Archive for September, 2013

RTW Debuts SurroundControl Series Firmware Update at IBC 2013

Latest Version Simplifies Monitoring While Working in Various Audio Formats

AMSTERDAM, 14 SEPTEMBER, 2013 – RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, is pleased to debut at IBC 2013 (Stand 8.D92) a firmware update for its flagship SurroundControl 31900 and 31960 series. In addition to supporting all current EBU/ITU loudness regulations, including ITU 1770-3, the new firmware simplifies the control of the studio monitoring environment when switching over between various audio formats like stereo, 3.1, 5.1 or 7.1, a common occurrence in today’s broadcast environment.

By enabling the user to select independent Trim and Delay values for both analog and digital monitoring outputs, this information can then be stored in up to five Level/Delay Trim Sets in the Audio System menu. When defining the individual input routing for the sub presets, these new Level/Delay Trim Sets can be allocated and tapped into as needed.

“It’s not uncommon for an audio engineer, especially in the broadcast sector, to be working with multiple audio formats at one time,” says Andreas Tweitmann, CEO, RTW. “By adding this new feature to our popular SurroundControl series, we are enabling users to easily organize their workflow, while simultaneously keeping up with the demands of working in various formats.”

RTW’s SurroundControl 31900 and 31960 series combines control, analysis and monitoring of eight-channel 5.1 to 7.1 surround sound into one single system. The proprietary Surround Sound Analyzer (House display) is a powerful tool for visualizing the interaction of all important parameters of surround signals. The dynamic behavior of all display elements corresponds to the subjective listening impression, enabling you to see the balance of a surround program intuitively and at a glance. RTW’s unparalleled Surround Sound Analyzer is capable of displaying any surround program up to 7.1 DD+ and Cinema for fast, in-depth evaluation.

Further, the SurroundControl series’ popular Multicorrelator display offers detailed phase information between all channel-pair combinations. Meanwhile, the LFE correlator is an advanced feature for testing for phase problems between any given channel in respect to LFE.

Users can download the firmware for free by logging onto RTW’s website: http://www.rtw.de/en/sales-support/manuals-software.html.

About RTW
For more than 45 years, Cologne-based RTW has accompanied the steady technological progress in the professional audio industry with innovative instruments and technologies for visual audio monitoring in broadcast, production, post production and quality control. Its state-of-the-art audio and loudness metering systems have an excellent reputation throughout the world. With groundbreaking products such as the Surround Sound Analyzer, the company has been a key vendor of professional broadcast and audio metering equipment for decades.

RTW’s range of products currently include the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the TM7 and TM9 units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.

As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by RTW, showing the company’s dedication to supporting its customers and dealer networks in the U.S. The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers.

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.

NETIA Expands Global Sales Team With Key Appointments in North America and Asia-Pacific

CLARET, France — Sept. 11, 2013 — NETIA today announced the appointment of Peter Fong as area sales manager for the Asia-Pacific region and Jeffrey Jaworski as area sales manager for North America.

“The appointments of Jeff and Peter strengthen NETIA operations on both sides of the globe,” said Philippe Fort, CEO at NETIA. “With more than two decades of industry experience, Jeff has built valuable expertise and connections across the North American market. Peter, who also has broad experience within the broadcasting and media industries, brings the skills and knowledge to drive business growth in the Asia-Pacific region and to help NETIA capitalize on new revenue potential.”

Fong has more than 20 years of experience in the media/broadcast and exhibition/advertising markets, specializing in sales, marketing, and business development. He has held senior positions with international companies including Sony and MediaCorp; with startups covering Australia/New Zealand and Asia, including India; and with broadcast system integrator Gencom Technology.

An industry veteran, Jaworski has previously worked for major media-focused companies including Tata Communications, where he handled North American sales for the company’s cloud-based media asset management platform, as well as its dedicated broadcast fiber content delivery network. Earlier experience in the broadcast realm includes sales and marketing roles at AMC Networks, TV Guide, and HGTV.

Fong is based in Singapore at GlobeCast Asia’s new office in Media City. Jaworski is based in New York City at GlobeCast America’s Manhattan facility. Both new hires report directly to Fort.

More information about NETIA and its product portfolio is available at www.netia.com.

Photo Link: www.wallstcom.com/NETIA/Fong-Jaworski.zip

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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, RTBF in Belgium, MediaCorp Singapore, RTL France, Radio Globo in Brazil, RTM Malaysia, Radio France, the Associated Press, France Télévisions, and Canal+. 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.

RTW Introduces Loudness Quality Logger Software for TM7, TMR7 and TM9 TouchMonitor Lines at IBC 2013

AMSTERDAM, 13 SEPTEMBER, 2013 – RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, is pleased to debut at IBC 2013 (Stand 8.D92) its LQL (Loudness Quality Logger) a new tool for logging, true-peak data analysis and reporting that is compatible with the TM7, TMR7 and TM9 TouchMonitor line of products. The LQL license (SW20014) is a natural extension of RTW’s range of innovative software options for the 7- and 9-inch line of TouchMonitor audio meters. RTW executives will be on-hand to demo and discuss this new software at the company’s IBC stand.

