The System 10 PRO Rack-Mount operates in the 2.4 GHz range, keeping it free not only from TV interference but also from the uncertain regulatory future facing the TV bands.
Audio-Technica is now shipping its new System 10 PRO Rack-Mount Digital Wireless System, the latest addition to the growing range of A-T System 10 wireless solutions.
Like all System 10 models, the System 10 PRO Rack-Mount operates in the 2.4 GHz range, keeping it free not only from TV interference but also from the uncertain regulatory future facing the TV bands. Its durable rack-mount chassis houses one or two receiver units that can be operated locally within the chassis or be removed and mounted remotely (up to 300 feet away) via Ethernet cable.
This groundbreaking approach to delivering wireless increases the versatility of the system while also greatly enhancing wave propagation – without the substantial expense of adding an antenna distributor and corresponding cables. Additionally, up to five System 10 PRO chassis (10 receivers) can be linked together using the RJ12 cable included with each system, creating a stable multichannel system with the simultaneous use of up to 10 channels.
“With its remote-mountable receiver units and special linking function, the System 10 PRO represents a big step forward in the realm of digital wireless,” stated Gary Boss, Audio-Technica Marketing Director, Professional Products. “It gives users a very stable, interference-free multichannel system that works anywhere in the U.S., right out of the box. It’s an incredibly powerful and versatile system, but it couldn’t be simpler to use.”
The chassis’ LCD Dual System Display shows RF signal level, system ID, transmitter battery level, and system link status for both channels. Like all the products in the System 10 wireless family, the PRO Rack-Mount features 24-bit/48 kHz wireless operation, easy setup, clear, natural sound quality, and three levels of diversity assurance: frequency, time, and space. Frequency Diversity sends the signal on two dynamically allocated frequencies (with automatic frequency selection) for seamless, interference-free operation. Time Diversity sends the signal in multiple time slots to maximize immunity to multipath interference. Space Diversity uses two antennas on each transmitter and receiver to maximize signal integrity. A ground-lift switch helps eliminate audible hum caused by ground loops.
Each System 10 PRO Rack-Mount system includes an ATW-RC13 receiver chassis, one or two ATW-RU13 receiver units, one or two AT8690 receiver-unit mounting brackets, one RJ12 cable, two rack mounting brackets, one joining plate, one AC adaptor, and one or two ATW-T1001 UniPak® body-pack and/or ATW-T1002 handheld transmitters. Both the receiver chassis and transmitters feature easy-to-read displays.
System 10 PRO is now available in the following configurations (pricing U.S. MSRP):
ATW-1301 Single Channel Bodypack System $ 599.00
ATW-1301/L Single Channel Bodypack System w/ Lav $ 699.99
ATW-1302 Single Channel Handheld System $ 629.00
ATW-1311 Dual Channel Bodypack System $ 1,059.00
ATW-1311/L Dual Channel Bodypack System w/ Lav $ 1,259.00
ATW-1312 Dual Channel BP/HH System $ 1,089.00
ATW-1312/L Dual Channel BP/HH System w/ Lav $ 1,189.00
ATW-1322 Dual Channel Handheld System $ 1,119.00
For more information, please visit www.audio-technica.com.
Friday, March 13, 2015
Jaguar Revs Up Ad Campaign Sound With Lectrosonics
Lectrosonics transmitters in the engine bay, the air intake, and on one of the exhausts, with two more inside the car
U.K.-based sound recordist Bal Rayat utilized Lectrosonics Digital Hybrid Wireless technology to capture the sound of a prototype Jaguar XE S sports sedan, recorded at the company’s assembly plant in England’s West Midland for an advertising campaign.
“It sounded amazing, absolutely amazing,” reports Bal, who was hired by the advertising agency. “The client is very, very happy. They were nervous, because they’d never met me before and Jaguar is a big client for them, but as soon as they saw all my gear laid out they knew they were in good hands.”
The agency had completed the visuals for the campaign, he continues, but needed authentic sounds to bring it to life. “They called me up and said, ‘We need you to record the different sounds that come off the car—sitting idle, going full pelt, doing 30, 50, 70 miles per hour.’”
Bal assembled his kit, including four Lectrosonics SMQV beltpack transmitters and a pair of SR Series dual-channel slot-mount receivers, and headed over to the Jaguar Range Rover plant in Solihull, just outside Birmingham, England’s second-largest city. Over recent years the manufacturer has invested £1.5 billion in the plant, which will reportedly be capable of producing an XE car body every 78 seconds.
“In total I had 10 microphones on the car so they could pick and choose what they wanted for the edit,” he explains. “I put a Lectrosonics SMQ in the engine bay, in the air intake, because they wanted to hear the whistle of the supercharger. Then I had two Lectrosonics SMQ transmitters inside the car, in the driver’s position, in case they wanted that, and I had another Lectrosonics transmitter on one of the exhausts.” Bal uses a combination of DPA, Countryman and Sanken lavalier mics with his transmitters.
The four Lectrosonics wireless channels were supplemented by wired AKG, Audio-Technica, Beyerdynamic, Sennheiser and Schoeps microphones, offering alternative coverage as well as backup in case of failures. All 10 channels were recorded into a Sound Devices 664/CL6 system.
“I was on my own and had six hours to get it all rigged and recorded,” says Bal, who recorded over four hours of engine, exhaust and tire sounds. “I only had two failures. One microphone got a little too close to the exhaust and at the end of the day the pop shield had a big hole in it.” The battery was in the rear of the car, where Bal had an SMQ transmitter located, and during one take the lav mic ended up dangling unnoticed in front of the other exhaust. “I was lucky—it just burned through the rubber shielding, but the microphone still worked. Had it stayed there another minute it would have been toast.”
Bal has more than 10 years of experience working on productions for the BBC, Endemol, Fox, Optomen and others, including the award-winning The Great British Bake Off and Countryfile, two of the most-watched shows on U.K. television. He has been using Lectrosonics equipment for the past eight years. “There are three reasons: reliability, sound quality and customer support. I’ve never seen such customer support,” he says.
Next up for Bal is the latest season of Great British Menu, a reality show in which competing chefs prepare a multi-course banquet for hundreds of guests. “It’s a big show,” he says. “There are three different sound guys—and we’re all using Lectrosonics.”