Archive of the Business Category

DPA Microphones Takes its Final Leap into the d:ep End

Company renames remaining mics in collection to reflect the popular ‘d:’ branding

NEW YORK, OCTOBER 18, 2013 – DPA Microphones is delighted to announce at the 135th International AES Convention (Booth 2551) that its 4060, 4080 and 4090 Miniature and 5100, 5006A, 5006-11A and 5015A Surround Microphones will be joining the ‘d:’ family of names. Building off the success of the company’s new “d:” branding, the current 4060, 4080 and 4090 Miniature Mics now fall into the d:screet™ Miniature Microphones group and the Five-channel surround solutions are henceforth known as the d:mension™ Surround Microphones.

DPA has also chosen to add the ever-popular 4066 and 4088 Miniature Headsets under the d:fine™ Headset Microphone category, and the mics will also receive an upgrade to coincide with the existing d:fines. Additionally, it’s new d:dicate™ Recording Microphone line combines the company’s best new and existing capsules and preamplifiers from the previous Reference Standard series.

“A few years ago, we decided to change the names of our new products to make them more recognizable and easy to remember,” says Christian Poulsen, CEO of DPA Microphones. “In the past, our products were branded with numbers, which were difficult to understand and remember unless you were a DPA aficionado. We wanted names that were more meaningful and more interesting. After some brainstorming, we decided on the ‘d:’ (colon) names. Starting with a ‘d’ made it easier to remember as it connects the mics to the DPA name, and leaving out the second letter gave it a graphic element that worked well with our new DPA design.”

Announced at DPA Microphones’ recent Partner Conference at the DPA Microphones Denmark headquarters, the unveiling of the new d:screet Miniature Microphone and d:mension Surround Microphone names is another step in the company’s plans for full “d:” branding. Each product category has been carefully planned out by the DPA Microphones team.

With the company’s 5100, 5006A, 5006-11A and 5015A Surround Microphone now grouped together under the d:mension Surround Microphone line, customers can easily swap between capsules and boom options. Comprised of the 4080 Miniature Cardioid Lavalier, as well as the 4060 and 4090 Omnidirectional Hi-Sens Microphones, the d:screet line also includes the company’s new 4098 Podium Microphones announced earlier this year.

“We found words starting with the letter ‘d’ that fit the significance to the product line,” continues Poulsen. “For instance, people are devoted to their instrument and to their sound, therefore our d:vote Instrument Microphones. The d:fine name was selected as we felt the microphone would define a new generation of headsets. The d:facto because the mic sets a new standard within vocal microphones and d:dicate for people who are dedicated to superior sound. Each name was introduced as there was significant updates within each product group.”

Now known as the DPA d:mension Surround Microphone, the 5100 is a compact microphone that provides users with ease of use and stunning sound quality. It is ideal for bringing truly engaging surround ambience to sport events, documentaries and other applications that especially require HDTV production. The d:mension 5006A, 5006-11A and 5015A are complete Surround Kits with five carefully factory-matched d:dicate microphones. The 5006A kit features d:dicate 4006A omni mics exclusively, while the 5006-11A is made up of a combination of the 4006A omni and 4011A cardioids mics and the 5015A is comprised of the 4015 wide cardioids.

Originally designed for use with wireless systems in theater, television and close-miked instrument applications, the d:screet 4060 capsule is highly unobtrusive, which lends itself to an exceedingly accurate omnidirectional pattern. Also a member of the d:screet family, the d:screet 4080 is well suited for broadcast, conference and other live performances in the studio or in the field. It is acoustically pre-equalized, which makes the voice more distinguishable and improves speech intelligibility.

The DPA d:screet 4090 is a high-quality omnidirectional condenser microphone with a uniquely natural and open sound, that is suitable for instrument miking applications in the studio or on the stage. Due to its remarkably linear frequency response in the 20 Hz to 20 kHz range, sound system engineers can also use the 4090 for sound system alignment, testing and tuning.

Additionally, the 4066 and 4088 Headset Microphones are being absorbed into the d:fine category while the company’s existing Reference Standard Microphones, new modular MMC4018 Supercardioid Capsule and well-known MMC4007 High-SPL Omnidirectional Capsule are now in the d:dicate line.

