Archive of the The Wire Category

Sonnox Fraunhofer Pro-Codec Version 2 Ships

Featuring Apple AAC iTunes Plus Codec And MPEG Surround Support

Oxford, UK – September 13, 2012: Fraunhofer IIS, the world’s renowned source for audio and multimedia technologies, and innovative plug-in designer/manufacturer Sonnox Ltd. today announce the second generation Sonnox Fraunhofer Pro-Codec Plug-In. Initially released in 2011 to global praise, the Pro-Codec Version 2 introduces the ability to master for iTunes and supports the latest multi-channel audio codecs.

For the first time, the Pro-Codec Plug-In enables engineers to use Apple’s iTunes Plus codec for real-time auditioning, making it a powerful time-saving tool to efficiently mix directly for the “Mastered for iTunes” program. Sonnox has added Apple’s iTunes Plus codec to the Plug-In to enable the exact clipping behavior of the iTunes encoding chain to be monitored, and levels corrected if necessary, saving time and ensuring high quality output during the mixing process.

In addition, Sonnox and Fraunhofer have integrated the latest MPEG Surround codec along with Advanced Audio Coding Low Complexity (AAC-LC) multi-channel and High Efficiency Advanced Audio Coding (HE-AAC) multi-channel support, making the codecs conveniently available for producers of surround music. These codecs provide superior audio quality for surround sound mixing and are used in surround broadcasting and streaming.

The Pro-Codec Version 2 continues to provide Fraunhofer implementations of all major MPEG audio codecs and lossless codecs such as mp3 High Definition (mp3HD) and High Definition Advanced Audio Coding (HD-AAC). This establishes the Pro-Codec as the most powerful codec plug-in available for digital audio workstations.

Version 2 of the Sonnox Fraunhofer Pro-Codec Plug-In is available now at the same price as Version 1 at $495. A free upgrade will be available for Version 1 owners.

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For more information, click here: http://bit.ly/QIJuzX

(or visit www.sonnox.com)

About Fraunhofer

The Fraunhofer IIS Audio and Multimedia division, based in Erlangen, Germany, has been working in compressed audio technology for more than 20 years and remains a leading innovator of technologies for cutting-edge multimedia systems. Fraunhofer IIS is universally credited with the development of mp3 and co-development of AAC (Advanced Audio Coding) as well as technologies for the media world of tomorrow, including MPEG Surround and the Fraunhofer Audio Communication Engine.

Through the course of more than two decades, Fraunhofer IIS has licensed its audio codec software and application-specific customizations to at least 1,000 companies. Fraunhofer estimates that it has enabled more than 5 billion commercial products worldwide using its mp3, AAC and other media technologies.

The Fraunhofer IIS organization is part of Fraunhofer-Gesellschaft, based in Munich, Germany. Fraunhofer-Gesellschaft is Europe’s largest applied research organization and is partly funded by the German government. With 20,000 employees worldwide, Fraunhofer-Gesellschaft is composed of 60 Institutes conducting research in a broad range of research areas.

About Sonnox

Sonnox Ltd. is the leading designer of innovative, high quality, award-winning, audio processing plug-ins for professional audio engineers. Oxford Plug-ins are used in an extraordinary range of audio applications including mixing for music production, live sound, broadcast, TV & feature film audio post production, and even scientific and forensics projects.

Sonnox Oxford Plug-ins include: The SuprEsser, a highly efficient de-esser and dynamic EQ; The Restore Suite for sophisticated audio restoration; and most recently, the revolutionary Fraunhofer Pro-Codec, a real-time plug-in for auditioning and encoding audio to multiple formats including iTunes. Sonnox continues to embrace new technology, supporting both Avid’s ProTools | HDX and Universal Audio’s UAD-2 platforms as well as most popular native workstations.

