Archive for September 10th, 2013

Emmy Award Winner Felipe Borrero Is A Winner At Location Sound

Industry veteran walks away with a PSC PowerStar LiFE Power Distribution System valued at $1,835

North Hollywood, CA (September 10, 2013) –Location Sound’s Most Awesome 50 Days of Audio Gear Giveaways Ever (at http://www.locationsound.com/most-awesome-audio-gear-giveaway) has been running since July and continues to make audio professionals very happy. The most recent winner is Felipe Borrero who has won a PSC PowerStar LiFE Power Distribution System.

“Flip” Borrero has enjoyed a very successful career as a professional sound mixer: He has been in the business for over 40 years and worked on countless movies and television shows. He was nominated for a CAS Award for outstanding achievement in Sound Mixing, and in 1999 won a Primetime Emmy Award for Outstanding Sound Mixing for The Rat Pack (1998).

Borrero currently works on the TV show Enlisted that will air on the FOX Network on October 18, 2013. He was going to buy the PSC PowerStar LiFE Power Distribution System when he found out that his boom operator had just won a microphone, one of the many prizes of the Location Sound giveaway. “This actually works!”, he thought. “It’s not like the lottery where millions of people enter. Because only audio professionals enter this contest, the odds are much greater to actually win something. I entered 3 times and then I won!”

This prize couldn’t have come at a better time. Borrero had actually retired from his job 10 years ago and he had sold his equipment at that point, worth over $100,000, for pennies on the dollar. In 2009, he decided to come back to the industry and to mixing sound but he didn’t want to re-invest in his own equipment. Winning the prize at the LSC giveaway was a more than welcome surprise.

Borrero has been renting equipment at Location Sound for over 30 years. “I’m probably one of their first customers. I used to shop with them even before there was a West Coast location. Now, I go to their North Hollywood store all the time”, he said. “The customer service is like doing business with friends. They have respect for what I do, and they bend over backwards to help me. I remember that when one of my machines broke down, the Location Sound staff opened the store in the middle of the night for me, they got me a machine, and I was off and running the next day.”

Registration for Location Sound’s giveaway will continue at http://www.locationsound.com/most-awesome-audio-gear-giveaway until September 24, 2013, with new prizes and new winners every day. Website visitors can enter to win many high-priced and high-quality items such as Sound Devices’ 664 Field Mixer/Recorder, Lectrosonics’ UCR411/UM400A Wireless UHF System, and many others. A complete prize list is accessible at http://www.locationsound.com/most-awesome-audio-gear-giveaway-prize-list

Customers can enter up to three times a day. Bonus entries are made possible if a customer, AFTER completing the entry form, uses the Twitter “share” button to tweet the giveaway (must have Twitter account to do this). With this option, one person can potentially have up to 6 entries each day. Once a customer wins, however, they will no longer be eligible for the other prizes. The giveaway is open to all legal residents of the United States, 18 years of age or older, excluding residents of Florida, New York, Puerto Rico and all other U.S. territories. For complete Official Rules, go to http://www.locationsound.com/most-awesome-audio-gear-giveaway-official-rules.

About Location Sound Corporation
Location Sound Corp. opened its doors in January of 1977 with a mission to be the one-stop facility for production sound mixers for all their sales, rental, and equipment service needs. More than 36 years later, the client roster now also includes production companies, broadcast companies, law enforcement and private security firms, universities, houses of worship, government agencies, and more. Location Sound is known for its excellent customer service and unparalleled depth of inventory: No matter the industry, Location Sound will get anyone the sound equipment for their critical sound recording needs, while providing unmatched support services before and after the sale. For more information, please visit www.locationsound.com

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Audio Expert Mike Thornton to Explore iZotope’s Innovative RX 3 Toolkit for Post Production Professionals During SuperMeet at IBC

Amsterdam, September 10, 2013 – With IBC approaching next week, one of the most pressing issues facing post production professionals is how to create and deliver high quality audio tracks in an increasingly ‘noisy’ modern world. Next week on September 15th, sound designer, audio producer and post production expert Mike Thornton will address these challenges, and explain how iZotope’s new RX 3 audio restoration software can help overcome audio issues in post production with unprecedented efficiency.

During his showcase appearance at CPUG Amsterdam SuperMeet during IBC, Thornton will give his 20-minute stage presentation Rescue Bad Audio from the Cutting Room Floor in Amsterdam’s Grand Hotel Krasnapolsky on Sunday night between 7:00 p.m. and 11:00 p.m. — product demonstrations will begin at 4:00 p.m. Following is a brief preview of what attendees can expect, according to Mike:

What are some of the modern challenges post production professionals face in maintaining integrity in their audio?

One of the biggest challenges we are all facing is that there are less and less sound recordists being booked to record audio, so very often these tasks are left to production assistants, cameramen or directors rather than audio engineers. The reality is that these people can’t be expected to do everything at once and achieve an optimal result. What we see time and time again is that the sound suffers accordingly. As a result, very often, lower grade sound arrives in the edit room and now we can address this with intelligent tools such as iZotope RX 3.

What about audio coming from ‘controlled environments’?

In my opinion, the world is getting noisier and noisier. So even if you have good sound recordists on location to capture the audio, trying to get a truly quiet soundstage is quite a challenge and becoming next to impossible. Television studio floors on ‘light entertainment shows’ are incredibly noisy, for example. There are very often lights with motors in them, projectors, fans and other gear that introduces more acoustic noise. That means that the audio coming into the microphones is already substandard, even though there are good quality microphones on the set positioned by professionals. All of these things together mean that more and more of the audio we see in post-production is noisy, and we’ve got to deal with this. These are the kinds of challenges we see post professionals dealing with on a daily basis.

What are some standout features of the RX 3 audio restoration software?

First, it’s the Dialogue Denoiser, which operates in real-time. Until now, denoising was something that the software had to learn based on a specific noise after you assigned it a “noise profile.” Now, RX 3 reduces the background noise in real time, without adding any significant latency. The low latency aspect is key, because if you are working in television, you need to keep everything in sync. The Dialogue Denoiser is also incredibly easy to use.

What about the Dereverb module?

This is another key product feature, because very often you have situations where non-professionals are recording and maybe the microphone is further away or positioned differently than a professional would have had it. Or perhaps the recording was good, but just captured in an overly reverberant facility, such as a church. With RX 3, iZotope has made it incredibly easy to reduce or remove reverb altogether. You get the RX 3 to learn a bit of the audio with the reverb, and then RX 3 provides recommended settings that would be needed to remove it. This gives the user a tremendous starting point, making it all the more easier to achieve a great result. The Dereverb and the Dialogue Denoiser are the biggies for me, but there have been other improvements right across the board. iZotope has worked very hard at improving the GUI as well, and this helps tremendously with the overall user experience.

Why is ‘ease of use’ so important?

It comes down to the old adage ‘time is money’ — if it takes me three hours to clean up the audio, chances are the client won’t want to pay for it. If I can do this in ten minutes though, the client is delighted and everybody is happy. One of the problems we have in the industry is diminishing budgets and how much time people are willing to devote to a project. We are very often constrained in post production and have limited time to finish a program. So we have to make good decisions about what we can do in the time we have available. If there is a tool such as RX 3 that enable us to do a really good job very quickly, then our client is happy because they get a great finished product. And we get more work!

About Mike Thornton

Mike has worked in the broadcast audio industry for his entire working life, some 35 years. He has worked with Pro Tools since the mid 90s, growing up with it when it could record 4 tracks on a good day with a following wind! He has been recording, editing and mixing documentaries, comedy and drama for both radio and TV, as well as working the occasional music project. Adding to all that, Mike has provided 24/7 Pro Tools support for 15 years, as well as being a broadcast audio consultant & trainer and is deputy editor of Pro Tools Expert.

About iZotope RX 3

RX 3 is an industry-leading audio repair solution for audio engineers, post production professionals, broadcasters, podcasters, archivists, forensic specialists, videographers and more. Work up to six times faster than before thanks to processing enhancements and a redesigned user interface. Remove or reduce reverb, clean up dialogue on the fly, recall session details with the new RX Document format, and much more with the new RX 3.

For more information on RX 3 and RX 3 Advanced, please visit: http://www.izotope.com/rx3

About iZotope, Inc.

iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony.

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135th Audio Engineering Society Convention to Feature First-Ever “Systems Sound Symposium” Sessions

— Sponsored by Systems Contractor News, the SCN Systems Sound Symposium offers a day of panel sessions that provide real-world experience and practical knowledge on the most pertinent AV business and technology trends of today —

— In its inaugural year, the SCN Systems Sound Symposium events will provide a comprehensive look at one of pro audio’s fastest growing sectors —

New York, NY, September 9, 2013 — The 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City) this year will present the first comprehensive look at one of professional audio’s most robust market sectors. Sponsored by Systems Contractor News, the SCN Systems Sound Symposium, will bring together leaders in the business of installed AV, with an emphasis on how installed sound is expanding the professional audio industry. Running from 10.00 a.m. to 4.00 p.m. on Sunday, October 20, 2013, the SCN Systems Sound Symposium is a full day of panel sessions finely tuned to offer real-world experience and practical knowledge about the most pertinent AV business and technology trends of today. Four in-depth panel discussions will address the opportunities and issues affecting business growth and profitability in the near and long term. AV integrators, consultants and others in attendance will benefit from a program featuring relevant topics with compelling speakers that are changing the commercial audio business. The Systems Sound Symposium is open to all Exhibits-Plus badge-holders (free with registration in advance).

“The SCN Systems Sound Symposium will add a new dimension to the AES Show by more completely integrating what is an incredibly successful market sector further into the larger pro audio landscape,” explains Kirsten Nelson, Editor, Systems Contractor News. “From music clubs to restaurants to theaters and hotels and more, installed sound is part of the fabric of our day-to-day existence. It’s a massive market with a global reach, and one also intimately intertwined with the music industry, so it’s very appropriate that installed sound become a larger part of professional audio’s largest show – the AES Convention.”

The panel topic and presenter line-up for the SCN Systems Sound Symposium represents the many diverse aspects of installed sound. Topics include:

How Expertise in Intelligibility Measurement Can Build Your AV Integration Business, featuring Robert Badenoch of Shen Milsom & Wilke, among other notable speakers.

Big in NYC – How the Metro Area’s Premier AV Installations Influence the Industry, which will feature AV integrators, consultants and manufacturers in a discussion moderated by Felix Robinson of AVI-SPL, examining how top-level sound systems in clubs, performing arts venues, retail outlets, restaurants, stadiums, houses of worship, and boardrooms in the Big Apple represent the cutting-edge of systems implementation.

The Practicalities of Networked Audio in Permanent Installations, featuring presentations from Lee Minich, Lab X Technologies/AVnu Alliance; Kevin Gross, AVA Networks; Josh Evans, Lab.gruppen/Tannoy; and moderated by Karl Winkler, Lectrosonics.

Beyond Background Music – Designing Sonically Driven Spaces, Production Wireless Systems: Tips and Tricks from the Experts including Sam Berkow, SIA Acoustics; David Schwartz, Essential Communications; Ben Bausher, JaffeHolden Acoustics; and moderated by Josh Evans, Lab.gruppen/Tannoy.

For further detailed information on SCN Systems Sound Symposium presentations and programs and how they can broaden your horizons as an audio professional, visit http://www.aes.org/events/135/systems/. For further information on the 135th AES International Convention, or to Register for your Exhibits-Plus (free) or All-Access badge, please visit http://www.aes.org/events/135/.

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DK-Technologies Unveils the Feature-Rich DK T7 Audio Meter

At IBC 2013 (8:E60) DK-Technologies will unveil the DK T7 – a high precision, multi touch interface Audio and Loudness meter that gives broadcasters more integral features and functionality than any other audio meter on the market.

Competitively priced at €3495 and USD5400, the DK T7 incorporates as standard every Audio and Loudness meter function currently offered by the award winning DK Meter range. These functions include Bargraphs, Moving Coil Emulation, DK-Technologies’ proprietary StarFish™ and JellyFish™ display technology, FFT spectrum analysis and, of course, industry compliant Loudness and Logging.

The new DK T7 also includes 3G SDI Picture Preview, as well as the ability to read and log against SMPTE time-code – a feature that has only recently been added to the DK Meter range.

Uffe Kjems, Product Marketing Director for DK-Technologies, says: “Engineers working in the broadcast and post production industries now have to cope with a complex set of formats, standards and documentation requirements. For this reason we felt it was vital to give them an easy to use Audio and Loudness meter that did the job it was bought for as soon as it came out of its box. The DK T7 is the most complete, high precision Audio and Loudness meter on the market today – and the most honest because it does not involve any hidden costs.”

The DK T7, which is on show at DK-Technologies’ IBC 2013 stand (Hall 8, Stand E.60) allows end-users to adapt to virtually any format including 3G SDI I/O. The unit also offers 8 AES/EBU input/output channels, 2ch Analogue input channels, headphone output and HDMI monitor output.

At just 20 x 135 x 180 mm (depth, height and width), the DK T7′s compact design allows it to be highly portable and easy to position, while its intuitive multi touch interface makes it very straightforward to use.

DK T7 is expected to ship in Q4 2013. For a demo and more information please visit DK-Technologies at IBC 2013 (8:E60) or visit www.dk-technologies.com.

-ends-

About DK-Technologies
DK-Technologies develops and produces audio meters, video sync and test signal generators, as well as video waveform monitors and colour analysers both for LCD and CRT monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

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