LQL enables data to be derived directly via an IP-connection from a capable TouchMonitor audio meter, as well as from external storage media such as a USB stick. Also included in the software are dual limit weighting, status information, marker and various other reporting features. The new PC software is free of charge to users, however the SW20014 LQL license is required to enable a TM7, TMR7 or TM9 series meter to be compatible with data export and additional display functions.

“The new Loudness Quality Logger is quite a milestone for RTW,” says Andreas Tweitmann, CEO, RTW. “When we first developed the concept for the TouchMonitor, we knew it would be necessary to continue researching and developing tools that would keep up with and be one step ahead of technology for managing loudness. With the ability for the user to obtain a log, analysis and reporting, their experience is enhanced even further, providing them with an essential solution unlike ever before.”

The TM7 and TM9 series TouchMonitors, which include the innovative Magic LRA instrument, feature a 7- and 9-inch touch-sensitive display, respectively, and provide unparalleled flexibility and modularity, combined with intuitive control. The software visualizes multiple sources simultaneously. Both support displaying the same signal on multiple instruments in parallel, each with dedicated defaults with both horizontal and vertical operation. TM7 visualizes up to 40 sources at the same time, while the TM9 visualizes up to 48 and the TMR7, specifically designed for radio broadcasting, visualizes up to four.

Various audio interfaces and combinations are available i.e. analog, AES3, AES3id or 3G-SDI. RTW’s entire TouchMonitor range was created to help adhere to all major industry loudness standards, including EBU R128, ITU BS.1770-3/1771-1, ATSC A/85 and ARIB.

About RTW
For more than 45 years, Cologne-based RTW has accompanied the steady technological progress in the professional audio industry with innovative instruments and technologies for visual audio monitoring in broadcast, production, post production and quality control. Its state-of-the-art audio and loudness metering systems have an excellent reputation throughout the world. With groundbreaking products such as the Surround Sound Analyzer, the company has been a key vendor of professional broadcast and audio metering equipment for decades.

RTW’s range of products currently include the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the TouchMonitor units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.

As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by RTW, showing the company’s dedication to supporting its customers and dealer networks in the U.S. The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers.

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.

Audio Engineering Society Announces New Networked Audio-Over-IP Interoperability Standard: AES67-2013

New York, NY, September 12, 2013 — The Audio Engineering Society (AES) has officially announced the publication of AES67-2013, a new engineering standard for networked/streaming audio-over-IP interoperability.

High-performance media networks support professional quality audio (16 bit, 44.1 kHz and higher) with low latencies (less than 10 milliseconds) compatible with live sound reinforcement. The level of network performance required to meet these requirements is available on local-area networks and is achievable on enterprise-scale networks. A number of networked audio systems have been developed to support high-performance media networking, but until now there were no recommendations for operating these systems in an interoperable manner. This standard provides comprehensive interoperability recommendations in the areas of synchronization, media clock identification, network transport, encoding and streaming, session description and connection management.

The project was initiated by the AES in December 2010 under the project name AES-X192. In August 2012, the AES and EBU jointly announced an active collaboration to achieve interoperability of networked audio. The intent was not to invent new technology, but to identify an interoperable subset of existing technologies to achieve this goal. Task Group SC-02-12-H, under the leadership of Kevin Gross, met regularly using web conferencing and email to refine and clarify the necessary parameters.

To obtain a copy of this standard, go to http://www.aes.org/publications/standards/search.cfm?docID=96. AES standards are available to AES members free of charge as a benefit of membership. Details of AES membership can be found at: http://www.aes.org/membership/.

About the AES Standards Committee
The AES Standards Committee is the organization responsible for the standards program of the Audio Engineering Society. It develops and publishes a number of technical standards, information documents and technical reports. Working groups and task groups with a fully international membership are engaged in writing standards covering fields that include topics of specific relevance to professional audio. Membership of any AES standards working group is open to all individuals who are materially and directly affected by the documents that may be issued under the scope of that working group. Complete information, including scopes of working groups and project status, is available at http://www.aes.org/standards. Enquiries may be addressed to standards@aes.org.

Clear-Com Delivers Major Updates to the Eclipse HX Digital Matrix Intercom Solution at IBC 2013

Updates include the New Ethernet/IP Intelligent Trunking, Dual-Label and Arabic Language Support for V-Series Panels, IVC-32-HX Redundancy and the New Eclipse HX-Delta Frame

AMSTERDAM, SEPTEMBER 13, 2013 – Clear-Com® today announces the delivery of major enhancements to the Eclipse HX Digital Matrix Intercom System, including the first European debut of the compact 3RU Eclipse HX-Delta matrix frame, at IBC 2013 (Stand 10.D29). New capabilities of the Eclipse HX system include Ethernet/IP Intelligent Trunking with IVC-32-HX card redundancy, as well as dual-label and Arabic language support for V-Series panels. These new additions are particularly ideal for mobile production and multi-location production facilities that require agile and flexible communications solutions.

