Archive for September, 2012

Sound Devices Unveils PIX 220i and PIX 240i at IBC 2012

Upgraded Portable Audio/Video Recorders with Higher Performance Displays

AMSTERDAM, SEPTEMBER 8, 2012
— Following the initial debut of the company’s PIX 220 and PIX 240 audio/video recorders, Sound Devices, experts in portable audio and video products for field production, reveals its newly upgraded PIX recorders at IBC 2012 (Stand 8.D74). Available this September, the PIX 220i and PIX 240i feature five-inch IPS-based LCD panels, with accurate color rendition and consistent off-axis viewing response.

The new recorders’ high-performance five-inch, IPS-based LCD displays are essential in the field, providing users with immediate confirmation of framing, exposure, focus, audio metering and Setup Menu selections. The new IPS-based displays also offer higher contrast and better off-axis viewing.

In addition, Sound Devices has released version 2.01 firmware for all PIX video recorders. This new revision offers numerous features including support for Alexa SDI filename metadata. New playback control is available including customized list playback, looped file playback, additional shuttle speeds. The new version also offers HD-to-SD and SD-to-HD aspect ratio conversion with selectable letter boxing, cropping and support for anamorphic workflows.

Sound Devices’ PIX 220i and PIX 240i offer users monitoring of the image’s exposure with Exposure Assist, a feature that shows either false-color or multi-level zebra-stripes. It comes equipped with Focus Assist, which includes a peaking filter and 1:1 pixel zoom. Monitor brightness, contrast and chroma adjustments are also now available. PIX 240i provides standard definition recording (NTSC and PAL) and support for using simultaneous analog and SDI/HDMI audio inputs. In addition, the PIX 240i has a built-in Ambient Clockit time-code generator/reader with genlock output for multi-camera and double-system sound applications. The source time-code can be derived from the SDI stream, from an external source or from the built-in generator in the PIX 240i. Other key features include digital audio inputs on AES3 and an external eSATAp connection for direct connection to large SATA drives.

Users can connect the PIX 220i and PIX 240i to cameras with HDMI (plus SDI with the PIX 240i) and record directly to QuickTime using Apple’s ProRes or Avid’s DNxHD codecs. Since PIX recorders use ProRes and DNxHD, files recorded in the field can be used directly in post production, making the workflow simple and fast. The audio circuitry on the PIX 220i and PIX 240i is based on Sound Devices’ award-winning 7-Series digital audio recorders. The low-noise (-128 dBu EIN), high-headroom, high-bandwidth inputs are mic/line switchable and include limiters, high-pass filters and phantom power.

PIX 220i and PIX 240i recorders are built with a metalized, molded carbon-fiber chassis and are powered by external 10-18 VDC or two removable Sony L-battery mount power supply systems.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The fourteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

Primestream Announces European Launch of Enhanced Integration Between FORK and Adobe Premiere Pro CS6

IBC2012 Attendees Will See Cross-Platform Support and Intuitive New Interface for Browsing FORK Content Without Leaving Editor Application

AMSTERDAM — Sept. 7, 2012 — Primestream(R), a leader in advanced media asset management and broadcast automation software, today announced an enhanced level of integration between its FORK(TM) software platform for managing and automating broadcast workflows and Adobe(R) Premiere(R) Pro CS6 software, the acclaimed video editing software for Windows(R) and Mac(R) OS X(R). The improved integration, which has been well-received in the United States and will be unveiled in Europe at IBC2012, allows users to drag and drop clips directly from FORK into Adobe Premiere Pro CS6 and to browse FORK content without leaving the software. As a result, editors and producers at all types of media organizations can get content to air more quickly and easily, whether they are using Windows or Mac platforms.

Through an intuitive new graphical user interface, users are able to search the FORK media asset database quickly from within Adobe Premiere Pro CS6; select clips, bins, or timelines created in the FORK Editor; and simply drag those items into an Adobe Premiere Pro project. When an edited sequence is complete, users can send the project to FORK for playout to air or to fulfill a newsroom system placeholder.

