Archive for July, 2012

AES Convention Debuts Sound For Pictures Track

Top Mixers Address Digital Audio Cinema Techniques, Formats & Standards

SAN FRANCISCO: The 133rd AES Convention (Moscone Center, Oct. 26-29), will introduce a dedicated Sound For Pictures Track. Featuring award-winning presenters focused on key technical and creative issues related to digital audio production for feature films and TV, the Track is co-chaired by leading sound mixer/producer Brian McCarty (“The Big Lebowski,” “Dick Tracy,” “As Good As It Gets”) and by Steve Martz, Sr. Design Engineer, THX Ltd. Key issues to be addressed by the Sound For Pictures Track include: Post Production Techniques, Standards and Multi-Channel Formats for Digital Cinema.

“The AES is the leading forum for audio for film and TV sound,” McCarty says. “Top sound mixers have been attending the Convention for years to exchange ideas and information and kick the tires on new technology. Early this year we formed a Technical Committee on Sound for Digital Cinema & TV. Our objective is to adopt a consistent approach for Digital Cinema sound installations, and contemporary digital dubbing stage recording and mixing activities worldwide. Based on the initial reception to this Committee, Executive Director Bob Moses felt it was time to develop a formal AES Convention Track for this increasingly important field,” McCarty adds.

SATURDAY, Oct. 27, AES Sound For Picture Track Presentations Include:

POST PRODUCTION AUDIO TECHNIQUES FOR DIGITAL CINEMA & ANCILLARY MARKETS: Chair, Brian McCarty, managing director, Coral Sea Studios, Australia; Panel, Lon Bender, Oscar-winning, effects designer & mixer, Soundelux, LA; Brian Vessa, leading sound mixer, Sony Pictures, LA; Jason LaRocca, Emmy-nominated independent mixer. As the film industry rapidly moves towards full-bandwidth, multi-channel discrete formats for audio distribution, post-production techniques to provide high-quality audio continue to evolve. This workshop will address technical and creative changes being implemented to accommodate this shift.

RECONSIDERING STANDARDS FOR CINEMA SOUND – ALTERNATIVES TO ISO 2969: Chair, Brian McCarty; Floyd Toole, pioneering acoustical consultant/ retired, Harman Research, corporate VP; Keith Holland, University of Southampton, UK. For over eighty years ISO 2969 (aka SMPTE S202) has been a cornerstone of the audio reproduction “B-Chain.” Like the RIAA curve, it was originally implemented to compensate for defects in the delivery medium. This panel will examine the implications for these standards and the B-Chain as film rapidly shifts to Digital Cinema delivery, with, for the first time, full bandwidth soundtracks.

NEW MULTI-CHANNEL FORMATS FOR 3D CINEMA AND HOME THEATER: Co-Chairs, Christof Faller, Illusonic GmbH, Brian McCarty, Chair, AES TC-SDCTV; Erno Langendijk, Philips; Wilfried Van Baelen, Auro-3D, Belgium; TBD, Dolby Laboratories, SF; Kimio Hamasaki, NHK, Japan TBD, Iosono, Germany; Stefano Lacaito, Imm Sound, Spain. Several new digital cinema formats are under active consideration for cinema soundtrack production. Each was developed to create realistic sound “motion” in parallel with 3D pictures. This workshop presents a rare opportunity for the proponents of these leading systems to discuss their specific technologies.

“We have developed an extremely diverse and comprehensive Sound For Pictures Track,” Brian McCarty says. “Our Workshop participants are all outstanding leaders in their fields. The ‘New Multi-Formats For 3D Cinema’ panel is a particularly newsworthy event. Gathering developers of competitive systems together for a high level, working dialogue is a major coup which may have important ramifications for film exhibitors.”

Sound For Pictures Track Co-Chair Steve Martz points to three related events, which will be of particular interest to Sound For Pictures Track attendees. “Academy Award-winner Ioan Allen, Sr. VP at Dolby Laboratories, will illustrate innovative audio mixing and editing techniques in his Historical Events presentation, The Egg Show: A Demonstration of the Artistic Uses of Sound on Film.

“And,” Martz adds, “Two concurrent Technical Tours should not be missed. “Roger Wiersema is coordinating a tour of the Polarity Post production complex, and Dave Nelson is hosting a concurrent tour of Outpost Studios. As both these facilities are located in the same building in SF’s popular Embarcadero District, participants will be able to attend both. This Convention promises to make a deep impact on industry thinking about sound for Digital Cinema,” Martz concludes.