Compact, 3RU Eclipse HX-Delta System Frame
The cost-effective and compact Eclipse HX-Delta system is optimal for installation across many different production environments, from mobile broadcast trucks to smaller and multi-level studios. The Eclipse HX-Delta intercom system provides two CPU cards for redundant system control, along with the option of up to four varied I/O frame cards and up to three interface modules in a 3RU frame.

Instead of installing large system frames in just one location, the Eclipse HX-Delta gives broadcasters the option of building a distributed matrix system. This offers a more flexible workflow and permits shorter cable runs between system frames and intercom panels, cutting down on cabling costs. The size of Eclipse HX-Delta is a benefit for mobile truck installations where space is limited, but where varied and complex connectivity is required.

Similar to other Eclipse HX system frames, the Eclipse HX-Delta is also supported by the high-performance EHX Configuration Software and can be intelligently linked with Eclipse HX-PiCo, Eclipse HX-Median and Eclipse HX-Omega frames to create seamless local and/or remotely networked intercom systems.

Ethernet/IP Intelligent Trunking with IVC-32-HX Redundancy
With the application of Ethernet and IP connectivity continuing to grow in live production, Clear-Com has enhanced its 32-channel IVC-32-HX IP card to allow flexible Ethernet/IP intelligent trunking of up to 64, local and/or remote, Eclipse HX matrix frames. Following this update, a single IVC-32-HX IP card can now flexibly support both panel-to-matrix and matrix-to-matrix connectivity. From its inception, the card has been designed to provide encrypted communications over standard IP networks and its use of the established G.722 audio codec has enabled low latency voice communications without the need for dedicated infrastructure or fiber pipes. Consequently, IVC-32-HX IP has been proven to provide reliable service over LAN, WLAN and Internet infrastructure, including mobile data networks. This card has also been used in support at the world’s most prestigious sporting events.

In addition, the updated Eclipse HX offers the IVC-32-HX card redundancy feature. This new capability allocates a spare IVC-32-HX card to function as a hot redundant backup for one or more IVC-32-HX cards, which are located in the same matrix frame. On detection of a failure of the primary IVC-32-HX to communicate to its associated panels or matrices, the hot redundant backup card takes over service provision.

V-Series Panel Dual-Label and Arabic Language Support
Offering Arabic characters and dual label support on all V-Series panels is another significant enhancement to the Eclipse HX family. Previously, the V-Series panels uniquely offered 10-character and international character displays. Now, the panels can also support the Arabic language and allow operators to toggle between two predefined languages on the panel. This is most helpful in production situations where two operators with different preferred languages share use of the intercom system.

“We are very pleased to launch this latest set of capabilities to the Eclipse HX family, which further demonstrates Clear-Com’s commitment to innovating intercom solutions for the broadcast market,” says Peter Stallard, Senior Product Manager, Clear-Com. “As increasingly more broadcasters are decentralizing their productions across multiple locations, the need for reliable and high-performance Ethernet/IP connectivity, as well as the extended language support, makes the Eclipse HX family the ideal matrix intercom solution for live productions on a local or global scale.”

About Clear-Com®
Clear-Com, an HME company, is a global provider in professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analog & Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.

Osheaga Music and Arts Festival Leaps Onto the World Stage as Sennheiser Provides Exquisite Sound for Fourth Year in a Row

Montreal, September 12, 2013 – Montreal’s Osheaga Music and Arts Festival, held every summer at the city’s breathtaking Parc Jean-Drapeau on Île Sainte-Hélène, is not only well established as Canada’s top music festival, but is also ranked as one of the top music festivals in the world. With many thousands of passionate indie music fans in attendance, audio manufacturer Sennheiser was on hand to support the Green Stage (La scène verte) for the fourth year in a row, along with loudspeaker manufacturer K-array.

Since launching in 2006, when headliners including Sonic Youth, Ben Harper, and the Flaming Lips drew a crowd of 25,000, Osheaga has grown to attract no less than 135,000 music fans – and along the way has become an essential stop among many touring artists’ itinerary. In 2012, Pollstar ranked Osheaga Music and Arts Festival as the 11th largest in the world. This year, amidst mostly sunny skies, international touring artists gracing the Green Stage included The Breeders, The Gaslight Anthem, Tricky, Explosions in the Sky, Beach House and many others. Sennheiser’s Global Relations Team supported Osheaga’s Green Stage by supplying an impeccably pre-configured rack of its wireless solutions including IEMs (in-ear monitors), while Sennheiser Canada supplied a comprehensive selection of instrument and vocal microphones as well as the latest energy-efficient loudspeakers from K-array.