133rd AES Convention Tutorials – From ‘Noise On The Brain’ To Getting The Sound Out of (And Into) Your Head

Social Media For Engineers – Large & Small Room Acoustics – Mastering For Vinyl

SAN FRANCISCO: “The 133rd AES Convention is focused on ‘Listening, Learning and Connecting,’ reports Convention Co-Chair Valerie Tyler. Our Tutorial Program is particularly attuned to that goal. Co-Chairs Vene Garcia and Mike Wells have devoted extensive time and energy to developing a diverse and vigorous program. Their work is bound to have a lasting impact on attendee careers.”

“Our game plan was to cover as many significant issues as time would allow,” Vene Garcia remarked. “We also tried to balance the presentations with traditional and contemporary subject matter. This approach is exemplified by Bobby Owsinski’s Social Media event and Scott Hull’s Vinyl Mastering presentation.”

“Presentations on Large and Small Room Acoustics and Sound System Intelligibility actually represent a mini-track on room acoustics,” Mike Wells adds. “We believe this year’s Tutorials will genuinely benefit attendees.”

133rd AES Convention Tutorials Include:

Social Media For Engineers And Producers: Bobby Owsinski (producer/best-selling author – Facebook, Google+, Twitter and YouTube are important for developing a fan base or client list, but without the proper strategy they can prove time consuming and ineffective. Engineers, producers, and musicians will find invaluable techniques for efficiently utilizing social media as a promotional tool. Topics include: Your mailing list – old tech, new importance; Social Media management strategies; Optimizing your YouTube presence; The secret behind successful tweets and …What’s next?

Small Room Acoustics: Leading acoustic consultants Peter Mapp and Ben Kok will discuss basic small room acoustics. Issues related to absorption, reflection, diffraction, diffusion and how to use it, along with details on low frequency treatment. Recording and control room specifics and differences will be identified, including considerations for loudspeaker and microphone placement.

Large Room Acoustics: Diemer de Vries, Delft University of Technology Netherlands, (ret) & AES past president – Traditional and modern methods for describing the acoustical properties of ‘large rooms’ will be discussed. Theoretical models, measurement techniques, and the link between objective data and human perception will be covered. What issues need be addressed for a superior assessment? Reverberation time, the impulse response? Or, is there even more to take into account?

Sound System Intelligibility: Peter Mapp. Ben Kok – This comprehensive assessment of speech intelligibility and measurement will encompass how room acoustics can affect intelligibility, and measures that can optimize sound system intelligibility. Practical real world problems and solutions will be discussed in depth.

Mastering For Vinyl – Today’s Challenges: Scott Hull, Masterdisk – What has to be considered when you mix/master your music for vinyl? This Tutorial will dig deep into quality control issues and introduce sure ways to sound great on your first pressing. Topics include: Why contemporary CD mastering techniques do not produce the best sounding vinyl records; Long Sides; The relationship between Volume, Duration and Quality; The Turntable; Quality control: mixing – mastering – pressing; and, the realities of the current vinyl market.

Binaural Auditory Models: Ville Pulkki, Aalto University, Helsinki: The principles of brain mechanisms of binaural hearing have been debated extensively. In the 1990′s, common thinking was, that human binaural decoding is based on delay lines and coincidence counters. Subsequent neurophysiological findings questioned the existence of such delay lines. This tutorial will introduce the basic principles of most common binaural auditory models, and review recent improvements in the models.

Noise on the Brain Part II – Higher Fidelity: Poppy Crum, Dolby – Did you know that drinking a glass of orange juice every day might protect your hearing? Most discussions of hearing damage focus on what happens to the cochlea and inner ear. While this understanding is crucial to avoiding trauma that can lead to hearing loss, acoustic and chemical stimuli can also significantly affect higher brain areas. This session will explore new research into how this damage manifests throughout the auditory pathway as changes in hearing sensitivity, cognition, and the experience of tinnitus.

Getting the Sound Out Of (And Into) Your Head – The Practical Acoustics of Headsets: Christopher J. Struck (CEO/Chief Scientist CJS Labs, SF – Exploring the electroacoustics of headsets and other head-worn devices, this presentation will review issues ranging from Insertion Gain, to appropriate instrumentation, including ear and mouth simulators. Boom, close-talking, and noise-canceling microphone tests will be addressed, as will relevant standards, and USB, and Bluetooth wireless devices.

