Archive for February, 2013

Aphex® Model 188 and 1788A Mic Pre’s Shape the Sound of 12-12-12 Concert for Sandy Relief

— Longtime Aphex® users Music Mix Mobile (M3) choose Aphex as the backbone of the audio system at all-star benefit —

The 12-12-12 Concert for Sandy Relief raised in excess of $30 million, according to its non-profit charity organizer, the Robin Hood Foundation, and delivered more than three hours of music by some of the biggest names in the business to a global television and streaming audience of two billion. Every single note of music performed onstage at New York’s Madison Square Garden passed through Aphex® Model 188 and 1788A eight-channel remote controlled microphone preamplifiers, provided by Music Mix Mobile (M3), the New Jersey/California-based remote recording, mixing and production company that supplied the music mixing trucks and expertise for the 12-12-12 event.

The 12-12-12 Concert for Sandy Relief featured musical talent from both sides of the Atlantic, including Paul McCartney (who performed a tune with the surviving members of a reformed Nirvana), Bruce Springsteen and the E Street Band, Bon Jovi, Roger Waters, Eric Clapton, the Rolling Stones, The Who, Kanye West, Billy Joel, Chris Martin with surprise guest Michael Stipe, and Alicia Keys. Celebrity announcers included Kristen Stewart, Billy Crystal, Chris Rock, Jon Stewart, Stephen Colbert and Jimmy Fallon, among others.

According to Pete Gary, Engineer-in-Charge, M3 fielded two trucks: “Voyager”, based on the East Coast, and California-based “Horizon”. Music mixers John Harris and Bob Clearmountain mixed alternate performances throughout the evening, aided by Jay Vicari, who mixed Billy Joel and Bon Jovi. M3 partner Mitch Maketansky was audio coordinator for the event, which was delivered to the audience at the Garden by Red Hook, NY-based Firehouse Productions and in the U.S. was broadcast over 37 television networks, live streamed from numerous web sites and simulcast into movie theaters nationwide.

“Every input that you heard on the show hit an Aphex,” stated Harris. Gary added, “Voyager had 120 channels of Aphex 188 mic pre’s, and Horizon was running 112 channels of 1788As. Our main infrastructure for the show was built around Aphex. They’re reliable and they’re clean. We didn’t want the sound to be drastically different between acts and trucks, and they don’t color the sound too much, unlike other mic pre’s, so you can do a lot with that front end. The Aphex pre’s made everything easy — like always!” says Gary, noting that M3 originally adopted the Model 188 in time for the 2009 GRAMMY® Awards broadcast, shortly after it was introduced.

At Madison Square Garden, artists were set up on a rotating turntable divided into stages A and B, alternating from one performance to the next. “We had two guys per stage dialing all of the mic pre levels independently, storing them, and making sure the recalls came back exactly as saved,” Gary continues. “When the table would turn for the next performance, we would flip over to the other truck.”

Harris observes that the recall abilities of both models of Aphex preamp were critical to the delivery of a consistent mix throughout the evening. “Over the days of soundcheck and rehearsal, once we got all the mic gains set perfectly we were able to store settings in the units. Each time the stage turned around we would hit the recall button and—boom—all the settings come back exactly the way they were stored at rehearsal. We were on the air in seconds with the exact same settings that we had from days before.” Harris further notes that every signal not only passed through an Aphex mic preamp but also through each unit’s A-to-D converters.

Gary elaborates, “All of the inputs from the stage were fed via analog splits and fanned out to our Aphex racks. We then changed the Aphex Toslink into a MADI stream and transmitted everything over fiber to the trucks. It’s the absolutely cleanest signal path that we could produce to get to the trucks 1,500 feet away, five floors down and out on Eighth Avenue. The networking protocol made it super easy to integrate into our systems and network the entire infrastructure together. On one network, from one master computer, I could view the entire network of mic pre’s from the truck, because of their TCP/IP addressing.”

Aphex CEO, David Wiener, was on hand, both in the M3 mobile studios and backstage lending support. “John, Joel, Mitch and the rest of the M3 crew did a fantastic job as usual. Their talent and mobile technology is really impressive – that’s why they do all the big jobs – and it’s a real compliment that Aphex is the backbone of so many of these major events and broadcasts.”