The 133rd AES Convention will be held October 26-29 at SF’s Moscone Center. For details please visit www.aes.org.

Photo: AES Convention, Sound For Pictures Track Co-Chair, Brian McCarty.

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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GUITAR CENTER OPENS NEW SAN MATEO, CALIFORNIA STORE

— 231st Guitar Center location features on-site lessons and repair services, along with GC’s vast inventory selection —

Westlake Village, CA (July 25, 2012) – On the evening of Thursday, July 12, 2012, Guitar Center held the grand opening of its new location in San Mateo, California, located at 53A W. Hillsdale Blvd., San Mateo, CA 94403. Guitar Center San Mateo is Guitar Center’s 231st retail location.

Guitar Center San Mateo’s grand opening introduced customers to a vast selection of products and a dedicated staff with unparalleled musical knowledge and experience. To celebrate the store opening, Guitar Center hosted a Grand Opening Weekend celebration featuring exclusive savings, gear giveaways and free events catered to local musicians. The grand opening events also included a free performance, in addition to ongoing workshops throughout the next two months.

Guitar Center’s newest San Mateo location features showrooms equipped with the latest products for musicians – from guitars, amplifiers, percussion instruments and keyboards to live sound, DJ, lighting and recording equipment. The new store features Guitar Center Studios, an in-house, state-of-the-art lesson facility, which is creating unrivalled opportunities for San Mateo musicians of all ages and skill levels. Guitar Center Studios provides music lessons from beginner to advanced featuring certified instructors teaching world-class curriculum as well as one-on-one courses on Pro Tools, Logic Pro and GarageBand. Guitar Center Studios is now the most modern and affordable lessons facility in the area. Guitar Center San Mateo also features GC Garage, Guitar Center’s on-site guitar repair service.

As part of Guitar Center’s initiatives designed to educate and inspire artists nationwide, Guitar Center San Mateo is offering unique opportunities for musicians to craft their skills, maintain their instruments and experience many other aspects of the music industry first-hand. Musicians interested in learning about the industry will be able to come to the store to interact with and pick the brains of several industry leaders.

San Mateo shoppers are also able to enjoy Guitar Center’s new multi-channel “endless aisle,” which includes multiple combinations of product options to conveniently choose from. Not only does the “endless aisle” include San Mateo inventory, but it also provides easy access to $400 million in new and used inventory located in hundreds of stores and warehouses across the nation. Customers have the ability to combine a myriad of in-store, online and phone options to purchase music equipment from anywhere they may be, allowing for a personalized and convenient shopping experience.

In addition to special programs at the new San Mateo store, Guitar Center offers nationwide programs designed to spearhead creativity and highlight the nation’s most promising undiscovered talent. San Mateo residents will now be able to participate in these ongoing national events from their hometown:

Guitar Center On-Stage is an annual competition that provides unsigned artists the chance to open for established artists such as Motley Crüe, KISS and Jane’s Addiction.
Guitar Center Singer-Songwriter is an artist discovery program that aims to find the nation’s best unsigned singer-songwriter. The winner receives a career-altering prize package including recording 3 songs with accomplished GRAMMY® Award-winning Producer John Shanks, recording time at Converse Rubber Tracks studio and $10,000 cash.
Guitar Center’s Battle of the Blues is a nationwide amateur guitar skills competition with the goal of finding the next great undiscovered blues guitar player. This year’s winner, Jonathon “Boogie” Long, performed alongside GRAMMY-winning guitarist Warren Haynes at the Grand Finals in LA, and won an incredible prize package valued at over $50,000.
Guitar Center’s Drum-Off, entering its 24th year, is the nationwide search for the next great undiscovered drummer. Drummers from across the nation compete in the world’s largest drum competition, vying for thousands of dollars in prizes and the coveted title of Guitar Center’s Drum-Off Champion. The grand prize package is valued at nearly $50,000.

Guitar Center San Mateo is open seven days a week. Store hours are 10:00 a.m. – 9:00 p.m. Monday-Friday; 10:00 a.m. – 8:00 p.m. Saturday; and 11:00 a.m. – 6:00 p.m. Sunday.