“The Osheaga Music and Arts Festival continues to enjoy an increasing international profile as a ‘destination music festival’, attracting music fans from all around the world with the beautiful backdrop of Montreal,” said Sennheiser’s Kristy Jo Winkler, relations manager, Americas. “Four years ago, Sennheiser helped the Green Stage establish an impressive standard in sound quality, staging and power efficiency. We hope to continue doing this for many years to come.”

Sennheiser makes Osheaga’s La Scène Verte sing

Dozens of veteran and emerging artists delivered electrifying sets through to a rapt audience of as many as 25,000 at the Green Stage. Living up to its “green” moniker, the stage featured the latest, highly efficient line of K-array speakers, as well as Sennheiser’s 2000 series wireless transmitters and receivers, its evolution series wired microphones, and its ew 300 IEM G3 wireless monitoring systems.

Sennheiser e 935 wired microphones were used as well as MMD 935-1 microphone capsules in conjunction with SKM 2000 XP handheld wireless transmitters. “I have been using Sennheiser 935 capsules for many years now and I love them,” states Greg “Monk” McClement, front-of-house engineer for the Sennheiser Green Stage. “We used them throughout the festival, in both wired and wireless applications. That’s the main vocal capsule I use on anything I do.”

Sennheiser’s evolution series microphones were also used throughout the backline. Monk had Sennheiser mics covering the entire drum kit on the stage, starting with the e 602-II cardioid microphone on the kick drum: “When the e 602-II mic came out, suddenly I had the attack, as well as the softness that is necessary for the type of music that I am doing,” he says. “All kick drum mics are different, but the e 602-II gives me more options to find the sound I am looking for.”

For the rest of the drum kit, Monk used a Sennheiser e 905 on the snare, an e 604 on the toms and a Neumann KM 184 on the hi-hat. “The e 604 clip-on is great because it not only sounds great but also helps facilitate the quick changeover we need in between acts for the patch guys on stage,” observes Monk.

The guitars amplifiers were covered by Sennheiser e 906s and e 609s, which were used in combination with a Sennheiser MK 4 large-diaphragm microphone on some of the amps. “The large-diaphragm on the MK 4 helps me pick up the mid-range frequencies properly. On the guitar amps, we had the mic pretty close up to the speaker and the capsule really held up,” Monk says.

Monk was particularly pleased with the state the Sennheiser rack containing the wireless receivers and handheld transmitters arrived in. “Everything seemed to be tuned, and it was super-easy for us to access all the packs and handhelds we needed,” he says. In a live scenario where every production minute counts, this made set up more efficient: “We don’t have time to mess around,” he says. “We are doing live music and everything has to work on the first shot.” The Sennheiser IEMs, as well as the wireless transmitters, proved to be a magical combination for both the production staff and the artists: “When the in-ears sound this good, the bands are all just so happy,” Monk observes. “The clarity between the wireless mics sending and the in-ears receiving is just insane – I have never heard that kind of quality from any other company.”

K-array Powers The Green Stage for Four Years Running

The self-powered PA system on the Green Stage consisted of ten KH4 two-way speaker systems, ten KS4 dipole subwoofers, and ten KO70 dual-21-inch sub-bass cabinets, with additional KH4/KS4 arrays as well as KH15 compact two-way speakers providing fill and delay. “It felt like we were indoors,” says Monk. “It’s very difficult when you are outdoors to have that feeling, but the K-array system managed to deliver that. All the bands’ sound guys were very impressed and really felt like they were mixing inside.”

Vaino Gennaro, Business Director-Live sound Sennheiser Canada, articulated how the K-array speaker system continues to deliver significant energy and cost savings: “The power consumption on the K-array KH4/KS4 speaker system is reduced to a minimum thanks to the use of digital amplifier modules with high-energy output from minimal power input, hence saving energy and becoming the first ‘green’ PA in the market.”

“The compact size, shape and light weight of the K-array system will fit most PA system demands while requiring only a minimal footprint,” Gennaro continued. “This results in savings on trucking – smaller trucks mean lower rental costs, savings on fuel, and requires only a regular driver’s license.” He also observes that the labor for set-up and teardown is minimized, because less crew and man-hours are required. “A lighter system requires fewer rigging points, smaller motors, and can be easily ground-stacked,” he says.

Aside from the cost and set-up efficiencies, the K-array over-delivered when it came to the sound. With its built-in DSP settings, the entire rig was easy to tune and optimize for the venue. “It delivered an awesome clean and true sound that could be heard even from a distance!” says Gennaro. One of the main considerations in setting up the PA was ensuring that the PA would deliver sufficient headroom, in case a sound engineer were to push the system by a few dBs. Gennaro recalls such an instance: “During a set by C2C, the engineer pushed the system and the K-arrays really rose to the occasion and sounded amazing,” he says. “On the live console faders for a system this large, the difference of zero plus one or zero plus two can mean a huge amount of sound. We knew the speakers would handle this and there was absolutely no distortion.”