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

SSL Features New LMS-16 Multi-Channel Loudness and True Peak Monitoring System at 135th International AES Convention

16×5.1 Channel System Delivers Comprehensive Compliant Metering in a Powerful, Robust Turnkey System

NEW YORK – Solid State Logic, the world’s leading manufacturer of advanced tools for audio professionals, will feature the new ‘LMS-16’ multi-channel Loudness and True Peak metering system for use with the company’s Digital Broadcast Consoles, or as a stand-alone product, at the 135th International AES Convention (Booth 2821). Created through a strategic partnership with NUGEN Audio, a creator of award winning professional audio plugins and metering software for the creative music producer, sound designer or broadcast engineer, the LMS-16 offers NUGEN Audio’s new ‘MultiMonitor’ software as part of a turnkey system that can augment any production situation where loudness compliance for broadcast is essential. The software is pre-installed and configured on a dedicated industrial strength 1RU PC, fitted with SSL’s ‘MadiXtreme 128’ audio interface with metering information displayed on virtually any connected flat screen video monitor. An optional monitor arm will also be available to facilitate convenient side mounting of a screen on C100 HDS or C10 HD consoles.

The next evolutionary step for NUGEN Audio’s highly regarded ‘VisLM’ software, MultiMonitor provides the most powerful multi-channel Loudness and True Peak metering available today. It offers 16 individual meters, each capable of mono, stereo or 5.1 formats (providing metering of up to 96 audio channels simultaneously), with each meter showing a LUFS momentary display alongside a True Peak display. Each meter also has a dedicated numeric Short Term and Integrated LUFS data display, with the option to color-code meters to aid grouping. Each meter also features a minimum and maximum short term alerts function. MultiMonitor is fully compliant with CALM Act legislation, ITU-R BS1770/1, ATSC A/85, EBU R128 and other specific worldwide localisations.

SSL’s LMS-16 offers the advanced metering capability of MultiMonitor software in a fully configured and tested turnkey system based on an extremely powerful and robust 1RU PC with very low noise fans, a 15 second boot time and pre-built restore partition. Professional loudness metering of 96 channels of audio (@ 48 kHz) requires an exceptional amount of processing power and this pre-configured and fully tested PC delivers. Audio I/O to the system is provided by SSL’s MadiXtreme 128 audio interface, offering 2 x 64 channel fibre connections. GPI connectivity for GPI reset provides seamless integration with SSL consoles and other GPI enabled equipment.

SSL’s LMS-16 is ideal for monitoring multiple playback sources or Audio Sub Groups simultaneously with 5.1 and Stereo PGM output, alongside the console in the Audio Control room, or equally suited in the Master Control room, monitoring multiple studios and formats simultaneously.

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.

Sound Devices Introduces Improved Features for 664 Production Mixer at AES 2013

Latest Firmware Update Offers Enhanced Functionality

NEW YORK, OCTOBER 17, 2013 — Sound Devices, experts in portable audio and video products for field production, presents expanded recording capabilities, along with greater flexibility and ease-of-use outdoors for the company’s flagship 664 Production Mixer. Sound Devices showcases the benefits of the 664’s latest firmware update, Version 1.05, at the 135th International AES Convention (Gotham Sound and Communications, Booth 2738).

Sound Devices 664 features six ultra-low-noise, high-dynamic-range preamps that accept mic- or line-level signals and include analog peak limiters, high-pass filters, input trim control and direct outputs per channel. Featuring full analog audio paths for high-performance audio and superb power efficiency, the 664 also has numerous digital capabilities. Inputs 1 and 6 can be selected as AES3 or AES42 inputs for digital microphones, each with its own SRC for simplicity in system clocking. The 664’s analog output compliment includes four output buses. The L and R buses are on balanced XLR, 10-Pin and TA-3M connectors and on unbalanced TA-3M or 3.5mm connectors. Secondary output buses X1 and X2 are available on balanced TA-3M connectors. Users can route inputs and buses to four AES3 connections for eight digital outputs on the XLR and 10-pin connectors.

Firmware version 1.05 brings additional features to the already-powerful mixer, including greater flexibility and ease-of-use outdoors. The “LCD Daylight Display” mode incorporates a daylight-specific color scheme and solid bar metering option for improved readability in direct sunlight. Sound Devices has also incorporated additional front panel button shortcuts, including “LCD Daylight Display” mode (HP + SELECT encoders) and Phrase list (HP + RTN B/C) for fast entry of metadata notes. Version 1.05 also incorporates the shortcut for activating different setup tone modes. Users also have new “Track Names in Meters” options (without color gradient/ramp) that are selectable for either right- or left-side display.