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Audio-Technica Honors Online Marketing with President’s Award

STOW, OH, July 24, 2012 — Audio-Technica is pleased to announce that Wadsworth, Ohio-based Online Marketing has been presented with A-T’s prestigious President’s Award, for their work representing Audio-Technica in Indiana and Kentucky. Additionally, the firm sells Audio-Technica professional products to retailers and sound contractors in Ohio, Michigan, Western Pennsylvania and West Virginia. Online Marketing Sales Associate Steve Grigdesby accepted the award, which recognizes a leading manufacturer’s representative for outstanding commitment and dedication during the Audio-Technica 2011/2012 fiscal year. The award was presented by Philip Cajka, Audio-Technica U.S. President and C.E.O., and Michael Edwards, A-T V.P. Professional Products. Also in attendance were Brian Strong, A-T Territory Manager, Professional Products; David Marsh, A-T Director of Sales & Marketing, Installed Sound & Broadcast; along with Online Marketing personnel Mike Wuellner, Principal; and Jon Johnson, Sales. The A-T President’s Award was presented at a ceremony during the 2012 InfoComm Expo on June 13th in Las Vegas, Nevada.

Michael Edwards commented, “Online Marketing has been presented with this honor for their strong dedication to sales performance, customer care and the marketing of the A-T brand. The Online Marketing team has a vast base of knowledge and experience, in addition to their fierce work ethic. We are proud to give them this honor, and extremely grateful for their continued service.”

For more information, please visit www.audio-technica.com.

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AES Launches New Project Studio Expo At 133rd Convention

Sound On Sound and Craig Anderton Collaborate on Full Program of Training Clinics to Complement Project Studio Exhibition

SAN FRANCISCO: The 133rd AES Convention will herald the introduction of the Project Studio Expo, featuring practical training and an exhibit area focused on leading edge project studio technology. Developed in partnership with Sound On Sound and Craig Anderton, the Project Studio Expo (PSE) brings the latest recording techniques, best practices, and practical tips from leaders in the recording business. “I think we can safely say this two-day event will be a highlight of the convention,” states AES Executive Director Bob Moses. “It builds on AES’s long history of leadership in the recording industry, and addresses issues of deep importance to people working in small studios. Based on early feedback from industry pros, I’m confident we have hit a home run with this event.”

Indeed, in a rare joint statement co-signed by Sound On Sound Editorial Director Dave Lockwood and Editor Paul White; Craig Anderton, Executive Editor, Electronic Musician and Editor in Chief, Harmony Central; Frank Wells, Editor, Pro Sound News and the AES Daily; Sarah Jones, Editor, Electronic Musician; Tom Kenny, Editor, Mix; Strother Bullins, Pro Audio Review; Recording Magazine Editor, Lorenz Rycher and Associate Editor Mike Metlay; and Tape Op Editor/ Founder, Larry Crane, and Publisher John Baccigaluppi, these industry leaders stated: “We strongly support AES in striking out in this new direction. We believe that in the years to come, the Project Studio Expo will continue to grow, and in the process, enhance the overall Convention.”

Scheduled for Oct. 27-28 at SF’s Moscone Center, the PSE will feature in depth Clinics and Q&A sessions with noted leaders:

DAY ONE: Saturday, Oct. 27

* It Won’t Sound Right If You Don’t Hear It Right: Studio Acoustics – Presenter, Hugh Robjohns
* Total Tracking: Get It Right At Source – Choosing & Recording Your Sound Source*- Presenter, Hugh Robjohns
* Mixing Secrets: Production Tricks To Use With Any DAW – Presenter, Mike Senior
* Master Your Tracks: DIY Results to Compete With The Pros*- Presenter, Craig Anderton
* You Ask, We Answer: Q&A session Moderator Hugh Robjohns; Panel, Paul White, Mike Senior & Guests tba
* Take Your Studio On Stage: Live Performance With Laptops, Looping Pedals & Other Studio Tech – Presenter, Craig Anderton

*Repeated on Sunday

DAY TWO: Sunday, Oct. 28

* Keeping The Human Element In The Digital Age: Ways To Keep Music Sounding Alive And Interesting – Presenter, Craig Anderton
* Total Tracking: Get it Right At Source – Choosing & Recording Your Sound Source – Presenter, Hugh Robjohns
* Mixing Secrets: Production Tricks To Use With Any DAW – Presenter, Mike Senior
* Master Your Tracks: DIY Results to Compete With The Pros – Presenter, Craig Anderton
* Make Music With Your iPad: Hot Apps, Great Gadgets & All Things IOS – Presenter, Mike Metlay
* Ask The Editors: Q&A Session – Moderator: Hugh Robjohns; Panel to include Paul White, Sarah Jones, Frank Wells, Strother Bullins, Lorenz Rychner, Larry Crane and Tom Kenny

“AES has always been the place where the recording industry came to share the latest techniques and connect with colleagues from around the world,” Bob Moses said. “In past years the business was built on a number of large studios and an entirely different workflow than today. The Project Studio Expo brings the AES into alignment with the reality of today’s industry, and addresses the latest techniques, best practices, and workflow. Anyone doing professional work in a small studio should come to listen, learn, and connect with their peers and mentors.”

The 133rd AES Convention Project Studio Expo is open to the public. Other AES Convention Technical Program events may require separate paid registration. For additional information visit: www.aes.org/ProjectStudioExpo

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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WTLW-TV Modernizes With Myers

WESTERN OHIO’S CHRISTIAN TELEVISION INSTALLS PROTRACK TV FOR SALES & TRAFFIC MANAGEMENT

Northampton, MA – Myers Information Systems – a long-standing developer of broadcast traffic, business, and content management software – today announced a successful integration of the company’s flagship ProTrack TV product for Lima, OH-based Christian broadcaster WTLW-TV. The Myers suite also provides support to the West Ohio Sports Net (WOSN), an affiliated community outreach sports channel.

“Our previous traffic software was installed in 1992,” said WTLW/WOSN traffic manager Kelli Getz. “We needed to upgrade [and] researched several companies, finally narrowing it down to Myers and one other. After going through the ProTrack demo, we felt Myers was the right one for our needs, not only because of their software – including the daily server back-up option so we can remain operational in the event of a catastrophe – but also Myers’ reliability and 24-hour tech support.” On-site training meant extra long days for station staff, “but it was well worth it … all our questions were answered and the material was presented in an understandable manner; with ProTrack, we’ll get better, more timely sales reports so our people can use their time more effectively.”

“We are extremely pleased to welcome WTLW and WOSN to our growing client family,” said Crist Myers, company CEO and president. “ProTrack’s features and functionality are well suited to manage broadcast content and business workflows, whether for a public, religious or commercial station.”

Myers’ highly regarded flagship suite, ProTrack, is available in both radio and television editions. It offers comprehensive scheduling and business management for individual, multichannel and multi-station facilities. Actively used by more than 226 media outlets, supporting more than 1,300 channels, ProTrack provides a high-level of structure and scalability, without sacrificing flexibility, for today’s rapidly evolving media environments.

ABOUT MYERS INFORMATION SYSTEMS
Myers Information Systems, Inc. has been developing broadcast management software since 1989. The Company provides technology and services for television, radio and other digital media providers designed to improve every aspect of their operations, from contracting to invoicing, media management to scheduling, and from trafficking to reconciliation. For more information, please visit: www.myersinfosys.com

ABOUT WTLW and WOSN
On-air since 1982, Lima, OH-based WTLW exists to affect a Christian influence on society through a well-rounded selection of programs. WOSN, a community outreach of WTLW launched in 2010, is a regional sports network dedicated to encouraging the spiritual, physical and character development of student athletes. For further information, please visit: www.wtlw.com and www.wosn.tv

Myers Information Systems contact: Crist Myers
+1-413-585-9820 / sales@myersinfosys.com

Press contact: Desert Moon Communications / Harriet Diener
+1-845-512-8283 / harriet@desertmooncomm.com

Middle Atlantic Names Vergano VP of Human Resources

Fairfield, NJ––Middle Atlantic Products has appointed Peter Vergano as Vice President of Human Resources, reporting to President Mike Baker. In this newly created post, Vergano will oversee all elements of HR as the company continues to grow since joining the Legrand North America organization.

Vergano joins Middle Atlantic after nearly seven years at Samsung Electronics, most recently as a Senior HR Business Partner Leader in the company’s Ridgefield Park facilities. He graduated from West Virginia University with a BS in Business Administration and also earned an MBA from Centenary College.