Looking back on another successful Osheaga festival, Monk is grateful to have Sennheiser at his back: “Sennheiser takes professionals very seriously, and the company stands behind their products when they are engaged at a festival like this,” he concludes. “Each time, they put a really good team together with a lot of experience. This goes a long way during a festival that has many of us working long hours over the course of many days. It is also great for the bands coming in to play, because they know they’re going to get great sound.”

The Sennheiser Group, with its headquarters in Wedemark near Hanover, Germany, is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2012 the family company, which was founded in 1945, achieved a turnover of around 584 million euros. Sennheiser employs more than 2,300 people worldwide, and has manufacturing plants in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico and the USA, as well as by long-term trading partners in many other countries. Also part of the Sennheiser Group are Georg Neumann GmbH, Berlin (studio microphones and monitor loudspeakers), and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres).

You can find all the latest information on Sennheiser by visiting our website at www.sennheiser.com.

Photo captions:
1: Sennheiser Canada artist Misteur Valaire performs on the Green Stage using Sennheiser equipment
2: Richie Follin from Guards, singing through a Sennheiser e 935 wired microphone
3: Front-of-house engineer Greg ‘Monk’ McClement, manning the Green Stage at Osheaga
4: Racks containing Sennheiser ew 300 IEM G3s wireless monitors and 2000 series wireless microphones
5: France’s C2C turntable quartet pushed the highly efficient K-array PA system to its limits
6: The K-array KH4 and KS4 loudspeakers, at left of main stage

iZotope Releases RXTM 3: A Complete Audio Repair Suite

IBC, Amsterdam, Netherlands, (September 12, 2013)iZotope Inc., a leading audio technology company, has released the much-anticipated update to its spectral audio editing and repair suite, RX. RX 3 and RX 3 Advanced provide audio professionals with a completely redesigned user interface, the ability to reduce or remove reverb, clean up dialogue in real time, and new features for post production, music production, mastering, and more.

“RX 3 and RX 3 Advanced are the culmination of three years of invaluable user feedback. We’re happy to bring these customer-driven improvements to our industry-leading repair software,” says Alex Westner, Director of Product Management at iZotope, Inc. “Crafting broadcast-quality audio is now even easier with RX 3’s workflow improvements designed to enhance speed, power and flexibility for time-strapped professionals working in post production.”

KEY FEATURES:

What’s New in RX 3 Advanced?
- Remove or reduce reverb from audio using the new Dereverb module.
- Clean up dialogue in real time with the new Dialogue Denoiser.
- Monitor your audio and loudness compliance using InsightTM, iZotope’s comprehensive metering suite, now included with RX 3 Advanced.
- Advanced features and settings for Declip, Declick, Time & Pitch, Channel Operations and more.

What’s New in RX 3?
- Work up to six times faster than before in the RX 3 standalone application, thanks to intelligent DSP and optimized multicore processing.
- Time-saving features like a completely redesigned user interface, the new RX Document format and multi-file workflow.
- Addition of audio recording and monitoring, SRCTM sample rate conversion, waveform statistics, and more.
- Overall enhancements to Denoise and Declip modules, parametric EQ, drawing and selection tools, MBIT+TM dither, and more.

Used everywhere from Hollywood post production studios to leading sound editing facilities, iZotope RX 3 transforms troubled recordings into professional-grade material with remedies for noise, clipping, hum, buzz, crackles, and more. With an intuitive spectral editor and 10+ intelligent modules, RX 3 enables you to fix troubled audio with unprecedented power and precision.

For more information on RX 3 and RX 3 Advanced, visit www.izotope.com/rx.

Compatibility
RX 3 works as a standalone application, or as a suite of plug-ins for use in a host, including many popular DAWs and NLEs. Supported plug-in formats include AAX for Pro Tools 11, RTAS, Audio Suite, VST & VST 3, and Audio Unit.

Pricing and Availability
RX 3 and RX 3 Advanced are available now. Through September 27, 2013, get RX 3 for $249 (Reg. $349/ €285) MSRP or get RX 3 Advanced for $749 (Reg. $1199 / €919) MSRP.

RX 2 or RX 2 Advanced users who purchased after July 1, 2013 will receive a free upgrade to RX 3.

Users of previous RX versions can log in to their iZotope accounts at www.izotope.com/myaccount for upgrade information and special upgrade pricing.

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.

For more information on iZotope products, please visit www.izotope.com.

iZotope Releases RX™ 3: A Complete Audio Repair Suite

Built for the Toughest Audio Repair Tasks in Music, Post Production, and more

IBC, Amsterdam, Netherlands, (September 12, 2013) - iZotope Inc., a leading audio technology company, has released the much-anticipated update to its spectral audio editing and repair suite, RX. RX 3 and RX 3 Advanced provide audio professionals with a completely redesigned user interface, the ability to reduce or remove reverb, clean up dialogue in realtime, and new features for post production, music production, mastering, and more.

“Anytime you put a microphone on a sound and record it—whether it’s a vocal, an acoustic guitar, or a snare drum – you’re going to pick up a variety of unwanted noises. These user experiences are what RX is built on,” explains Alex Westner, Director of Product Management at iZotope, Inc. “RX 3 now provides even more features to help enhance audio for all musical applications, from simple podcast recording to professional mastering.”

Key Features: What’s New in RX 3 Advanced?
- Remove or reduce reverb from audio using the new Dereverb module.
- Clean up dialogue in real time with the new Dialogue Denoiser.
- Monitor your audio and loudness compliance using Insight™, iZotope’s comprehensive metering suite, now included with RX 3 Advanced.
- Advanced features and settings for Declip, Declick, Time & Pitch, Channel Operations and more.

What’s New in RX 3?
- Work up to six times faster than before in the RX 3 standalone application, thanks to intelligent DSP and optimized multicore processing.
- Time-saving features like a completely redesigned user interface, the new RX Document format and multi-file workflow.
- Addition of audio recording and monitoring, SRC™ sample rate conversion, waveform statistics, and more.
- Overall enhancements to Denoise and Declip modules, parametric EQ, drawing and selection tools, MBIT+™ dither, and more.

Used everywhere from Hollywood post production studios to leading sound editing facilities, iZotope RX 3 transforms troubled recordings into professional-grade material with remedies for noise, clipping, hum, buzz, crackles, and more. With an intuitive spectral editor and 10+ intelligent modules, RX 3 enables you to fix troubled audio with unprecedented power and precision.

For more information on RX 3 and RX 3 Advanced, visit www.izotope.com/rx.

Compatibility
RX 3 works as a standalone application, or as a suite of plug-ins for use in a host, including many popular DAWs and NLEs. Supported plug-in formats include AAX for Pro Tools 11, RTAS, Audio Suite, VST & VST 3, and Audio Unit.

Pricing and Availability
RX 3 and RX 3 Advanced are available now.
Through September 27, 2013, get RX 3 for $249 (Reg. $349/ €285) MSRP or get RX 3 Advanced for $749 (Reg. $1199 / €919) MSRP.
RX 2 or RX 2 Advanced users who purchased after July 1, 2013 will receive a free upgrade to RX 3. Users of previous RX versions can log in to their iZotope accounts at www.izotope.com/myaccount for upgrade information and special upgrade pricing.

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. For more information on iZotope products, please visit www.izotope.com.


Media Contact:
Music Marcom
Martina McConnon
v: 610-577-4982
e: martina@musicmarcom.com
www.musicmarcom.com

Media Group International Installs VidiGo’s Visual Radio Solution at Clouds FM

Leading Media Systems Integrator Media Group International has assisted Tanzania’s Clouds FM radio station to give its audience a totally new, interactive experience by installing VidiGo Visual Radio software. The new software will go live on air at Clouds FM within the next few weeks.

The Clouds FM project is the first major radio installation MGI and VidiGo have completed in Africa since meeting at CABSAT 2012 and subsequently forging a partnership. The two companies are now working together to give MGI’s television and radio customers much greater access to VidiGo’s revolutionary range of broadcast software products.
VidiGo Visual Radio was the ideal solution for Clouds FM, one of four stations operated by Tanzania’s Clouds Media Group. Affectionately referred to as The People’s Station, Clouds FM is annually rated the number one station in Tanzania for the youth segment.

MGI’s Sales Director Paul Wallis, who brokered the Clouds FM deal in conjunction with Sales Assistant Diana Velikova, says: “Thanks to its strong reputation for delivering trendsetting programming, dynamic presenters and innovative promotions, Clouds FM is widely regarded as the ‘coolest’ radio station in Tanzania by the country’s 18 to 35 year olds. Given this demographic, the station wanted to incorporate interactive graphics that could be overlaid onto the video feed of its radio broadcasts and used to enhance its internet presence and Twitter, RSS and social media feeds. Diana and I felt that VidiGo Visual Radio was ideal for Clouds FM because it will be able to deliver all the elements station staff need in a very simple to use and intuitive package.”

VidiGo Virtual Radio combines the strength of VidiGo Live and VidiGo Audio Director. VidiGo Live is a full blown software solution for multi-camera TV production. The VidiGo Audio Director is an intelligent extension to VidiGo Live that makes automatic decisions by analyzing audio signals with its advanced algorithms, allowing it to make decisions like a real television director. Finally, the graphics and text overlays are automatically inserted within VidiGo Live, which makes it possible to superimpose content in a live situation using a station’s own designed Flash application.