An overview of Audio System Grounding And Interfacing: Bill Whitlock, President/Chief Engineer, Jensen Transformers, Inc.- Equipment makers like to pretend the problems don’t exist, but unbalanced interfaces are vulnerable to noise due to an intrinsic problem. Although balanced interfaces are theoretically noise-free, they’re widely misunderstood by equipment designers, which can result in inadequate noise rejection in real-world systems. Unbalanced-to-balanced connections, RF interference and power line treatments will be discussed. Some “cures” are both illegal and deadly.

Photo 1 AES 133rd Convention Tutorial Co-Chair Vene Garcia
Photo 2 AES 133rd Convention Tutorial Co-Chair Mike Wells

The 133rd Audio Engineering Convention is set for SF’s Moscone Convention Center Friday, October 26 thru Monday, Oct. 29. For a detailed Preliminary Calendar of Events please visit: http://www.aes.org/events/133/calendar/calendar.cfm

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

Sennheiser launches Digital 9000 wireless system at IBC

Last week at IBC in Amsterdam, audio specialist Sennheiser unveiled Digital 9000, a digital wireless system that can transmit completely uncompressed audio, artifact-free and with superb dynamics. Targeting broadcasting professionals, (musical) theatres and high-profile live audio events, Digital 9000 sets a new benchmark in digital wireless transmission. The system, which includes the EM 9046 receiver, SKM 9000 handheld and SK 9000 bodypack transmitters, and a comprehensive suite of accessories, has been meticulously designed for the highest channel counts in today’s increasingly dense frequency environment.

“This system is a masterpiece, both in the digital and in the wireless realm,” said Kevin Jungk, portfolio manager for wireless microphones at Sennheiser. “It offers unprecedented sound quality and ease of use. For example, users will no longer have to calculate and circumvent intermodulation frequencies but can conveniently place their transmission frequencies in an equidistant grid.”

Ideal for the most diverse environments
The groundbreaking digital wireless system is fitted with two transmission modes to suit any need and environment. The High Definition (HD) mode will transmit entirely uncompressed, artifact-free audio, rivaling a high-quality cabled microphone. The Long Range (LR) mode has been designed for difficult transmission environments with many sources of interference. It ensures maximum range with a proprietary Sennheiser digital audio codec. “This refined codec ensures an audio quality that is superior to that of an FM system,” explained Kevin Jungk. “These two modes make Digital 9000 the most versatile digital wireless system available, and the best adapted to on-site requirements.”

Built-in ease of use
In addition to IR synchronization between receivers and transmitters and a convenient antenna loop-through for creating larger receiving systems, Digital 9000 offers a number of groundbreaking features. First and foremost, the system does not generate any intermodulation products – the high linearity of the entire system, from transmitters to antennas and receivers, and a special transmitter design make laborious intermodulation calculation a thing of the past. Transmission frequencies can now be evenly spaced without generating intermodulation, maximizing channel count in congested RF environments.

The receiver also automatically measures the RF cable loss between the receiver and the booster and adjusts the gain accordingly. “This makes the RF wireless system easier to operate for users with less RF knowledge” said Kevin Jungk.

Optimum control – more information on the receiver
A large display with clearly laid out controls is at the heart of the EM 9046 receiver. Three display modes ensure that the RF or sound engineer has an optimum overview of important parameters in live situations and can change settings quickly via an intuitive, icon-based menu. One or more channels can be monitored at a time via the headphone output.

The modular EM 9046 receiver is a mainframe that accommodates up to eight receivers internally. The receiver system covers the UHF range from 470 to 798 MHz (328 MHz band­width). To easily integrate the system into an existing infrastructure, the user can choose between transformer-balanced analog or digital AES3 audio output modules, or a mix of both.