With version 1.05, 664 now offers users Monophonic Broadcast WAV file support, with the ability to record up to 10 tracks to two cards, with up to three seconds of record pre-roll. If a card not optimized for multi-channel monophonic file recording is used, or if the monophonic 10-track limit is exceeded, a warning message is displayed on the LCD when starting a recording. Polyphonic mode or reducing track count is recommended. In addition, when formatted in the 664, SD cards 64 GB and larger are now automatically formatted as ExFAT (in accordance with the SD Association’s recommendation). All CF cards and lower-capacity SD cards remain FAT32. Version 1.05 also enables a Headphone Volume or Headphone Preset default option, which sets the HP encoder to operate as headphone level or to select HP presets when rotated. Pressing the headphone encoder momentarily activates the alternative function.

Existing 664 users can download version 1.05 for free by visiting http://www.sounddevices.com/download/664-firmware/.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

RTW’s TM3 TouchMonitor is a Scream for ScareHouse

Sound Designer Glenn Ricci Trusts Audio Meter to Check Loudness Levels For Popular Haunted House’s Sound Effects

PITTSBURGH, PENNSYLVANIA, OCTOBER 15, 2013 – As Glenn Ricci, the sound effects designer for ScareHouse, named by the Travel Channel as one of the top five haunts in the country, will tell you, sound is just as important as the visual element when it comes creating a convincingly eerie, skin-crawling atmosphere. Helping him raise the hackles of ScareHouse attendees is the TM3 TouchMonitor from RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control.

Located in a supposedly haunted former Elk’s Club lodge in Pittsburgh, ScareHouse treats visitors to Hollywood-quality sets, characters and special effects that lend a high degree of realism (and terror). Its primary attractions include an entire haunted town, a demented anti-Santa, an alternate, zombified replica of Pittsburgh and a very nefarious basement. Human actors portray ghosts, zombies, ghouls and other evil night dwellers, sometimes grabbing at visitors for an especially authentic fright. The scares just wouldn’t be the same, however, without foreboding music, evil-sounding cackles and similar soundscapes setting the mood. Because of the importance these sound effects play, Ricci must ensure that the soundscapes he creates are smooth and the audio is on the level.

“I draw from a lot of different elements when I’m creating something for the show, so it’s important to even out the loudness levels for each source to make it sound cohesive,” says Ricci. “I might record or mix something using my own compositions, stuff from different sound libraries or even canned music, so I want to deliver a very smooth end product without uneven loudness in the final mix. I don’t want to worry about someone hitting play and not hearing the sound because it’s not as loud as the last thing they played. RTW’s TM3 really gives me the peace of mind of knowing everything is crisp, clear and even.”

Controlled using a touch-sensitive display, the TM3 features a 4.3-inch touchscreen and a stylish exterior allowing for horizontal and vertical placement. It includes a large number of graphical and numerical instruments showing single-channel along with summing-loudness bargraphs, PPM, true peak, SPL, loudness range (LRA), dialnorm and correlation. It handles analog or digital stereo signals and features a user interface allowing the selection of up to 10 presets quickly and simply with the swipe of a finger.

“I was pretty amazed with the pre-set capabilities,” says Ricci. “I like that I can program the device to customize pre-sets for me. It makes it more intuitive—you can just go and don’t have to think about it. You just spend a little bit of time setting it up based on the instruments that you plan to work with, and don’t have to think about it after that. It’s good to get different perspectives to just go between a couple of pre-sets.”

The TM3 also offers Ricci a way to ensure consistent loudness across the various software programs he uses. “What I like about having it here is that I never have to worry about what software program I’m using. I use a lot of software programs, such as Logic Pro and Abelton Live for some composition, and they all have different meters in them, so having one consistent meter that lives outside of it all is really helpful. It means I don’t have to check of the meters from a separate plug-in, which saves me time.”

“We love that RTW’s TM3 meter has not only helped improve Glenn’s workflow but that it being used to smooth the sound for such an interesting project,” says Christopher Spahr, U.S. Director of Sales and Operations, RTW. “His work for ScareHouse is a great example of how the TM3, along with the entire line of TouchMonitors, can be used outside of a traditional broadcast setting, lending a hand to sound engineers working on their mixes in post-production. It’s really a win-win for everyone involved.”