Asked about Vergano’s appointment, Mike Baker stated, “We are entering a new phase of very aggressive growth and opportunity for Middle Atlantic. Our continued investment in people, both those who are already here and the new positions we are creating, will ultimately determine our long-term success. Peter’s hiring reflects our commitment to grow our business to more fully support our customers with application-specific products befitting any size project or budget.”

The company has recently appointed several key personnel to sustain this commitment, including two new Regional Sales Managers, a Power Products Application Engineer, and a Furniture Design Engineer.

For technical specifications and in-depth information about Middle Atlantic Products, please click to www.middleatlantic.com or call 1.800.266.7225.

As Rockport Music Expands Operations and Musical Repertoire, Neumann KK 205 Capsule Delivers Unmatched Performance

Rockport, MA – July 25, 2012: Premium audio brand Neumann announced that Rockport Music has acquired several Neumann KK 205 capsules in addition to four channels of Sennheiser 2000 series wireless. The new equipment helps Rockport ensure it is able to deliver premium sound quality over the course of its 52 week programming schedule.

Rockport Music, which is best known for its Rockport Chamber Music Festival which began in 1981, has recently undergone significant expansion of both its physical footprint and musical repertoire. In 2010, it opened the Shalin Liu Performance Center, an elegant building that houses its 334 seat, world-class concert hall as well as a multi-function/reception space located on the 3rd floor used for corporate meetings, intimate performances, wedding receptions and many other activities.

The acquisition of the Neumann KK 205 capsules, as well as Sennheiser EM 2050 two channel receivers, Sennheiser SKM 2000 handheld wireless transmitters and lavalier body packs, in addition to a new antenna combiner, helps Rockport realize enormous performance flexibility while offering an unmatched dimension of audio quality to discriminating artists — many of whom insist on performing with Neumann.

Since the new facility opened, Rockport has gone from being a six week performance operation to a 52 week one, simultaneously expanding its repertoire beyond classical to now include jazz, folk, world music, pop and just about every other conceivable musical genre. The new concert hall has advanced A/V facilities including a 20 foot projection screen, and routinely features high definition simulcasts of performances by the Metropolitan Opera and England’s National Theater.

“During my first year here in 2010, one of my first goals was to bolster and enhance our in-house P.A. equipment,” commented David Shriver, technical operations manager for Rockport. “Having very high quality wireless handheld mics and belt packs was very important to me since I wanted a system that could be mostly used on stage but also offer flexible usage applications for other spaces in our facility.”

“The deciding factor for me in adding the Sennheiser 2000 wireless series came when Neumann introduced the KK 204 and KK 205 capsules this year,” Shriver continued. “I get rider requests for Neumann mics all the time, and I knew this was the direction we needed to go in. Neumann is the gold standard in microphones, and when an artist comes in and sees a Neumann mic, they are instantly confident in its ability to deliver.”

When the new Sennheiser 2000 wireless system is not being used in the concert hall, Shriver is able to use it on the 3rd floor multi-function/reception space: “Sennheiser’s Dave Missall came out, looked at the situation, and recommended an RF solution with antennas in the reception space and an antenna combiner to the existing antenna system in the concert hall. This enables me to use my four new RF systems in both places.”

While evaluating the new capsules and wireless sytem, Shriver relied on Rob Pemberton of Wellesley, MA-based Parsons Audio, who was proud to assist in the upgrade of such a world class facility, as well as Sennheiser area sales manager Mike Cleary. “Mike was great,” recalls Shriver. “He would let me try out a bunch of different microphones while we were trying to figure out what to buy — not just for handheld vocal mics, but for drums and other instruments as well.”

Shriver and Rockport Music are pleased with their new equipment acquisition: “The quality has been just top notch,” comments Shriver. “Since we added the Neumann capsules, a number of guest engineers and visiting bands have expressed their interest in working here and performing with the Neumann capsules on the stage. The sound makes a world of difference and also makes my job easier. I can run the mics flat and they sound great — also there is greater feedback rejection when compared to other microphones.”

Award-Winning Features
The acoustic features of the KK 204 and KK 205 capsule heads are derived from the multiple award-winning wired Neumann stage microphones, the KMS 104 and KMS 105. The KK 204, with its cardioid pattern, ensures the best possible suppression of sound originating from 180 degrees to the rear, while the supercardioid KK 205 has greater directivity, and maximizes incident sound from the front as compared to sound from the rear. Due to the “single polar pattern design,” the polar patterns are very uniform over the entire frequency range and provide excellent resistance to feedback.