System set-up is facilitated by a built-in graphical spectrum analyzer to scan the RF landscape, and an RF level recorder for checking reception and optimizing antenna positions. The receiver will also suggest the best transmission mode for the environment being worked in, and will automatically set an appropriate gain to counteract RF cable losses. The system’s antenna boosters can be controlled via the receiver, which is helpful for installations with remote antenna positions.

Digital 9000 also offers encrypted data transmission, with proprietary keys generated randomly. With encryption engaged, transmission of sensitive information can be protected against hijacking and tapping.

The receiver stores up to ten complete system configurations so that set-ups can easily be recalled and repeated.

Powerful sound – more information on the handheld
The SKM 9000 handheld transmitter is compatible with all evolution wireless G3 and 2000 Series microphone heads, including the Neumann capsules KK 204 and KK 205. This means that an artist’s favorite sound can easily be transferred to the new system. Besides these capsules, the handheld can be fitted with four dedicated 9000 Series capsules.

“The 9000 Series would not have been complete without the sound of our most successful live capsule, and I am happy that the cardioid dynamic MD 9235 is part of our new digital system,” said Kevin Jungk. The rock ’n’ roll sound of the MD 9235 is complemented by the transparency of three permanently polarised condenser mic heads, the ME 9002 (omni), ME 9004 (cardioid) and ME 9005 (super-cardioid). The condenser heads feature a low susceptibility to pops and have extremely low handling noise due to snowflake-shaped rubber suspensions above and below the actual capsules.

The rugged SKM 9000 comes with an 88 MHz switching bandwidth, and is available in black and nickel. Command switch versions for easy communication between broadcast units or artists and their crews are also available. As the handheld transmits digitally, it does not employ a compander and is exempt from the associated noise, ensuring a cable-like purity of sound.

Versatile and lightweight – more information on the bodypack
The SK 9000 bodypack transmitter is easy to hide and easy to attach; it comes in a magnesium housing that combines maximum robustness with low weight. The transmitter can be used with any clip-on or headset mic with a 3-pin Lemo connector and has a line input for guitars or other instruments. “As the system is able to deliver cable-like audio, we have added a three-step guitar cable emulation – to round off the perfect instrument sound,” explained Kevin Jungk.

The SK 9000 is available in four different frequency ranges (88 MHz switching bandwidth); a command switch for communication between crews and artists/reporters is available as an accessory.

Selective and reliable – more information on boosters and antennas
To protect Digital 9000 against unwanted frequencies and interference, the AB 9000 antenna booster has been fitted with eight highly selective filters to allow just a specific frequency window to pass. Unwanted signals are thus blocked out before the first active component, adding to the overall excellent reliability of the system. The filter can be set manually on the booster or remotely via the antenna cable on the receiver.

The AB 9000 provides a maximum gain of 17 dB and is available as a stand-alone booster or integrated into the A 9000 omni-directional antenna and the AD 9000 directional antenna. Two booster versions (470 to 638 MHz and 630 to 798 MHz) cover the receiver’s UHF range.

Power supply – more information on batteries and chargers
The transmitters of the 9000 Series operate on environmentally friendly lithium-ion rechargeable battery packs, with a precise remaining operating time indicated on both the transmitter and the receiver. The SKM 9000 is powered via the BA 60 rechargeable battery pack, which will provide 5.5 hours of operating time. The SK 9000 bodypack is powered by the BA 61, which lasts for 6.5 hours. Operation on standard batteries is possible too.

The L 60 charger will recharge two BA 60 or BA 61 in any combination. It reaches 70% of charge in an hour and full charge after three hours, with the charging status being indicated by three-colour LEDs. Up to four chargers can be daisy-chained and powered via a single power supply unit.

Spectrum-efficient wireless
“Summing up, Digital 9000 is a meticulously designed wireless tool,” said Kevin Jungk. “Spectrum is a scarce resource, therefore every part of the system has been designed for the highest frequency efficiency. We have put much effort into allocating the largest possible data rate to the actual sound transmission, ensuring the unmatched audio performance of Digital 9000. Because audio is what it’s all about.”

RTW ANNOUNCES SALES AWARD WINNERS AT IBC 2012

From left to right: Mahmoud Chatah - Head of Marketing and Sales, RTW and Georges Lemmens – Pro Audio Sales Manager, Amptec

Company Recognizes Amptec, Audiopole and Libor for Outstanding Sales Support

AMSTERDAM, SEPTEMBER, 10 2012 – RTW (IBC Stand 8.E76), a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, awarded three of its distributors the company’s annual sales awards during its IBC sales meeting on Friday, 7 September. RTW recognized Amptec for “Best Performance – 1026D,” Audiopole for “Best Performance – TouchMonitor TM7 and TM9″ and Libor for “Best Performance – 31900 and 31960 Series.”

“It is our pleasure to recognize our distribution partners for all of the hard work and support they provide to RTW during the year,” says Andreas Tweitmann, CEO, RTW. “Amptec, Audiopole and Libor have been part of the RTW family for quite some time, and we have built strong relationships over the years. Each of these companies have helped shape RTW’s solid reputation in the broadcast industry. Their comprehensive knowledge of our products makes us confident that they will take good care of our customers. As always, we look forward to working with all of our distribution partners well into the future.”

Amptec, a premier pro audio equipment, contracting and systems integration company in Europe, is RTW’s longtime distributor in the Benelux region, servicing Belgium, Luxembourg and the Netherlands. Audiopole is RTW’s longtime partner in France, distributing its line of products there, while Libor, based in Brazil, exclusively distributes RTW equipment in that region of Latin America.

RTW DEBUTS 3G SDI INTERFACE AND 7.1 SURROUND FORMAT FOR SURROUNDCONTROL AND SURROUNDMONITOR LINES AT IBC 2012

Enhanced Surround Sound Analyzer Now Supports Blu-ray Disc 7.1 Format

AMSTERDAM, SEPTEMBER 9, 2012 – RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, will introduce new options and functional enhancements for its SurroundControl 31900/31960 and SurroundMonitor 11900 ranges at IBC 2012 (Stand 8.E76). The SD device versions of these products are shipping with a new 3G-enabled SDI de-embedder and Dolby(r) E, Dolby(r) DD+ and Dolby(r) AC-3 decoders.

In addition to several minor improvements, the current device firmware now supports the 7.1 DD+ format, ensuring compliance with current 7.1 surround formats for Blu-ray discs and other applications. The 7.1 DD+ format has been implemented alongside the existing 7.1 Cinema format on the SurroundControl and SurroundMonitor systems.

The Surround Sound Analyzer brings the clear and intuitive display method of the original 5.1 format to the enhanced 7.1 arena. Similar to the center channel, the unit displays the newly added side channels using color-coded lines. This way, the user can assess the relationship between the side channels and the phantom sources produced by the lateral-front and rear channels at a glance.

The new software release, featuring a correlation display depicting all possible 7.1 signal combinations, is ideal for professional users working with the 7.1 format. The multicorrelator display has been expanded to read out low-frequency phase errors of all channels versus the LFE, allowing users to make any corrections before phase problems show up acoustically or in bass-management systems.

Featuring the integrated monitoring controller, as well as an optional 3G SDI de-embedder and Dolby(r) decoder, the SurroundControl 31900/31960 flagship unit integrates seamlessly into the production workflows of today’s broadcast applications. The units implement all major loudness standards, including EBU R128, ITU-R BS.1770-2/1771, ATSC A/85 and ARIB. RTW’s Loudness Range (LRA) instrument features the MagicLRA mode, a simple and intuitive view displaying integrated loudness and loudness variances within short time periods. Apart from the monitoring controller, the eight-channel SurroundMonitor 11900 implements all the same metering functions from the SurroundControl systems.