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.

The Music Producers Guild Gets BPI and AIM Backing For Its Broadcast WAV Initiative

Just months after officially launching its ‘ISRC in Broadcast WAV’ initiative, the Music Producers Guild has received the support of the BPI and AIM, two trade bodies representing the music industry. Both have agreed to adopt Broadcast WAV as standard.

“We are really delighted to have the support of the BPI and AIM,” says Alchemy Mastering’s Barry Grint, who has led the MPG ISRC campaign. “This is fantastic news for all recording artists and copyright owners because adopting Broadcast WAV will make file identification and content tracking much easier and more accurate. It will also help royalty agencies develop more precise systems for payments, thereby safeguarding the incomes of artists and copyright owners when their recordings are played on air.”

With two major UK music industry organisations now firmly behind the new format – and with a number of mastering hardware equipment manufactures also on-board – the Music Producers Guild believes it is only a matter of time before Broadcast WAV is adopted by the music industry world-wide.

“WAV is the standard format for music interchange in the production process, but MPG members were frustrated that there was no method of embedding industry standard ISRC information in the format to enable more accurate identification the content of files,” Grint explains. “Working in collaboration with the European Broadcasting Union, which created a professional version of the WAV format called Broadcast WAV, we have been able to ensure the carriage of ISRC information in this type of file, thus removing the need for it to be re-entered and reducing the opportunity for error.”

The inherent good sense of using Broadcast WAV is now being recognised.

BPI Chief Executive Geoff Taylor says: “BPI is pleased to support this MPG initiative and we’ll be encouraging our members to adopt Broadcast WAV as a standard. By incorporating ISRC data into the WAV file, we can provide a more accurate and reliable means of identifying recordings when they are exchanged between labels and studios.”

James Farrelly, membership manager of AIM, adds: “In an environment where labels of all sizes now understand that effective metadata management is the key to maximising revenue from their master rights, the work MPG is doing to adapt the BWF format will result in a clearer, more accurate approach to identifying tracks and minimising potential mis-allocation of income from repertoire usage. AIM is proud to support this initiative and looks forward to working with the MPG and their partners to build industry wide adoption of the format.”

The MPG is now planning to address mastering engineers by holding a seminar to demonstrate the ease with which Broadcast WAV can be implemented. This will take place in London in early November (see www.mpg.org.uk for more details).

“For engineers using Magix/Sequioa or Merging/Pyramix, switching to Broadcast WAV will simply involve a software upgrade as both of these workstation manufacturers are already backing the Broadcast WAV initiative, ” Grint explains. “Now that this issue is higher up the priority list, we hope other manufacturers will quickly follow their lead.”

-ends-

About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

StreamGuys Powers In-Store Broadcasts for Custom Channels

Cloud-based streaming architecture supports custom music services with dynamic ad insertions for businesses

BAYSIDE, CALIFORNIA, October 15, 2013 — Internet music service Custom Channels is helping retail businesses like Whole Foods Market transform in-store environments with broadcast-quality audio programs, mixing music and dynamic advertising that deliver a branded, radio-like experience. The company is relying on robust, cloud-based streaming services from StreamGuys to support its customers.

Custom Channels brings a rare broadcast perspective to the growing business of in-store audio streaming. Its principal partners, including President/Co-Founder Dave Rahn, launched Custom Channels following years of experience working at and consulting for radio stations. Today, Rahn and his team leverage their professional production skills and broadcast programming knowledge to build custom in-store programs for retailers like Whole Foods Market, for which they support two-thirds of their stores.

The company recently switched to StreamGuys for content delivery support, recognizing its broadcast expertise as well as its shared spirit of customization to meet client needs.

“We have always used an outside CDN because the specialized technical knowledge required to maintain servers, bandwidth and overall infrastructure is frankly beyond our area of expertise,” said Rahn. “The difference with StreamGuys is that they are not forcing us into one business model for streaming services. They instead provide us with the streaming services that are right for our model, and deliver the ongoing recommendations, support and troubleshooting we need. That helps us keep costs low and leaves us to focus on program content and customer relationships — which is what we do best.”