With so much production equipment on the deck and a constant stream of backline gear being staged for each performance, the compact size of the Aphex Model 188s, at just a single rack space per eight channels, was also beneficial, according to Harris. “As well as being so great sounding, the 188s are so small that we were able to get all 120 channels into just one corner of monitorworld there on the floor of the Garden. Sometimes it can be important to get everything into a small footprint.”

More importantly, concludes Harris, “The Aphex mic pre’s have always been 100 percent dependable. You’ve got to have that on a show where you’re broadcasting to two billion people. Aphex is the sound of 12-12-12!”

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Prism Sound Hosts Audio Design Workshop LIVE

Some of the most experienced engineers in the audio industry will be sharing their knowledge and practical expertise in active loudspeaker design at a unique workshop being hosted by Prism Sound and Oxford Digital, in partnership with the Audio Engineering Society, LOUDSOFT and TTid.

Audio Design Workshop LIVE will take place at Anglia Ruskin University, Cambridge, on March 25th 2013 and will be open to engineers, engineering managers, students and academics involved in audio engineering.

“The seminar sessions will cover aspects of analogue and digital audio system design and optimization, with a major emphasis on real-world, practical problem solving,” says Simon Woollard, Test & Measurement Product Specialist at Prism Sound. “Our audience will have a unique opportunity to learn from our panel’s many decades of collective experience, plus there will be plenty of opportunity for hands-on experimentation, and for networking with the presenters and other participants. This is a fantastic chance for everyone involved in audio engineering to learn the tricks of the trade from luminaries of the audio industry.”

Audio Design Workshop LIVE will feature seminar sessions presented by Peter Eastty and John Richards of Oxford Digital; Peter Larsen of LOUDSOFT; Ian Dennis and Simon Woollard of Prism Sound; plus a guest presenter to be announced shortly. There will also be a panel discussion/Q&A where delegates will have the chance to ask the panellists for answers and advice, a hands-on session with evaluation units and demonstrations, and plenty of opportunities to network. All delegates will also receive an audio engineering gift pack.

“We are encouraging delegates to bring along their own loudspeakers for evaluation and enhancement using Oxford Digital’s DSP tools,” Simon Woollard adds. “And for those who can’t physically attend, there will be the opportunity to watch the proceedings live via a global webcast.”

Places for Audio Design Workshop LIVE are limited and anyone wishing to take part is encouraged to register now. This can be done online via the Prism Sound website: www.prismsound.com/ADWLCambridge2013, or by calling +44 (0)1353 648 888.

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About Prism Sound
Founded in 1987 in Cambridge, UK, Prism Sound manufactures a range of high quality professional test equipment for audio applications. The company is organized in three divisions and in addition to audio test equipment, Prism Sound also manufactures equipment for high-quality recording and production for music and sound applications and for voice-logging recorders used in law enforcement, legislative and business applications. Prism Sound audio test equipment is used by many major consumer electronics brands in automotive, home entertainment, personal mobile, communications and other market sectors as well as most of the world’s leading broadcasters including the BBC. Prism Sound’s music recording products are widely used by leading professionals in music and film sound such as the legendary Abbey Road Studios in London.

For more information: www.prismsound.com

K-array Loudspeakers Deliver High Quality Sound at Presidential Inauguration Events

While the spotlight was on President Obama during the public ceremony of his second inauguration held on Monday, January 21st at the U.S. Capitol, there were many private parties, celebrations and events at other high profile institutions in and around D.C. for several days preceding the official event. To support the many festivities, K-array loudspeakers, distributed by Sennheiser, were enlisted to deliver powerful audio.

For All Stage & Sound, Inc., a Laytonsville, MD-based full-service event production company, the presidential inauguration brings with it a packed schedule of high profile corporate events every four years. This year was no exception, as the firm handled staging and production for activities held at the Smithsonian Air & Space Museum, the United States Institute of Peace, The Italian Embassy, Cafe Milano and others.

“We had equipment out everywhere, and it was all being used around the clock at different venues throughout the city,” says Richard O. Benning of All Stage & Sound. The primary loudspeaker systems the company relied on were from Italian manufacturer K-array, which specializes in speakers featuring the best possible sound quality in an extremely small footprint. K-array is a fantastic solution for the kind of work that we do because these speakers are not only stealth and look great, but they sound fantastic as well.”