Joseph Cusago, Managing Director, Clouds Media Group, says: “We are really thrilled with the workflow VidiGo Virtual Radio has provided and our audiences will love the fact that we will soon offer an interactive visual radio experience via the internet and social media feeds. The system is incredibly easy to operate and, because the cameras are switched automatically on the basis of which microphone input is being used, there is very little for our presenters to do. This means they can concentrate on the job of presenting, leaving VidiGo’s clever software to take care of everything else.”

VidiGo CCO Reinout Lempers adds: “With VidiGo’s background in radio, we understand the culture and needs of a radio station. We knew from the start that we shouldn’t bother radio presenters with creating video. That’s why we developed an automated software workflow that is fully compatible with existing radio workflows. With our solution presenters to do what they are good at, which is making radio, while VidiGo’s automated workflow creates an entire TV show, just like a real director would.”

-ends-

Notes to the editor:
About Ghanim bin Saad Al Saad & Sons Group Holdings
Ghanim bin Saad Al Saad & Sons Group Holdings (GSSG) was founded by Ghanim bin Saad Al Saad in 1993 and incorporated in 2007. Today it is one of Qatar’s most successful private sector business groups, making a major contribution to the country’s economic growth.
GSSG has enjoyed steady growth and success in many fields and industries locally and internationally. GSSG’s diverse portfolio gives it strength and enables its companies within the group to maximise global business opportunities wherever and whenever they arise.
The founder, Mr. Ghanim bin Saad al Saad, has enabled the group to grow to over 40 companies around the world. As an inspirational business leader, he has steered the group to achieve its success in industries that include aviation, maritime, automobiles, oil & gas, real estate, manufacturing, contracting and trading, finance & asset management, engineering, education, fitness, hotels, hospitality and fashion, information technology and telecommunications.
In addition to its corporate headquarters in Doha, GSSG also has five international offices located in London, Zurich, Cairo, Singapore and Dubai.
www.gssg.com

Media Group International
Media Group International is a proven media broadcast and communications technologies systems integrator, serving the media, telecommunications, security, education, hospitality and advertising industries in the Gulf region for more than 40 years. Formerly known as Salam Media Cast (SMC), the company joined GSSG Holdings in 2010, with offices in Qatar, UAE, Oman, Bahrain, Saudi Arabia and the UK.

Media Group International is diversifying its business into new technologies. As well as equipping professional television stations and studios, master control rooms, newsrooms, concert stages and theatres providing light and sound technology, the company also equips whole multivendor

and multisensory environments. Media Group International provides solutions from safeguarding national security such as in government operations, creating the best venues for education such as museums and classrooms, enhancing sports environments and revolutionising health facilities and satellite telecommunications.

To support the workflow and innovation demands of our valued customers, the team has grown with new local and international talent. We use our expertise to help realise your goals and ambitions – we listen, advise, design and build great workflows that work for you. Our ambition is to be your trusted partner in the Gulf region.

www.mgi.tv
Clouds Media Group
Clouds Media Group is a privately owned media house based in Dar es Salaam, Tanzania. Clouds Media Group excels at entertaining and deepening community engagement, integrating new media technologies to meet evolving lifestyles, and leveraging resources to build vibrant and informed communities. Now celebrating its 15th year, Clouds Media Group has an impeccable track record for excellence in execution of radio campaigns and broadcasting performance. Comprised of 4 dynamic broadcast stations, East & Central Africa’s largest event production firm as well as a 40 Channel DTT network on the Island of Zanzibar, all of which are leaders in their specific categories fuel the Clouds Media Group powerhouse. This dynamic assortment of formidable companies allows advertisers to achieve maximum value by enabling them to reach their core demographic on multiple platforms all within one media house. Clouds Media Group stands as a beacon of fair business ethics, openness, transparency, and value; and is one of the highest awarded media houses in Tanzania. Clouds Media Group recently was named the #2 Mid -Company in Tanzania in 2012 by Superbrands.
VidiGo
For almost a decade VidiGo has been the visionary leader in the broadcast industry, with the first full software based AV-workflow running on standard IT hardware. The core of all VidiGo workflows is DAVE; an in-house developed powerful, low-latency video engine. All VidiGo workflows focus on automation, flexibility and open architecture to make broadcasting easier, faster and cost effective.
VidiGo stands for innovation, reliability, product leadership, and premium support.
VidiGo clients include leading broadcasters, radio stations, sport arenas and video production companies all around the world.
VidiGo offers a full portfolio of broadcasting workflows and solutions
VidiGo Live – Multi camera live production suite
VidiGo Visual Radio – Quality video content of your radio show
VidiGo Studio Automation – Full rundown automation
VidiGo Arena Solutions – Boost stadium experiences
VidiGo Toolbox – Desktop grabber, Skype to SDI and VLC media plugin
VidiGo Graphics – Adobe Air/Flash directly into your live broadcast
VidiGo Playout – 24/7 Playout with Adobe Air/Flash graphics
www.vidigo.tv

Visual Unity Helps Clouds Media To Deliver OTT Content Service

Leading OTT solutions provider Visual Unity has helped Tanzanian media conglomerate Clouds Media to deliver a complete Over the Top content service to the East African market.