Custom Channels takes program content beyond music by incorporating dynamic ad insertions in the form of “mid-rolls,” which Rahn cites as a particularly strong tool to trigger ads and promos for in-store streaming models. StreamGuys incorporates third-party ad insertion software into its streaming architecture, targeting broadcasters and IP-based music services that wish to incorporate promotional content in the form of pre-rolls, mid-rolls and post-rolls — and potentially generate new revenue streams.

“The ad insertion software in the StreamGuys architecture allows us to manage content at the server side as opposed to just pushing messages to individual players and boxes,” said Rahn. “For example, we work with a large chain of dental offices, Comfort Dental, with offices all over the country. The mid-roll insertions allow us to take a single Comfort Dental radio channel and insert specialized ads for each region, or even down to the local office level. The messages don’t have to live in the origin stream; instead, we create a place in the stream and insert them on a very targeted basis. It’s a very efficient model, and makes for good use of IP delivery.”

Rahn’s broadcast experience also means a focus on audio quality. Custom Channels currently delivers most audio content using the aacPlus codec at bitrates ranging from 64 to 96 kb/s, and uses other high-quality codecs like Ogg Vorbis for specialty services such as ReMix, which allows customers to create their own custom mixes. Rahn will explore Ogg Opus moving forward, the new versatile, open-source audio codec for low-latency, high-quality audio streaming. StreamGuys is the first CDN to announce support for Ogg Opus audio streaming.

“We’re dealing with businesses, and we try to keep as light of a footprint as possible since there are other demands on their bandwidth and technical infrastructures,” said Rahn. “StreamGuys allows us to use various high-quality, bandwidth-friendly formats so we are comparable to FM quality and usually higher than satellite quality — a sweet spot that our clients can easily handle on their networks.”

Rahn also points to several restaurant brands as Custom Channels clients, including the 200-plus Which Wich sandwich shop chain; and the fast casual Mod Pizza chain based in the Seattle region. Another interesting client is Floyd’s Barbershop, which operates more than 70 barbershops around the country. Custom Channels produces a true “retail radio” station in this case, with full-blown professional production, deejays and live requests.

“We focus on music-conscious brands that essentially want custom radio stations, and many of these clients also stream their channels on their websites,” said Rahn. “Ultimately, StreamGuys offers an ideal service for in-store delivery, whether it’s conventional streaming of a radio station or a business that wants something a little more unique.”

More information on Custom Channels can be found at http://www.customchannels.net.

About StreamGuys, Inc.
In business since 2000, StreamGuys is a provider of audio and video streaming toolsets and services. The company has a reputation for outstanding customer service, a robust and reliable network, and competitive rates. More than 600 clients worldwide, across many industries, depend on their mission-critical service. Projects include serving as the technology backbone for live streaming/podcasting for top public broadcasters such as New York Public Radio, WAMU Washington D.C., KQED San Francisco and WXPN Philadelphia; live video events for major auto racing circuits and the British Royal Wedding; audio streaming for government entities such as D.C. Court of Appeals, U.S. Army, and the National Science Foundation; mobile video content for Cisco Systems; and IPTV content for international broadcaster ABS-CBN.
# # #
StreamGuys, Inc – info@streamguys.com – www.streamguys.com – 707.667.9479
P.O. Box 828 Arcata, California 95518 – fax 707.516.0009

Partner Conference Allows Distributors To Get Under DPA’s Skin

More than 120 pro audio distributors, dealers and opinion leaders travelled to Denmark for DPA Microphones’ Partner Conference.

Guests from around the world attended three days of meetings and seminars in Copenhagen and at DPA’s headquarters in Allerød. They were also taken on a tour of DPA’s production facility in Asnæs where they were shown the different processes involved in making a DPA microphone. The conference culminated in a live, hands-on workshop at the Nørrebro Theatre in Copenhagen, where a singer/actor and a band demonstrated various DPA microphones.

DPA Microphones’ CEO Christian Poulsen says: “The conference was a huge success as it allowed those attending to really get to know the company. DPA has changed a great deal in recent years thanks to the introduction of a new management team and significant developments in R&D that have led our product range in new and exciting directions. We held this conference because we wanted our distribution partners and invited guests to get a real sense of the DNA of the new DPA – a company with true forward vision.”

Among those attending was sound engineer Chris Ekers, who was involved with the London Olympics 2012 Opening and Closing Ceremonies.