All Stage & Sound recently fortified its arsenal of K-array systems, anticipating the increased demand for this year’s inaugural activities, says Benning. “We already owned five sets of KR 200s, a pair of KR 400s and a pair of KR 100s. To supplement this for the inauguration, we bought two pairs of the new KR 202s, another pair of the new KR 402s and another pair of the new KR 102s. Everything was being used non-stop.”

The remarkable events included the Italian Embassy, which occurred on Sunday, January 20th and featured singer Cindy Lauper providing the entertainment through a pair of K-array KR 402s. “Everyone was thrilled that there were Italian speakers in the Italian Embassy, yet there was some initial trepidation about the speakers’ small size,” Benning recalls. “By the end of the performance, there were smiles on the faces of all concerned. They said the sound was perfect, and of course the sightlines were outstanding because there was just nothing in the way!”

For the Cyndi Lauper show, All Stage & Sound had set up KR 402s at the left and right of the stage, reinforced by a pair of KR 102s farther down the room, flanked left and right. In environments like the Italian Embassy, or the Smithsonian National Air and Space Museum, Benning says that it is about aesthetics from the very beginning — and this is precisely where the K-array solution shines. From an acoustic perspective, K-array speakers provide optimal gain before feedback and help disperse the sound accurately in difficult acoustic environments.

“Because the K-array speakers have such a wide dispersion pattern, we can put them in corners of rooms and face them inward,” explains Benning. “With the KR 402s, you have a light that gives you a visual indication of where the dispersion begins and ends. You can stand it right in front of a lectern and when you rotate it just slightly, it rejects feedback beautifully.”

“A big portion of what we do is speech, so feedback rejection is a really important consideration,” he continues. “If a CEO or some other dignitary is speaking at an inaugural party or other high profile event, the sound must be absolutely clear and there can be no exception. K-array delivers for us on this level, time and time again.”

Benning also appreciates the portability and ease of set-up in the K-arrays, which saves not only labor costs, but also space requirements: “You can go in with a single truck and throw in a set of KR 202s with only a couple of guys.” Benning also says the K-arrays have smaller power distribution requirements compared to larger, less efficient systems, helping reduce trucking and manpower requirements. “They go in faster and also look cleaner,” he says.

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Solid State Logic Welcomes Max Noach as Latin American Regional Sales Manager

Former Employee Returns to His Roots to Expand the Company’s Reach into the Emerging Market

OXFORD, UK – Solid State Logic is pleased to welcome back Max Noach to the company. In his new role as Regional Sales Manager for Latin America, Noach will oversee all day-to-day sales and support activities in Central and South America.

Noach’s previous sales and engineering experiences, combined with his understanding of the region and ability to speak five languages (English, French, Dutch, Portuguese and Spanish), make him the perfect candidate for the position.

“We are thrilled to welcome Max back to the Solid State Logic family,” says George Horton, SSL Vice President, Western Region and Latin America. “Latin America has quickly become an important market for all audio companies, and we’re lucky to have someone with as much insight into the region as Max. His previous decade-long experience with SSL and extensive engineering career make Max the ideal person for this role. I look forward to working with him to continue to grow SSL’s reach into this market while fulfilling the company’s legacy of providing exemplary, innovative technology that sets industry standards.”

Since relocating to Brazil, Noach has provided freelance sales and consultancy services to Brazil-based companies in the recording, broadcast and post-production industries. He also served as divisional manager for Marutec-Tagima and most recently as the pro audio sales manager for ProShows.

In his original roles with SSL, Noach helped to develop the company’s reach into the South American market. Throughout his decade-long tenure with SSL, he held several positions, including Area Sales Manager and Head of Sales – Western Division. Prior to taking on sales, Noach also had an impressive freelance engineering career, providing editing, mixing, post-production support and sound supervising for a variety of projects. Included among these are television, corporate video, short films, documentaries and commercials.

“I am truly thrilled and enthused to be back working at SSL, a company that I have always admired and with the people I love,” says Noach. “I look forward to contributing to SSL’s future by helping it reach new markets and continuing to develop existing regions. This feels like coming home, really. It’s both familiar and exhilarating at the same time.”

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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Sennheiser Brings Unmatched Sound Quality and Wireless Reliability to Diverse Performances at 55th Annual Grammy Awards

For world-class recording artists including Bruno Mars, Sting, Zac Brown, Miranda Lambert, Alicia Keys and Ed Sheeran, Sennheiser was the microphone and wireless system of choice for the 55th annual Grammy Awards event, held at the Staples Center in downtown Los Angeles on February 10. The evening’s telecast, hosted for a second time by LL Cool J, drew 28.1 million viewers and showcased over 25 spectacular performances by a diverse range of artists.

Sennheiser endorsee The Zac Brown Band and Adele, also a Sennheiser user, captured awards during the evening: Zac Brown for “Best Country Album” (“Uncaged”) and Adele for “Best Pop Solo Performance” (“Set Fire to the Rain”).

As in prior years, the artist dedications were among the most memorable moments of the evening, and this year included moving tributes to Bob Marley, Levon Helm, Dave Brubeck and others. Bruno Mars led the tribute to Bob Marley before ushering Sting, Rihanna, Damian Marley and Ziggy Marley to the stage for performances of “Locked Out of Heaven”, “Walking on the Moon”, and “Could You Be Loved”. Bruno Mars sang through a Sennheiser SKM 2000 transmitter, coupled with an MMD 945-1 super-cardioid capsule. Sting, meanwhile, delivered a powerful, full-range vocal performance through a Sennheiser SKM 5200-II transmitter with a Neumann KK 105 S super-cardioid capsule.

“Putting Bruno on the SKM 2000 transmitter and MMD 945-1 capsule combination was a choice between me and Front of House,” explains James Berry, monitor engineer for Bruno Mars. “We did a shootout with a ton of mics and this was definitely the best choice for Bruno. This combination really made his vocal sound fantastic both for his own IEMs and for Front of House.” Berry says he is running roughly 30 channels of Sennheiser wireless, for microphones as well as IEMs: “The 2000 series IEMs are rock solid and they sound great. I’ve been using them for many years now and it’s my go-to.”

Perhaps the most emotional tribute of the evening was to Levon Helm, who passed away in April of 2012. An all-star cast consisting of Zac Brown, T Bone Burnett, Elton John, Mavis Staples, Mumford & Sons and Brittany Howard of Alabama Shakes performed an emotional rendition of “The Weight” with Zac Brown leading off, singing through a Sennheiser SKM 5200-II transmitter and MD 5235 capsule.

Earlier in the evening, audiences were treated to shimmering duet renditions of “Over You” and “Home” by Miranda Lambert and Dierks Bentley, with Lambert singing through her signature custom pink-fashioned Sennheiser SKM 2000 handheld and MMD 935-1 capsule. “Microphone choice is a team call between Jason [Macalik, FOH for Miranda Lambert] and me,” says Chris Newsom, monitor engineer for Miranda Lambert. “You choose whatever microphone best complements the artist’s voice, and the combination of the SKM 2000 and MMD 935-1 works fantastic for us. Miranda’s voice sounds really smooth, and that’s exactly what we are looking for.” Newsom adds that his team relies 100 percent on Sennheiser for both handheld transmitters and IEMs, with 12 stereo mixes of ew 300 G3 IEMs for in-ear monitoring alongside EM 2050 receivers and six channels of SKM 2000 transmitters – each with MMD 935-1 capsules.

John Harris has been music mixer at the Grammys for 20 years and says that attaining outstanding audio has always been the focus. “This is the only show where all my clients are music professionals, so there is nothing more important than the sound,” he says. “For both Bruno’s and Miranda’s performances, the sound of the mic jumped out at me and made me look up,” he recalls. “In both cases, the mics [Sennheiser SKM 2000 with MMD 945-1 capsules] were really well matched to the performers and were ideal for the circumstances.”

Throughout the entire performance, Dave Bellamy of Burbank, CA-based Soundtronics, who served as RF Coordinator and has no less than 15 Grammy events under his belt, relied on Sennheiser for wireless systems. “We used 18 channels of Sennheiser RF for the show, all top-of-the-line EM 3732-II receivers,” he says. “We have been very happy with it and it has been solid and reliable – especially as we have less and less spectrum and more RF devices to work with than ever before.” Bellamy’s firm was responsible for the antenna system and seamless coordination of all the RF frequencies for the show.

Many Sennheiser microphones were also featured across a variety of backline instruments throughout the show. For example, no less than 20 Sennheiser e 935s were used for background vocals, 30 Sennheiser e 602 microphones for floor toms and kick drums, 20 e 904s for rack toms and ten e 906s on various guitar cabinets. Music mixer John Harris is a fan of the e 602 mic in particular: “The e 602 design is fantastic,” he elaborates. “You can put it on a drum and it already does what I was going to do to it – it is great at impact, especially at the bottom and top end.”