“Choosing a nonlinear editor can be a difficult decision because there are so many factors to consider and there have been so many changes in the NLE landscape lately,” said Warren Arenstein, Primestream|B4M vice president of business development. “But the FORK-CS6 integration can make that decision much easier. After seeing how broadcasters and creative pros received CS6 and FORK at the U.S. Adobe Road Show in June — and how quickly CS6 is being adopted in the United States — I’m confident that our new integration with Adobe Premiere Pro will really help transform the world of nonlinear video editing in Europe and beyond.”

FORK’s enhanced integration with Adobe Premiere Pro CS6 creates a user-friendly, cross-platform solution that gives traditional broadcasters such as CBS Sports, emerging online new media outlets, and global newsgathering organizations such as CNN a more collaborative and efficient workflow.

This European launch comes on the heels of a successful tour to introduce Adobe Premiere Pro CS6 to editors throughout the United States. Dubbed the Adobe Road Show, the free, in-depth traveling seminars educated current and aspiring digital video professionals on the capabilities of CS6, including its complete integration with FORK.

“With Adobe Premiere Pro CS6 and FORK, users can produce more substantive content more quickly, which is a clear advantage when it comes to getting good stories to air before the competition,” said Simon Williams, director of strategic relations at Adobe. “With this increased efficiency from this integrated workflow, our customers and broadcasters can deliver video content faster than ever, regardless of platform.”

Redesigned by and for editors, Adobe Premiere Pro CS6 software combines faster performance with a sleek, customizable user interface and powerful trimming tools that let editors work the way they want. More information about the top new features in Adobe Premiere Pro CS6 is available at: http://success.adobe.com/en/na/programs/events/1203_16108_nab.html.

The enhanced integration between FORK and Adobe Premiere Pro CS6 will be on display at IBC2012 at Primestream’s stand (7.D21) and Adobe’s stand (7.G27). More information about Primestream and B4M products is available at www.b4m.com or www.primestream.com.

# # #

About Primestream
Primestream(R) broadcast software solutions offer a seamless end-to-end platform for digital acquisition of live and file-based video content, media asset management, editing, logging, control room and master control playback, smartphone and tablet video contribution, publishing to the Web, and dynamic archiving. The company’s portfolio includes the FORK(TM) suite of applications, as well as Mobile2Air(R), ControlStation(TM), and the cloud-based FORK Xchange(TM). Deployed in more than 300 broadcast operations across 40 countries, Primestream’s proven solutions are implemented by some of the world’s leading broadcasters, uplink services providers, online digital media operations, and production/post-production facilities. More information is available at www.primestream.com and b4m.com.

Photo Link: www.wallstcom.com/Primestream/FORK_AdobePremierePro.zip

Primestream Releases FORK Logger 1.0 at IBC2012

New Built-In Module for FORK 3.5 Helps Content Owners Tag Video With Metadata Flexibly and Quickly Through Customizable GUI

AMSTERDAM — Sept. 7, 2012 — Primestream(R), a leader in advanced media asset management and broadcast automation software, today released FORK(TM) Logger 1.0, a new cross-platform module that’s part of the acclaimed FORK Production Suite 3.5. FORK Logger is a powerful metadata-tagging tool that allows for logging live or prerecorded video. The module’s tightly integrated and configurable user interface enables content loggers to tag video with defined metadata into the FORK environment effortlessly, making assets easier to manage, automate, and, ultimately, monetize.

“Content owners understand that their video archive is only as good as the descriptive metadata that goes into it,” said Claudio Lisman, Primestream|B4M president and CEO. “The driving force behind FORK Logger was to create a highly configurable, user-friendly application built inside FORK for quick metadata tagging. While most logging products focus on one sport or market, FORK Logger’s interface is completely customizable, so it can be designed and configured to look exactly how our customers want it.”

At the heart of the FORK Logger is a dynamic GUI. The GUI contains form panels, button panels, video viewers, marker thumbnail lists, and a bin list of created events, all of which are tools that can be combined — many in a dynamic way — based on the content. The FORK Logger supports multiple layouts per system. Users can work live with ingesting feeds or can call up existing clips inside FORK. With FORK Logger, users can log video files so that they can be searched, filtered, and organized by any metadata entry inside FORK Content Navigator(TM), FORK’s media asset manager. They can log key information using a FORK-generated proxy or high-resolution video, and the FORK Logger creates FORK markers and subclips that can be seen and used across the FORK platform.

As with FORK Content Navigator, FORK Logger allows more than one user to log the same clip at the same time, and all created events are accessible instantly by the other loggers or FORK users.

“The variety of configurations and the ability to change the interface dynamically based on the data and context makes FORK Logger unlike any other metadata tool on the market,” Lisman said. “It means a broadcaster’s assets will have additional — and more accurate — metadata, making them easier to monetize more quickly.”

Any FORK client can become a FORK Logger with no special station required. FORK Logger is available for both Mac(R) and Windows(R) operating systems.

FORK Logger debuted today at IBC2012. Demonstrations are available on stand 7.D21. More information about Primestream and B4M products is available at www.b4m.com or www.primestream.com.

# # #

About Primestream
Primestream(R) broadcast software solutions offer a seamless end-to-end platform for digital acquisition of live and file-based video content, media asset management, editing, logging, control room and master control playback, smartphone and tablet video contribution, publishing to the Web, and dynamic archiving. The company’s portfolio includes the FORK(TM) suite of applications, as well as Mobile2Air(R), ControlStation(TM), and the cloud-based FORK Xchange(TM). Deployed in more than 300 broadcast operations across 40 countries, Primestream’s proven solutions are implemented by some of the world’s leading broadcasters, uplink services providers, online digital media operations, and production/post-production facilities. More information is available at www.primestream.com and b4m.com.

Photo Link: www.wallstcom.com/Primestream/FORK_Logger.zip

Solid State Logic Launches ‘ScreenSound ADR’ at IBC 2012

The World’s First Dedicated End-to-End Solution for ADR has Arrived

AMSTERDAM – Solid State Logic (IBC, Stand 8.D83), the world’s leading manufacturer of analogue and digital audio consoles, is proud to announce another ground breaking product release with the launch of ScreenSound ADR. Designed to optimize and standardize Automatic Dialogue Replacement for film, foley recording and local language replacement for film and television, ScreenSound ADR is the world’s first end-to-end solution designed to deliver faster and more efficient ADR workflow.

ScreenSound ADR is a turnkey system that combines a suite of integrated software applications providing dialogue spotting and session preparation, session control and management and streamlined audio recording, with an industrial-strength hardware platform including host computer, I/O and Nucleus hardware control surface. At each stage of the ADR process, ScreenSound ADR provides dedicated solutions to streamline preparation, management and production.

ScreenSound ADR is all about efficient workflow. The session preparation stage of the process is handled by SpotShot, a comprehensive take logging, dialogue spotting and session preparation tool. Imported scripts are automatically turned into take lists, and a dedicated interface streamlines the dialogue spotting process with an integrated HD capable video player with full script and annotation text overlay. Take lists can be filtered to show appearances by individual cast members or groups and to calculate word/line count to help plan studio and talent time. SpotShot is a standalone application enabling dialogue spotting to be done away from the ADR studio.

At the heart of ScreenSound ADR is SpotFire, which presents a dedicated session management and automated ADR interface that provides complete control of studio session workflow. SpotFire offers a unique interface that combines a ‘rehearse – record – review’ based transport control panel with a

versatile and customizable Take List that makes viewing, navigating and controlling the recording process simple and efficient. SpotFire relies on SSL’s Soundscape DAW as the underlying platform for recording, editing and mixing with all track arming, transport and recording functions controlled entirely by SpotFire’s dedicated ADR interface. Audio workflow with ScreenSound ADR integrates with how the industry works today. The system imports native .ptf format sessions from Pro Tools and can export finished sessions in native .ptf Pro Tools format.

SpotFire also feeds and controls VisionCue, Screensound ADR’s powerful artist cue system. VisionCue is a fully integrated multi-screen HD video player with a completely customizable scrolling script, annotation, graphic timeline cue and count in overlay. VisionCue can natively play a huge range of video formats all the way up to Pro Res and Avid dnxhd without the need for transcoding and the system supports BlackMagic Design video interfaces.

ScreenSound ADR is a turnkey hardware based system: The multi-award winning SSL Nucleus hardware control surface delivers uniquely customizable hands-on control for accelerated operation (Nucleus also provides 2 x SSL SuperAnalogue™ mic pre’s). SSL’s Alpha-Link audio converters offer versatile and scalable I/O options to cater for recording and monitoring with the SSL MX4 software mixer environment providing a standard mixer templates and open architecture routing flexibility. The assurance of a fully tested SSL certified PC system completes a truly unique end-to-end solution to speed up your production workflow.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

NETIA Strengthens Business and Product Development With Key Managerial Appointments

CLARET, France — Sept. 7, 2012 — NETIA, a leader in content management and radio automation solutions, today announced a significant organizational change with the appointment of two industry professionals to key managerial roles and the recruitment of new sales representatives. Mustapha Rezzoug will take responsibility for international business development and strengthening NETIA’s global distributor network. Daniel Dedisse, who has led NETIA’s R&D department for the last 15 years, will take up the position of Product Director.

These new appointments reflect NETIA’s strategic plan to extend the company’s business development efforts and enhance its customer support at a worldwide level.

NETIA has also announced two new appointments to its sales force. Marc Bawol joins in a key role as junior sales manager for the Middle East and Africa, while Daria Globus has been named area sales representative for Eastern Europe, Russia, and CIS countries. Daria has more than 15 years’ experience with broadcast and IT organizations in this region.

All appointments are effective immediately.

# # #

About NETIA
NETIA, a GlobeCast company, is a leading provider of software solutions that enable efficient management and delivery of content to today’s full array of media platforms. Relied on by more than 10,000 users in 200 installations in more than 40 countries, NETIA solutions allow content producers and owners to manage content from ingest to delivery, targeting multiplatform outlets including the Internet, VOD, IPTV services, and mobile devices.

NETIA provides content management solutions to major radio and television brands and to multimedia groups around the world. Clients include SBS and ABC in Australia, RAI Italy, France Telecom/Orange, MediaCorp Singapore, RTL France, Radio Globo in Brazil, RTM Malaysia, Radio France, the Associated Press, France Télévisions, TV Center Russia, and L’Équipe 24/24. NETIA has its headquarters in France, with offices in the United States, Paris, Rome, and Singapore, in addition to a global network of professional distribution partners.

MKE 600 shotgun microphone for video journalists

The new MKE 600 shotgun microphone from audio specialist Sennheiser provides video journalists with a microphone that can master even the toughest video sound challenges. Its high level of directivity ensures that it picks up sound from the camera direction with minimal background noise. The switchable low-cut filter makes sure that handling and wind noise is also minimized. Users can expect a very lifelike, full-bodied sound with good bass response, as well as pleasant speech reproduction with high intelligibility.

“Reporting and media productions have an increasingly broad base nowadays, with information needing to be transmitted extremely quickly. This means that the technology used has to be as uncomplicated as possible,” explained Kai Lange, Product Manager Wired Microphones at Sennheiser. “With the MKE 600, we are presenting the ideal microphone for video journalists who want to produce a report or a film in perfect video and audio quality but do not wish to resort to highly professional shotgun microphones or a separate wireless link. In developing the MKE 600, we paid particular attention to achieving a high level of directivity and a balanced sound.”

A shock mount with an integral flashmount adapter is included to enable the sturdy MKE 600 to be fixed to a video camera without difficulties. The special design of the shock mount prevents handling noise from being transmitted to the microphone. Like any other shotgun microphone, the MKE 600 can also be used on a microphone boom.

Independent of phantom powering
For cameras that do not provide phantom power, the MKE 600 can be powered by a standard AA battery. A switch is provided to deactivate the battery power when the camera is not in use, thus preventing the battery from being discharged. An LED on the battery switch (“Low Batt”) indicates when the battery voltage is low, at which point the video journalist still has a reserve of around eight hours – “built-in recording security,” as Kai Lange explained.

Professional accessories
The MKE 600 comes fully equipped with a foam windshield that reduces wind noise by around 25 dB; the shock mount and a carrying case are also included. For outside broadcasting, a ‘blimp’ basket windshield (MZH 600) – a combined foam windshield and hairy cover that reduces wind noise more effectively than a foam windshield – is available as an optional accessory. A further option is a coiled connecting cable (KA 600) from an XLR-3 connector to a 3.5 mm jack plug.

The MKE 600 will be available in the U.S. at B&H Photo / Video in late September.

NETIA’s Radio-Assist(TM) 8.1 Digital Audio Automation Software Makes European Debut at IBC2012

Latest Release of Leading Software Suite Boasts Newly Integrated Music Scheduling and Video Editing Functionality

CLARET, France — Sept. 7, 2012 — NETIA, a leading software manufacturer of media asset management and radio automation solutions, today announced that its newly released Radio-Assist(TM) 8.1 range of digital audio automation software will make its European debut at IBC2012. This version of NETIA’s industry-leading software suite builds on an already robust array of tools for streamlined end-to-end multimedia production, broadcast, and publication workflows with the addition of two key features. Radio-Assist 8.1 boasts a new integrated music-scheduling application and video-editing capabilities, all available from within a single user interface.

“We continue to refine our Radio-Assist software suite and its functionality in response to feedback from our partners, as well as the changing dynamics of the media consumption marketplace,” said Daniel Dedisse, product director at NETIA. “With Radio-Assist 8.1 we bring valuable editing and scheduling tools into the user interface, effectively making those capabilities a seamless element within the overall workflow. With convenient access to Radio-Assist’s more robust toolset, users gain even greater flexibility in delivering quality audio and video to their audiences.”

NETIA’s Radio-Assist family of digital audio software programs covers each part of the production and broadcast workflow, allowing users to record, edit, or prepare a playlist. In addition to the new browse and publishing tools for full multimedia functionality, the software features tools for acquisition, sound-file editing, commercial and music production, newsroom systems, scheduling, multicasting, and administration.

Radio-Assist 8.1 builds on these capabilities by allowing users to leverage built-in music-scheduling functionality. With music management tools integrated into Radio-Assist 8.1′s FederAll playlist preparation module, users can automate playlist generation according to preset criteria, business policies, and a wide range of intelligent options for sequencing music.

The video editing tool now available within the Radio-Assist 8.1 interface complements the software’s Snippet and Snippet+ audio editing tools. Offering a convenient editing solution, this enhancement addresses the growing demand for radio broadcasters to provide video via their online portals. This simple and easy-to-use editing tool is available through the same GUI as the Snippet tool, providing a familiar utility that allows staff to produce video clips with very little training.

NETIA will demonstrate Radio-Assist 8.1, along with other functional and technical enhancements that add to the value of Radio-Assist 8.1 in today’s radio broadcast operations, at IBC2012 at stand 1.A29.

More information about NETIA and the company’s products is available at www.netia.com

# # #

About NETIA
NETIA, a GlobeCast company, is a leading provider of software solutions that enable efficient management and delivery of content to today’s full array of media platforms. Relied on by more than 10,000 users in 200 installations in more than 40 countries, NETIA solutions allow content producers and owners to manage content from ingest to delivery, targeting multiplatform outlets including the Internet, VOD, IPTV services, and mobile devices.

NETIA provides content management solutions to major radio and television brands and to multimedia groups around the world. Clients include SBS and ABC in Australia, RAI Italy, France Telecom/Orange, MediaCorp Singapore, RTL France, Radio Globo in Brazil, RTM Malaysia, Radio France, the Associated Press, France Télévisions, TV Center Russia, and L’Équipe 24/24. NETIA has its headquarters in France, with offices in the United States, Paris, Rome, and Singapore, in addition to a global network of professional distribution partners.

Professional sound for video filming: the MKE 600 camera microphone from Sennheiser

Whether it is an afternoon at the zoo, a special holiday video or your very own video documentary, a video camera is always a treasured companion on such special occasions and creative projects. And discerning video enthusiasts often have the highest demands when it comes to sound quality in particular. To meet these demands, audio specialist Sennheiser just unveiled a new camera microphone at IBC in Amsterdam: the MKE 600 shotgun microphone.

“The MKE 600 was developed for video journalists who want superior sound quality coupled with uncomplicated handling – benefits that amateur video enthusiasts will also appreciate,” said Kai Lange, product manager wired microphones at Sennheiser. “In developing the MKE 600, we paid particular attention to achieving a high level of directivity and a balanced sound.”

Top-quality sound for successful videos
The shotgun microphone offers a very lifelike, full-bodied sound with good bass reproduction, while ensuring pleasant speech reproduction with high intelligibility. Thanks to its high level of directivity, the MKE 600 will pick up sound from the camera direction while avoiding unwanted background noise – making sure that the sound is always right next to the image. Handling and wind noise is significantly reduced by a switchable low-cut filter.

Independent of phantom powering
As not all video cameras provide phantom power for a microphone, phantom power for the MKE 600 can also be supplied by a standard AA battery. A switch is provided to deactivate the battery power when the camera is not in use, thus preventing the battery from being discharged. An LED on the battery switch (“Low Batt”) indicates when the battery voltage is low, after which there is still a reserve of around eight hours – plenty of time to complete a video even if you do not have a new battery readily available.

Professional accessories
The MKE 600 comes fully equipped with a foam windshield that reduces wind noise by around 25 dB. Also included is a carrying case and an elastic shock mount with an integral flashmount adapter for fixing the sturdy MKE 600 to the video camera. The special design of the shock mount prevents handling noise from being transmitted to the microphone.

For outdoor videos, a ‘blimp’ (MZH 600) – a combined foam/hairy cover windshield – which reduces wind noise more effectively than a foam windshield – is available as an optional accessory. A further option is a coiled connecting cable (KA 600) from an XLR-3 connector to a 3.5 mm jack plug.

The MKE 600 will be available at B&H Photo / Video beginning in late September.

DPA Microphones Help the Fukada Tree Bloom

LONGMONT, CO, SEPTEMBER 7, 2012 – Internationally renowned recording engineer and lecturer Akira Fukada has specified DPA Microphones 4011A directional, 4006A omnidirectional and 4015A wide cardioid ORTF microphones as best suited to his Fukada Tree arrangement. Supplied by DPA’s Japanese distributor Hibino, with whom Mr. Fukada has subsequently presented a number of seminars and workshops explaining the Fukada Tree, Fukada chose the brand for its rich bass and high frequency sound that does not blot during the recording process.

Mr. Fukada made an enormous impact at the New York AES Convention in 1997 when he unveiled the Fukada Tree seven microphone arrangement – a totally new technique for recording orchestral music in surround sound for subsequent broadcast or CD release. Developed to resolve some of the problems engineers had encountered when trying to record spatial environments with traditional omni-directional microphones, the Fukada Tree clarified microphone positioning and also incorporated directional microphones for main and environmental sounds.

Originally designed for Japanese state broadcaster NHK, the Fukada Tree is now owned by Mr. Fukada’s company, Dream Windows, Inc., which consults on a wide range of music recording, special sound design and audio issues. Whether with NHK or Dream Windows, Mr. Fukada has specified DPA microphones from the outset.

“I insist on using DPA microphones because I like the transparent feel they deliver,” says Fukada, CEO of Dream Windows, Inc. “When recording piano, for example, they give me the clear attack sound and the beauty of reverberation when the sound attenuates. Their wide dynamic range and rich bass vigorously catches the expression of an orchestra, while for string ensembles recorded in a studio, they capture the rich overtones and give a better feeling of air.”

Since first announcing the Fukada Tree arrangement, Mr. Fukada has made a number of positioning modifications to improve front localization, but his choice of microphones remains constant and continues to be DPA. “The LL/RR microphones on both sides are intended to pick up the orchestrated sound expanse and a smooth sound envelope covering the front and rear sections of the hall,” he explains. “I don’t, however, use LL/RR microphones for small music ensembles. My arrangement incorporates DPA 4011A directional microphones and DPA 4006A omnidirectional microphones from the Reference Standard Microphone Series. The configuration of the tree can vary depending on the hall’s acoustic characteristics, while the intervals at which the microphones are placed can also change to conform to the size and formation of the orchestra.”

In recent months, Mr. Fukada has used DPA microphones and the Fukada Tree to record a number of prestigious recording projects, including Shostakovich’s Symphony No. 5 with the Saito Kinen Orchestra, directed by Seiji Ozawa.

“I also use DPA microphones for projects that don’t require the Tree,” he says. “Recently, I selected the DPA 4006 for a Decca Tree stereo configuration to pick up string ambience in a studio setting. I also use the DPA 4015A wide cardioid ORTF for piano, and if I am recording acoustic guitar, I like to use a DPA cardioid 4011 XY. For me, DPA microphones are indispensable because they suit any musical instrument and provide all the accuracy that I need.”

Ken Kimura, DPA Microphones’ Regional Sales Director, Asia Pacific, says: “Following the upgrade and release of our finest Reference Standard Microphones, and given Mr. Fukada’s requirement for the best audio equipment, I’m very pleased to see that he continues to rely upon our 4006A, 4011A and 4015A mics for his recording sessions under Dream Windows, Inc.”

SSL Demonstrates Riedel RockNet and MediorNet Compatibility at IBC 2012

New Compatibility Further Enhances Integration Options for SSL Digital Broadcast Consoles

AMSTERDAM – Solid State Logic, the world’s leading manufacturer of analogue and digital audio consoles is proud to demonstrate compatibility with Riedel RockNet and MediorNet systems at IBC 2012 (Stand 8.D83). Collaborative development between Riedel and SSL has delivered functionality, which aide customers worldwide in specifying and configuring integrated systems that deploy technology from two of the most respected names in broadcast.

SSL C100 HDS and C10 HD digital broadcast consoles can now connect to Riedel RockNet low latency audio distribution network and MediorNet fibre-optic transport, routing and conversion network. Via Riedel’s RN334.MD MADI interface, SSL consoles can then remotely control mic Gain, Phantom Power and Pad settings for Riedel RN series audio interfaces connected anywhere on a RockNet network. In addition SSL’s own MORSE Stagebox and Alpha-Link I/O units can also be connected via MADI to Riedel’s MediorNet networks with full remote control capability maintained for SSL consoles. Redundancy is a key feature for both SSL and Riedel customers and the new implementation ensures that Riedel and SSL remote I/O continue to behave as expected within SSL’s redundancy topology.

“SSL and Riedel share a significant customer base across the world, and these developments make it possible for our users to employ our consoles and distribution technology in truly integrated systems,” says Niall Feldman, director of new products for SSL. “Riedel is a highly respected, professional and innovative manufacturer, and there is considerable synergy between our technologies, so it is a great pleasure to continue to bring the relationship between our two companies ever closer together.”

“We’re proud to welcome Solid Stage Logic to the family of RockNet and MediorNet compatible console systems,” adds Henning Kaltheuner, head of product management at Riedel Communications. “This way, SSL will be able to network their consoles and stage boxes via MediorNet and also combine both with consoles and stage boxes from other RockNet compatible brands. As a result, SSL’s clients realize a streamlined infrastructure and maximum flexibility.”

Riedel Communications designs, manufactures and distributes the most pioneering real-time networks for video, audio and communications for broadcast, pro-audio, event, sports, theatre and security applications worldwide. The products reflect today’s leading-edge technologies that translate tomorrow’s demands into today’s solutions. The company also provides rental services for radio and intercom systems, event IT solutions as well as fibre-based and wireless audio & video transmission systems for large-scale events such as Olympic Games or FIFA World Cups. The Company was founded in 1987 and today employs over 350 people located within 11 locations in Europe, Australia, Asia and the Americas. For more information please visit www.riedel.net.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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The Radio magazine The Wire provides information from manufacturers and associations about industry news, products, technology and business announcements. The information shown here is posted by companies and their representatives and are not edited or previewed by the Radio magazine staff. The content providers are solely responsible for the content of their posts. If you would like your company's news and information to appear here, contact us.

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