Commenting on his time in Denmark he says: “I use DPA microphones all the time for theatre and classical opera work, so I know what they can do. However, I was very interested to see the production facility and learn more about how they are made. I was amazed at the amount of work and care that goes into each microphone. I met one lady who had personally touched every DPA 4060 miniature microphone ever made – and that must be an awful lot of microphones.”

Ekers adds that the seminars and demonstrations were extremely useful, even for an experienced engineer. He also enjoyed meeting the DPA team and learning more about the company’s approach to design and manufacturing.

“This is obviously a young and vibrant company with lots of good ideas for expanding its product range in an intelligent way,” he says. “It was a privilege to be invited to DPA’s Partner Conference and I thoroughly enjoyed the experience and DPA’s hospitality.”

His views were echoed by Rui Lisboa, DPA’s Portuguese distribution partner. “I was surprised to learn that every DPA microphone is hand-crafted, and also amazed by the rigorous test procedure each one goes through,” he says.

Sound engineer Bernard Schmid, who attended the partner conference as a guest of DPA’s Austrian distributor, adds: “For me, the practical demonstrations were the most useful as these gave me a chance to compare different models. I have been using DPA microphones for many years yet I still learned a new and easier way of hiding a miniature microphone in the hair.”

Another guest was Akira Fukada, the inventor of the surround standard Fukada Tree, who says: “Being able to participate in the conference was a great honour and a very stimulating experience. I now understand the direction in which DPA is aimed and I learned about the quality control of these wonderful products. DPA is an indispensable microphone for my music production, and I look forward to new developments at DPA.”

Other attendeed included artist and sound engineer Seigen Ono; Takeru Yamazaki, product manager at DPA’s Japanese distributor Hibino Intersound and Chul Hoon Choi and Soo Hwan Kim from DPA’s South Korean distributor Best Leading Solutions.

“It was a fascinating experience and I came away with a much better understanding of DPA, its business philosophy and its approach to R&D and product design,” says Soo Hwan Kim, sales manager at BLS. ”We got a few hints about some of the new products that are coming along next year and these look really exciting. DPA already has a strong reputation for quality, but seeing the care that goes into the manufacture of each and every microphone leaving its factory makes you realise just how exceptional these products really are.”

-ends-

About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

Myers Introduces Live Log Dynamic Data Exchange Between Traffic & Automation

Northampton, MA – Myers the highly respected developer of broadcast traffic, business, and content management software – today announced the introduction of Live Log, an extension of its BXF integration between ProTrack and 3rd party automation systems. Leveraging the BXF protocols developed by SMPTE, Myers’ advanced implementation features dynamic updating of running playlists.

“Myers has been a long-time SMPTE member and supporter,” said Crist Myers, company CEO and president. “We’ve actively participated in the BXF Working Group since its inception, and I’m pleased that we are among the very first traffic systems to successfully implement this highly sought-after functionality. By facilitating a seamless exchange of information between programming, traffic and automation, we benefit both our clients and theirs with greater efficiency and real-time decision-making tools.”

Live Log broadens the bi-directional, real-time exchange of data between ProTrack and the facility’s play-to-air automation. It provides the ability to edit ProTrack logs and deliver them to automation in real-time. Users may view changes before republishing and receive confirmation receipts when the updates are accepted; and ProTrack will maintain a history of those modifications. Live Log permits users to make and track strategic business decisions within ProTrack. It improves operational efficiency through streamlined processes and enhances sales opportunities by extending log-closing deadlines with the ability to identify, react to and reschedule errant spots.

ProTrack, Myers’ proven flagship suite, is available in both radio and television editions. It offers comprehensive scheduling and business management for individual, multichannel and multi-station facilities. Actively used by more than 226 media outlets, supporting more than 1,300 channels, ProTrack provides a high-level of structure, scalability, and systems integration for today’s rapidly evolving media environments.

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

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

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

Clear-Com Tempest Line Extender Wins “STAR” Award from Editors of TV Technology Europe

ALAMEDA, CA, SEPTEMBER 30, 2013 – Clear-Com® is pleased to announce that its Tempest CCT-RT-EX Remote Line Extender is the recipient of a prestigious 2013 STAR Award (Superior Technology Award Recipient), which was presented by the editorial staff of TV Technology Europe magazine at the 2013 IBC convention in Amsterdam.

The STAR Award is designed to celebrate and showcase technological innovations available to the broadcast industry. TV Technology Europe’s editor reviewed a variety of products, examined the technical applications and their overall contribution to the industry, and then chose 25 winners.