Harris says that he continues to receive impeccable support from Sennheiser, which is invaluable at a time when technology is moving so fast: “Sennheiser looks after their products well and having someone on the ground like their artist rep Tim Moore is spectacular. I get the feeling that Sennheiser has a real pulse on their products and that the company is moving forward all the time.”

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Jampro Antennas Returns to NRB With Targeted Products and Customized Solutions

VISIT JAMPRO AT NRB BOOTH # 556

Sacramento, CA – Jampro Antennas, Inc. — a world leader in the manufacture and design of antennas, combiners & filters and RF components for every application in radio and television broadcast including DTV, DVB-T, FM and HD Radio solutions — is returning to the National Religious Broadcasters (NRB) Convention and Expo to display products and solutions targeting the faith-based segment of the broadcasting industry. NRB will take place March 2nd to March 5th at the Gaylord Opryland Resort & Convention Center in Nashville, Tennessee.

The NRB 2013 Exposition is the largest marketplace dedicated to Christian media professionals. Over 200 vendors will showcase their products and services to thousands of attendees including broadcasters, media pastors, program producers, and those with an online presence, or are active in social media.

At NRB Jampro will highlight their ability to provide a full complement of customizable, high quality and reasonably priced systems that bring great value and outstanding features to all segments of broadcasting. Each product is built to the individual specifications of the end-user, and is tested on the Company’s 7,000-foot full-scale test range to guarantee best coverage.

Jampro will also emphasize the benefits of their Prostar JA/MS-BB Broadband UHF Slot Antenna that offers an economical alternative to buying, installing and maintaining multiple antennas by providing a single, compact solution that conserves tower space and minimizes wind loading. Especially designed for multi-channel/combined channel operations in analog-analog, analog-digital or digital-digital TV applications, the JA/MS-BB arrives factory tuned with a ready-to-install, elegant and streamlined design.

In addition, Jampro will showcase their JAVA FM log periodic antennas that are frequency independent and known for good performance and ultra wide-band communications.

Cllck on harriet@desertmooncomm.com to visit Jampro at NRB, Booth 556!

About Jampro
Jampro Antennas Inc., established to answer the need for quality broadcast systems at a reasonable price, is a leading supplier of antennas, combiners & filters and RF components for every application in the broadcast industry. Reputed for innovation and customization, Jampro builds each system to the specifications of the individual broadcaster. From the first system delivered in 1954 to those installed today, the Company is committed to consistent performance and quality founded on solid engineering. Today, over 25,000 broadcasters worldwide benefit from the quality and performance provided by Jampro systems. For additional JAMPRO information, please visit: www.jampro.com.

Jampro contact: Sonia Del Castillo
916-383-1177 • mailto:Sonia@jampro.com

Press Contact: Desert Moon Communications
Harriet Diener • 845-512-8283
harriet@desertmooncomm.com

Jünger Audio Appoints Anthony Wilkins To Its Sales Team

Dynamics processing specialist Jünger Audio has appointed Anthony Wilkins to the position of International Sales Manager, with particular responsibility for the US and UK markets.

Wilkins has more than 25 years of experience in the audio industry and has previously worked for Sony, DTS, Linear Acoustic and RTW. He is also a member of the AES, the IEEE and the EBU P/Loud group.

Peter Poers, Managing Director of Jünger Audio, says: “Anthony has a thorough understanding of the broadcast industry and Jünger Audio’s position within it. Our product range is ideally suited to broadcast customers in the US and UK, particularly in light of the recent introduction of Loudness legislation such as the CALM Act in the US. Anthony’s contacts and expertise will allow us to enhance brand awareness and market penetration so that we can bring our Loudness solutions to the widest possible audience.”

Wilkins adds: “I’m delighted to be joining one of the world’s most respected audio processing companies. It’s an exciting time in our industry and Jünger Audio has a compelling range of products to meet the needs of many of today’s broadcast audio requirements. I look forward to working with a great team and to building further on Jünger Audio’s already impressive success.”

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About Jünger Audio

Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.junger-audio.com

NETIA Products at the 2013 NAB Show:

NEW RELEASE: Radio-Assist(TM) 8.2 Automation Solution
NETIA is unveiling version 8.2 of the company’s Radio-Assist(TM) digital audio software suite at the 2013 NAB Show. This latest release of NETIA’s flagship software boasts three powerful enhancements, all of which will be showcased throughout the show.