“Today, the broadcast and media industries face an increasing demand for 7.1 audio due to Blu-ray discs and other current distribution formats,” says Mahmoud Chatah, director of marketing and sales, RTW. “The integration of the 7.1 DD+ format in the SurroundControl 31900/31960 and SurroundMonitor 11900 product lines once again demonstrates RTW’s constant commitment to its customers’ evolving needs.”

RTW INTRODUCES TOUCHMONITOR TM3-3G UNIT AT IBC 2012

Latest Version Includes 3G SDI Interface, Eight-Channel Level and Loudness Instruments, a 16-Channel 3G SDI De-Embedder with AES3 Outputs and an Integrated Monitoring Controller with Stereo Output

AMSTERDAM, SEPTEMBER 8, 2012 – RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, will introduce a new version of its successful TouchMonitor TM3 unit at IBC 2012 (Stand 8.E76). The new TouchMonitor TM3-3G seamlessly allows the TM3′s current hardware and software design to visualize, convert and replay 3G SDI signals in TV and video production and post production applications, offering a feature set unrivalled in its class.

The TouchMonitor TM3-3G is a compact yet versatile solution for metering, de-embedding and monitoring 3G SDI audio. It features a 4.3-inch touchscreen for horizontal as well as vertical orientation, which can display any of the eight audio channels contained in a 3G SDI stream. For that purpose, it includes a large number of graphical and numerical instruments showing single-channel and summing loudness bargraphs, PPM, true peak, SPL, loudness range (LRA), dialnorm and correlation. The TM3 offers comprehensive loudness metering in compliance with all globally relevant standards (EBU R128, ITU BS.1770-2/1771, ATSC A/85 and ARIB). It also features the Magic LRA mode, specifically designed by RTW, for intuitive visualization of the loudness range and integrated-loudness parameters.

If equipped with the corresponding software license option, the integrated de-embedder also outputs up to 16 audio channels from the 3G SDI signal on eight AES3 two-channel ports. The output signals are independent from the visualized audio. In addition, the TM3-3G can be upgraded with a built-in monitoring controller license. This uses an on-screen fader for output-volume adjustment, a stereo output and phones out. The optional timecode license expands the feature set of the TM3-3G to allow external or SDI timecode signals to be decoded, displayed and used for additional functions.

The intuitive operating concept of the TM3 allows for quick and easy selection of presets that can be configured using RTW’s Devicer DC1 software (available for Mac OS X(r) and Windows(r)). Using custom presets, the user can easily switch between the various sources, loudness standards and instrument layouts. The configuration software allows users to freely scale and place the required instruments virtually anywhere on the screen.

“After an excellent start for the TouchMonitor TM3, I am convinced that the market will be showing a great deal of interest in the 3G SDI-enabled TM3-3G version as well,” says Michael Kahsnitz, technical director, RTW. “With its SDI interface, the de-embedder featuring AES3 outputs and the integrated monitoring controller with headphones out, the TM3-3G is the perfect addition to production and post-production workflows in today’s broadcast environments.”

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

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

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

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

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

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

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

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

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

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

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

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

Primestream Releases FORK Logger 1.0 at IBC2012

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

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

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

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

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

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

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

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

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

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

NETIA Strengthens Business and Product Development With Key Managerial Appointments

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

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

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

All appointments are effective immediately.

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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, France Telecom/Orange, MediaCorp Singapore, RTL France, Radio Globo in Brazil, RTM Malaysia, Radio France, the Associated Press, France Télévisions, TV Center Russia, and L’Équipe 24/24. NETIA has its headquarters in France, with offices in the United States, Paris, Rome, and Singapore, in addition to a global network of professional distribution partners.

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

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

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

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

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

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

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

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

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

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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, France Telecom/Orange, MediaCorp Singapore, RTL France, Radio Globo in Brazil, RTM Malaysia, Radio France, the Associated Press, France Télévisions, TV Center Russia, and L’Équipe 24/24. NETIA has its headquarters in France, with offices in the United States, Paris, Rome, and Singapore, in addition to a global network of professional distribution partners.

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