“STAR Awards are given to interesting new products that help a user save money or accomplish a task in an easier way,” says Mark Hallinger, Editor of TV Technology Europe. “This year in particular we also looked for smaller incremental improvements in established products, as these improvements generally reflect a manufacturer responding to customer input, a laudable thing. The products selected help advance the industry; some were chosen because of technical novelty or innovation, some because they filled an important gap in the production or transmission chain, and others because they were just cool products.”

Shown for the first time at IBC, the new Tempest CCT-RT-EX Remote Transceiver Line Extender is used to increase the maximum distance between a Tempest BaseStation and the Remote Antenna Transceiver. The CCT-RT-EX expands the distance of a BaseStation signal to a remote antenna by as much as 914 meters (3,000 feet) with one Line Extender or 609 meters (2,000 feet) per Line Extender if using more than one Line Extender. A total of three Line Extenders can be connected to provide total coverage of up to 2286 meters (7,500 feet). These solutions further enhance the system’s application for users requiring ultra-portable wireless communications in RF-rich environments.

“We are extremely proud to be recognized by TV Technology Europe, a prestigious industry publication, for this innovative product for the professional broadcast industry,” says Judy Cheng, Director of Global Marketing, Clear-Com. “The CCT-RT-EX Line Extender provides the extra coverage required, particularly on large productions to ensure that critical directives are heard regardless of location in a venue/facility. As the only intercom-focused product honored in this year’s awards program, Clear-Com is excited to continue to be recognized for its efforts to be at the forefront of providing cutting-edge intercom technology”

About TV Technology Europe
TV Technology Europe is the region’s leading magazine for broadcast technology. The magazine is published by NewBay Media. See www.nbmedia.com.

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.

SSL Live Console is Now Shipping

SSL’s first live console ships on schedule to first wave of customers and commercial partners

OXFORD, ENGLAND — The premiere of the SSL Live console at Prolight + Sound in April 2013 surprised and enthralled the industry. Solid State Logic has been a dominant player in the design and manufacture of consoles for Music, Broadcast and Post for more than 35 years, but it had never produced a product designed specifically for live audio production. SSL’s reputation and business was built upon visionary operational design and benchmark quality standards in audio reproduction and manufacturing so expectations were instantly high.

Early response from FOH and Monitor Engineers has been extremely positive. The more operators see it, the more the excitement surrounding the console grows. Praise surrounds the operational flexibility of the console, its sonic performance and the sensation of ‘finger painting with audio’ via the gestural touch screen. The on-board effects and superb channel processing toolkit and the unique SSL Blacklight system, which simplifies running audio and control between console and stageboxes delivers a surprising amount of power at a compelling price.

The first three consoles all shipped to U.K.-based global tour production company Britannia Row for use on Peter Gabriel’s forthcoming European ‘Back to Front’ tour and another two shipped to SGroup in France for the imminent Amel Bent tour. Console manufacturing production for 2013 has been sold out since July, and details of the new commercial partner network for SSL Live are available in the ‘Where to Buy’ section of the SSL website.

SSL’s CEO, Antony David, says: “The on-schedule completion of the new Live console is an important milestone for SSL. This has been one of the biggest developments we have undertaken for some time and marks the first application of our new Tempest digital platform. We have been very encouraged by the response from mix engineers, rental companies and our channel partners since we presented the console in April this year. Demand has substantially outstripped our initial production plans, but we will return to reasonable lead times by early 2014.”

Since April, SSL has expanded its dedicated Live product team with key hires including Jason Kelly as Live Consoles Product Manager based in the U.K. office and Jay Easley as Vice President – Live Consoles to lead SSL’s live sector sales operation in North America. Certified training courses have also commenced, with focus on Commercial Partners and initial purchasers. A training program for the wider operator community is scheduled to commence from January 2014.

The SSL Live will be exhibited at next month’s 135th International AES Convention in New York and at ISE in Amsterdam in February 2014. With its latest offerings, SSL will relocate to Hall 8 at Prolight + Sound in Frankfurt in March 2014 and the company will exhibit at InfoComm for the first time, in Las Vegas in June 2014.

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

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.

Calendar

September 2014
S M T W T F S
« Aug    
 123456
78910111213
14151617181920
21222324252627
282930  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication