Archive of the The Wire Category

Jampro Antennas To Upgrade FM Signals For Utah State University

Sacramento, CA – Jampro Antennas, Inc. — a world leader in the manufacture and design of radio frequency components and antennas for radio and television transmission — today announced the award of a comprehensive turnkey project to consolidate three FM signals for KUER, the Salt Lake City-based radio station operated by Utah State University.

Jampro will deliver and install an FM broadband panel antenna, model JAHD Arrowhead Dipole with protective radomes, plus transmission line and required monitoring. An RCCC Constant Impedance combiner will bring the KUER, KUER-HD2 and KUER-HD3 signals together. The system will be housed in a harsh mountaintop environment above 12,000 feet in one of the country’s few remaining manned transmitter sites.

“We installed the station’s initial antenna system in 1973; periodic upgrades and additions have extended their range and signal quality,” said Alex Perchevich, president of Jampro. “The University selected us for this significant upgrade based on our cost-effective technology and proven track record of reliability – we sincerely appreciate their loyalty and confidence in Jampro.”

About Jampro
Jampro Antennas Inc., established to answer the need for quality broadcast systems at a reasonable price, is a leading supplier of antennas, combiners & filters and RF components for every application in the broadcast industry. Reputed for innovation and customization, Jampro builds each system to the specifications of the individual broadcaster. From the first system delivered in 1954 to those installed today, the Company is committed to consistent performance and quality founded on solid engineering. Today, over 15,000 broadcasters worldwide benefit from the quality and performance provided by Jampro systems. For additional JAMPRO information, please visit: www.jampro.com.

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Jampro Contact: Sonia Del Castillo
+1-916-383-1177 • Sonia@jampro.com

Press Contact: Desert Moon Communications
Harriet Diener • +1-845-512-8283
harriet@desertmooncomm.com

RTW RELOCATES COLOGNE HEADQUARTERS

Move Supports the Company’s Continued Growth and Streamlines Operations

COLOGNE, SEPTEMBER 19, 2012 – RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, is pleased to announce that it will be settled into its new office on September 25. The new company headquarters, still located in Cologne, will now occupy two floors of a building that was once home to the German staff of Sony Corporation. While the company’s phone numbers and email addresses will not change, its new mailing address will be:

RTW GmbH & CO. KG
Am Wassermann 25
50829 Köln – (Cologne)
Germany

“We are very happy to move into a new space that is more modern and will help us to better streamline our operations,” says Andreas Tweitmann, CEO, RTW. “This new building will offer us new amenities that will help us to further focus on developing and manufacturing innovative solutions for the broadcast market.”

RTW has recently experienced much success with it TouchMonitor line of audio meters. The TM3, an affordable, compact version of the original TM7 and TM9, is quickly becoming an industry standard. The recently announced TM3-3G is sure to follow in its successful footsteps. The latest addition to the TouchMonitor line 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.

Harris Demonstrates New PR&E Studio Enhancements for Networked Audio Environments at The Radio Show

DALLAS, September 19, 2012 (The Radio Show, Hilton Anatole, Booth 604)Harris Broadcast Communications today introduces a series of user-friendly features for analog and digital studio environments at The Radio Show, giving broadcasters more tools to empower on-air, production and networking capabilities in distributed and consolidated studio architectures.

Harris introduces programmable button panels that enhance routing capabilities and protect signal destinations, as well as standard metering designs across all Harris® PR&E® studio consoles to improve ease of use. New quad-meter enhancements for its largest console line also increase confidence metering for operators monitoring several on- and off-air sources at once.

Programmable Button Panels
The new “smart,” dynamic LCD button panels give operators and producers five programmable buttons to initiate audio routes or commands to and from any location. Foremost, the panels shield the air chain and other destinations from accepting undesired audio, maximizing protection in networked studio environments. This means that an on-air operator would need to approve a “request” from another studio to introduce that audio to the program. The buttons similarly protect for remote signal contributions, allowing operators to cleanly initiate mix-minus feeds on-air.

Operators benefit further from clarity on the actual “owner” of the audio source, with rich text and unique color screens offering clear visual information about where each signal originates. This is a key differentiator from competing systems that don’t identify the origination point.

Harris now offers its new programmable button panels on PR&E® RMXdigital® consoles, the VMReact™ logic processing engine and other PR&E® VistaMax™ audio networking systems. VMReact, introduced last year at The Radio Show, is a virtual toolbox that allows studio operators and engineers to customize and automate multiple processes in networked studio environments. This includes everything from switching audio routes to creating contact closures for various events.

Uniformity and Ease of Use
Harris enhances the look and feel of its metering applications at The Radio Show, introducing a standard design for meters, clocks and timers across its RMXdigital, NetWave® and Oasis™ on-air/production consoles. Harris also introduces quad-meters for most RMXdigital consoles, allowing operators to monitor additional sources. This improves metering confidence by ensuring signal integrity for program and off-air sources, such as web streaming and network routing.

Harris is also demonstrating its recently-introduced RMXengine™, offering an on-demand mix-minus and IFB for every RMXdigital fader. The auxiliary device also enables advanced dual-console operation for sophisticated dual-anchor studio operations — bridging two consoles together in a single studio. The aforementioned new programmable button panels also bring benefits to these applications, allowing for negotiated and protected air chain control between two consoles.

About Harris Broadcast Communications
Harris Broadcast Communications offers products, systems and services that provide interoperable workflow solutions for broadcast, cable, satellite and out-of-home networks. The Harris ONE™ solution brings together highly integrated and cost-effective products that enable advanced media workflows for emerging content delivery business models. Additional information about Harris Broadcast Communications is available at www.broadcast.harris.com.

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Live From SF! AES Convention Preliminary Events Calendar

New Tracks, Comprehensive Event/Exhibitor/Registration Details Online Now!

NEW YORK: With just five weeks to go until “Show Time,” the AES continues to update the Preliminary Event Calendar. Packed with vivid abstracts, dates, times and presenter details, the AES/PEC is the culmination of an intensive year of activity. The 133rd Convention looms as the most colorful, informative, timely and far-ranging AES event ever. From Broadcast/Streaming to Education, Game Audio, Historical, Live Sound, Papers, Platinum, Product Design, Special Events, Tech Tours, Tutorials and Workshops, the 133rd AES Convention is the definitive crash course on everything audio.

“In addition to our traditional program, this Convention marks the introduction of three timely new tracks,” reports Committee Co-Chair Jim McTigue. “We are extremely enthusiastic about the 3-Day Project Studio Expo developed in partnership with UK-based Sound On Sound editors and Craig Anderton to explore issues and innovations that make Project Studios a pivotal trend in today’s recording environment. We are also extremely pleased with our Sound For Pictures and Networked Audio Tracks. These events epitomize the AES mandate as the industry’s most authoritative platform for addressing critical issues of technical concern,” McTigue says.

“As with our totally upgraded Mobile App, our Preliminary Calendar has been carefully fine-tuned to make it the most comprehensive and user-friendly edition ever,” reports Committee Co-Chair Valerie Tyler. “Attendees will find it much easier to navigate. The color-coded grid provides instantly accessible drop-down abstracts. Dates and times are clearly illustrated. While we make a point of emphasizing the fact that this is a ‘Preliminary’ Although Calendar changes continue to be posted right up to October 26, the site will be enormously helpful to attendees in strategizing their show schedules.”

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Visit these links for more details:

* http://www.aes.org/events/133/calendar/calendar.cfm
* http://www.aes.org/events/133/hotels/
* http://www.aes.org/events/133/registration/
* http://www.aes.org/events/133/exhibitors/exhibitors.cfm
* http://www.aes.org/mobile/

PHOTO: The 133rd AES Convention will be held in SF’s Moscone Center Oct. 26 – 29.

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

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.”

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