Based in Dar-es-Salaam, Clouds Media was established in 1998 as a radio and television broadcaster, delivering music, television and film content the Tanzanian market. With Visual Unity’s expertise, Clouds Media has now expanded its operations to deliver Over the Top Transmission (OTT) directly to their viewers on any screen or connected device anywhere in the world.

Visual Unity provided Clouds Media with the technology necessary to deliver its new service. The technical infrastructure is based on Visual Unity’s award-winning vuMediaTM Over the Top (OTT) content solution. vuMediaTM allows broadcasters to manage, monetize and monitor delivery of content to any connected screen and over 7000 connected devices including legacy phones.

Tomas Petru, CEO of Visual Unity, says: “Visual Unity was awarded this contract on the basis of our proven expertise in multiscreen integration. With over 20 years’ experience in designing, building and technically supporting linear broadcast to multiscreen solutions we demonstrated to Clouds Media our ability to successfully design VoD solutions similar to our customers such as the leading Czech portals ivysilani.cz, voyo.cz, topfun.cz, cinema.cz and Calinos Entertainment’s VodVod.com in Turkey.”

“Thanks to vuMediaTM and Clouds’ modern approach to content delivery, Clouds is now able to reach its audience online, thus avoiding expensive and geographically limiting satellite transmission. Clouds can now provide films, news, dramas and popular television throughout East Africa, the Middle East and the rest of the world,” added Joseph Kusaga, Managing Director, Clouds Media Group.

Visual Unity’s vuMedia™ platform supports comprehensive streaming and VoD services and integrates with billing and CRM processes. For this project, Visual Unity is providing full live channel streaming capability a Visual Unity designed UI/UX with full GUI/API access, DMR protection, analytics, delivery and support for an amazing array of mobile devices.

With TV in Tanzania going digital we found that this was the right time to reach fans of the Clouds brand both domestically and internationally via OTT multiscreen. The complete service is officially being launched in October.

Visual Unity will showcase the latest version of its award-winning vuMedia™ multiscreen platform at IBC 2013, Connected World (Hall 14, Stand 114).

-ends-

About Visual Unity

Visual Unity is a global provider of video and digital media solutions, enabling our clients to deliver premium quality video content. Our clients can measure, analyze and optimize their libraries over time and achieve optimal business success. Our platform capabilities inspire our clients to deploy their assets across multiple devices, screens, and media formats. Visual Unity helps clients manage, deliver and monetize their digital content.

Visual Unity is a Multiscreen Solution Provider, bridging the gap between linear broadcast, IT and IPTV to help clients reach and engage audiences on any screen. Since 1991, the team has been designing and delivering turnkey broadcast and complex multiscreen solutions worldwide – from HD outside Broadcast (OB) vehicles and major playout facilities to live internet streaming and Video on Demand services. Visual Unity’s award-winning vuMediaTM platform helps broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment. vuMediaTM is a highly scalable and a modular architecture, delivering a cutting-edge live viewing experience on the web or any mobile or connected device – all of which can be deployed into existing workflows and business processes.

Visual Unity is based in Prague, London, Munchen, Las Vegas, Nairobi and Dubai. For further information, please visit www.visualunity.com

Visual Unity: Na Hrebenech II 1718/8, Prague 4, 147 00, Czech Republic
T: +420 271 742 111 F: +420 271 742 112 E: info@visualunity.com

About Clouds Media Group

Clouds Media Group is a privately owned media house based in Dar es Salaam, Tanzania. Clouds Media Group excels at entertaining and deepening community engagement, integrating new media technologies to meet evolving lifestyles, and leveraging resources to build vibrant and informed communities. Now celebrating its 15th year, Clouds Media Group has an impeccable track record for excellence in execution of radio campaigns and broadcasting performance. Comprised of 4 dynamic broadcast stations, East & Central Africa’s largest event production firm as well as a 40 Channel DTT network on the Island of Zanzibar, all of which are leaders in their specific categories fuel the Clouds Media Group powerhouse. This dynamic assortment of formidable companies allows advertisers to achieve maximum value by enabling them to reach their core demographic on multiple platforms all within one media house. Clouds Media Group stands as a beacon of fair business ethics, openness, transparency, and value; and is one of the highest awarded media houses in Tanzania. Clouds Media Group recently was named the #2 Mid -Company in Tanzania in 2012 by Superbra

About

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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