Morocco’s Medi 1 Benefits From Increased Automation With Radio-Assist(TM) 8

Air-DDO Broadcasting Tool Replaces CartStack for Playlist Management

CLARET, France — July 25, 2012 — NETIA, a leading software manufacturer of media asset management and radio automation solutions, today announced that Medi 1 Radio will go live by the end of 2012 with NETIA’s Air-DDO, the broadcasting module of the Radio-Assist(TM) 8 automation system. more

Colorado Symphony Orchestra and Minnesota Public Radio Enhance Workflow with Neumann Digital Microphone Technology

Denver (CO), Minneapolis (MN), 24 July 2012 – Recording a large orchestral performance can involve extreme dynamic level changes, highly reverberant environments and dozens of channels of microphones, cables and associated electronic circuitry. Using traditional analog equip­ment, controlling these factors can be cumbersome, and maintaining a simple, agile workflow is often difficult. Using several dozen analog microphones onstage significantly raises the noise floor, and may introduce distortion during loud passages. Now, with Neumann’s pioneering range of digital microphones, users can experience an all-digital workflow — dramatically increasing signal integrity and user controllability.

A “Twenty-First Century Orchestra” Goes Digital

Since returning to the Colorado Symphony Orchestra (CSO) to take up the position of President/CEO, Gene Sobczak has begun to modernize the organization with an ambitious program of performances featuring pop and rock artists, recordings, webcasts and educational outreach. Sobczak has also forged relationships between Mike Pappas, a Denver-based recording engineer, and Sennheiser Electronic Corporation to ensure that every nuance of the orchestra is captured with innovative digital microphone technology from Neumann.

The CSO has already shared the stage this year with Trey Anastasio of the rock band Phish, Denver-based multi-instrumentalists DeVotchKa, and Boston-based alt-rockers Guster. In his role as volunteer engineer for the CSO, Pappas captured all three of these shows with an arsenal of Neumann digital microphones.

Realizing Agility and Simplicity

Pappas used 56 KM D series Neumann digital mics in a variety of omni-directional, cardioid and hypercardioid polar patterns. The mic list also included a Neumann KU 100 dummy head binaural stereo microphone for hall ambience, and a KMR 82 D shotgun for spot miking.

When using analog microphones and mixers, self-noise causes the noise floor to become more audible as channel counts increase. This is not the case with digital microphones however, which maintain a consistent noise floor whether one is using a single unit or three dozen units. “In a conventional analog mic setup,” says Pappas, “mix 24 channels together and the noise floor comes up by 15 dB. Now, take 56 analog microphones and you’re looking at the noise floor coming up by 20 or 25 dB. This is significantly lower when using digital microphones. With a Neumann digital microphone you go from capsule to A-to-D converter in less than an inch. What that means is that you don’t have this low level analog signal running through hundreds and hundreds of feet of cable, and then into your preamps. In the end, all the cable does is add more noise.”

Simple Workflow, Astounding Results

Pappas’ workflow is typically very simple: Neumann mics plugged into Neumann Digital Microphone Interface (DMIs), with the signals converted into MADI for transport to a DiGiCo mixing console for monitoring while recording into a computer running Apple Logic software. “The workflow is easier because there’s less stuff you need to worry about when you use digital mics,” Pappas observes. “You plug them in, fire up the software and the system pretty much runs itself. Plus we don’t have problems with things like hums and buzzes.”

“We recorded analog for many years with some of the best gear on the planet,” says Pappas. “When we switched over to full digital, the first thing we noticed was that we could hear the hall very clearly. We couldn’t hear this with analog gear because the noise floor of the gear was significantly greater than the noise floor of the hall.” Since Pappas received his first batch of Neumann digital mics back in 2004, he hasn’t looked back.

A Leading Broadcaster Forays into Digital Mics
Minnesota Public Radio (MPR), which established itself in 1967 as a classical music station, has grown to become one of the United States’ premier public radio entities and currently operates a 43-station radio network. American Public Media (APM), MPR’s parent organization, is the nation’s largest distributor of classical music programming. MPR frequently records and broadcasts the St. Paul Chamber Orchestra (SPCO) for “Performance Today,” a program that reaches 1.3 million listeners on 256 stations each week.