Cloud Management
The introduction of cloud-based management for Radio-Assist(TM) gives users the ability to access the system database from any network-connected workstation. Particularly valuable for multisite radio broadcasters, this capability enables authorized users everywhere to access, retrieve, and work on the same content, without the need for time-consuming media transfers. In addition to enabling faster, more productive operations through shared media access, cloud-based management enables broadcasters to reduce reliance on server infrastructure and, in turn, lower the total cost of ownership.

By storing content in the cloud, Radio-Assist can serve as an online production database or as online content archive. Radio-Assist archiving tools enable seamless management of the archive/restoration process in the cloud. Users can simply trigger the archiving process as a background task and subsequently use simple search requests to retrieve content. In disaster recovery situations, the content stored in the cloud by Radio-Assist can help to ensure continuity of service even when ground-based facilities are compromised.

iSnippet Audio Editing Tool for iPhone(R) and iPad(R)
The Snippet range of editing tools available within the Radio-Assist(TM) automation products is now available for iOS devices. Sharing the same look and ergonomic principles as the Snippet desktop interface, the new iPhone(R)- and iPad(R)-compatible iSnippet tool allows field reporters and other remote users to enjoy the Radio-Assist audio editing capabilities — familiar from the desktop — on their portable devices.

Teleprompter
The new teleprompter module for the Radio-Assist(TM) suite gives presenters and journalists convenient visual access to news scripts, which scroll continuously across the presenter’s screen, linked with the playout system in the studio. Customizable features such as text size, color selection, automatic speed control that adapts to reading speed, and read length may be configured in user profiles tailored to presenter preferences.

Image Link: www.wallstcom.com/NETIA/Prompteur_HD.zip
Image Caption: NETIA Radio-Assist(TM) Teleprompter

NETIA Content Management System (CMS)
At the 2013 NAB Show, NETIA will showcase the latest version of its media asset management (MAM) platform, which allows users to manage all processes within the global production environment — from editing through post and distribution — through simple, easy-to-manage workflows and task automation, accessed through one unique and straightforward interface. With the NETIA CMS, users can connect all of their partners and vendors within a single production ecosystem, simplifying the sharing and managing of media assets.

Metamodel Editor
The latest version of the NETIA CMS includes new features within its metadata management module. Enriched with a new metamodel editor, this graphical tool enables the user to manage and customize the metadata model structure.

Monitoring
The new release of NETIA CMS includes a recording feature with which users can schedule specific recordings or continuous channel ingest. Video is stored in the MAM database along with corresponding transcript text files, generated by a speech-to-text engine. A new monitoring feature facilitates the searching and browsing of these recorded channel feeds, either according to a timeline or through a full-text search. Upon locating the appropriate content, the user can extract, repurpose, and export the relevant video segment.

Image Link: www.wallstcom.com/NETIA/Monitoring_Mix.zip
Image Caption: NETIA CMS Monitoring

Company Overview:

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 the Associated Press, ABC, Radio Globo in Brazil, SBS and ABC in Australia, MediaCorp Singapore, RAI Italy, RTL and Radio France, RTBF in Belgium and France Televisions. 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.

All trademarks appearing herein are the property of their respective owners.

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CLEAR-COM RELOCATES UK HEADQUARTERS

New Location Boasts Creative Atmosphere and Expanded Technical Resources

CAMBRIDGE, UK, 7 FEBRUARY 2013 ? Clear-Com®, a global leader in critical voice communication systems, announces the relocation of its UK headquarters. The new office is located at 2000 Beach Drive, Cambridge, just down the road from the company’s previous UK headquarters. The new facility enables Clear-Com to continue its expansion in the region, while offering further creative resources for its staff members.

Clear-Com UK Headquarters in Cambridge

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CLEAR-COM EXHIBITS LATEST IN BROADCAST INTERCOMS AT BVE 2013

LONDON, 6 FEBRUARY 2013 ? Clear-Com®, a global leader in critical voice communications systems, is displaying its latest range of broadcast intercom solutions at BVE 2013 (Stand J16). Included among the intercom offerings on display are the recently unveiled Eclipse HX matrices and HelixNet Partyline system. The company is also presenting its BroaMan interface options and the latest upgrades to the Tempest®2400 wireless intercom. more

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