The SPCO is a 34-piece ensemble and the only full-time chamber orchestra in the U.S. Now in its 53rd season, the ensemble enjoys a reputation as one of the finest chamber orchestras in the world.

In early April, Cameron Wiley, MPR technical director for SPCO programming, implemented an eight-channel system at a performance by the ensemble at Wooddale Church in Eden Prairie, MN. He recorded the concert to a Nuendo system using Neumann KM 183 D, KM 184 D and KM 185 D digital microphones, with the main mic array arranged in a modified Decca Tree configuration.

Since there was no rehearsal, Wiley had to take an educated guess while setting levels based on his experience recording the SPCO with his analog rig – the tympani proved troublesome. Thankfully, he recalls, the increased headroom afforded by the Neumann digital system handled the KM 143 D spot mic with no distortion. “That mic was being hit pretty hard, but it handled this very well. If we had used analog, it wouldn’t have survived those levels.”

As a longtime user of analog microphones, Wiley appreciates the benefits of an all-digital mic setup – especially the control provided by Neumann’s Remote Control Software (RCS). “Being able to control polar patterns as well as onboard DSP can be a lifesaver. Having that capability in a mic is fantastic and it certainly makes workflow much easier to deal with.”

To learn more about Neumann digital microphones, please visit http://www.neumann.com.

Image Captions:

CSO_1.jpg:
Resident Conductor Scott O’Neil conducting the Colorado Symphony Orchestra with a Neumann KM 133 D capturing the sound (photo credit: Darius Panahpour)

CSO_2.jpg:
The Neumann KM D digital microphones feature extended dynamic range and an extremely low noise floor, making them perfectly suited for orchestral recordings (photo credit: Darius Panahpour)

Neumann_KM D_family.jpg:
The Neumann KM D family of digital microphones features an agile selection of omni, cardioid and super-cardioid polar patterns

Neumann KM 184 D.jpg:
The Neumann KM 184 D was used during a recent recording by MPR

Waves Audio Joins the AVnu Alliance

TEL AVIV, ISRAEL, July 16, 2012 — Waves Audio, the industry-leading developer of professional audio digital signal processing technologies, has announced that it has become a new member of the AVnu Alliance, an industry forum dedicated to the advancement and certification of Audio/Video Bridging (AVB) devices. As part of this relationship, Waves will be a presence at AVnu events and will encourage industry adoption of AVnu’s standards campaigns. By associating with AVnu, Waves is joining such leaders as Avid™, Cisco™, Dolby®, Gibson®, GM™, Harman, Intel®, Meyer Sound®, Sennheiser, Texas Instruments, Yamaha and many more.

AVnu promotes the adoption of the IEEE 802.1 Audio/Video Bridging (AVB), and the related IEEE 1722 and IEEE 1733, standards over various networking link-layers. The organization works to create compliance test procedures and processes that ensure AVB interoperability of networked A/V devices, helping to provide the highest quality streaming A/V experience. The Alliance will promote awareness of the benefits of AVB technologies and is collaborating with other organizations and entities to make use of this work in their respective efforts to provide a better end-user A/V experience. The Alliance is focused on applications of these technologies in the Automotive, Professional and Consumer Electronics markets.

Specifically, Waves is planning to collaborate with AVnu in the following ways: by having a strong presence at industry trade shows; by participating in AVnu’s flagship “Plug Fest” events; by encouraging AVB adoption by crossing platform boundaries (when Waves SoundGrid technology runs AVB, it is immediately available to all SoundGrid users); and more.

“AVnu Alliance is pleased to announce Waves as a member,” said Lee Minich, marketing chair for the AVnu Alliance. “Waves’ hardware and software signal processing spans the studio, live sound and broadcast markets, all of which will benefit from the adoption of standards-based, truly interoperable networked audio solutions.”

“We at Waves strongly support AVnu’s goals to provide the practical means to identify equipment conformity and test interoperability, and to educate our customers as to the values and benefits of AVB-based networked systems,” stated Gilad Keren, Waves CEO and Co-Founder. “Waves is dedicated to non-proprietary and standardized interoperability between systems, allowing our customers the freedom to use their plugin products anywhere and everywhere.”

Visit www.waves.com and www.waveslive.com for more information.

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