Archive of the The Wire Category

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.

DPA Microphones Help the Fukada Tree Bloom

LONGMONT, CO, SEPTEMBER 7, 2012 – Internationally renowned recording engineer and lecturer Akira Fukada has specified DPA Microphones 4011A directional, 4006A omnidirectional and 4015A wide cardioid ORTF microphones as best suited to his Fukada Tree arrangement. Supplied by DPA’s Japanese distributor Hibino, with whom Mr. Fukada has subsequently presented a number of seminars and workshops explaining the Fukada Tree, Fukada chose the brand for its rich bass and high frequency sound that does not blot during the recording process.

Mr. Fukada made an enormous impact at the New York AES Convention in 1997 when he unveiled the Fukada Tree seven microphone arrangement – a totally new technique for recording orchestral music in surround sound for subsequent broadcast or CD release. Developed to resolve some of the problems engineers had encountered when trying to record spatial environments with traditional omni-directional microphones, the Fukada Tree clarified microphone positioning and also incorporated directional microphones for main and environmental sounds.

Originally designed for Japanese state broadcaster NHK, the Fukada Tree is now owned by Mr. Fukada’s company, Dream Windows, Inc., which consults on a wide range of music recording, special sound design and audio issues. Whether with NHK or Dream Windows, Mr. Fukada has specified DPA microphones from the outset.

“I insist on using DPA microphones because I like the transparent feel they deliver,” says Fukada, CEO of Dream Windows, Inc. “When recording piano, for example, they give me the clear attack sound and the beauty of reverberation when the sound attenuates. Their wide dynamic range and rich bass vigorously catches the expression of an orchestra, while for string ensembles recorded in a studio, they capture the rich overtones and give a better feeling of air.”

Since first announcing the Fukada Tree arrangement, Mr. Fukada has made a number of positioning modifications to improve front localization, but his choice of microphones remains constant and continues to be DPA. “The LL/RR microphones on both sides are intended to pick up the orchestrated sound expanse and a smooth sound envelope covering the front and rear sections of the hall,” he explains. “I don’t, however, use LL/RR microphones for small music ensembles. My arrangement incorporates DPA 4011A directional microphones and DPA 4006A omnidirectional microphones from the Reference Standard Microphone Series. The configuration of the tree can vary depending on the hall’s acoustic characteristics, while the intervals at which the microphones are placed can also change to conform to the size and formation of the orchestra.”

In recent months, Mr. Fukada has used DPA microphones and the Fukada Tree to record a number of prestigious recording projects, including Shostakovich’s Symphony No. 5 with the Saito Kinen Orchestra, directed by Seiji Ozawa.

“I also use DPA microphones for projects that don’t require the Tree,” he says. “Recently, I selected the DPA 4006 for a Decca Tree stereo configuration to pick up string ambience in a studio setting. I also use the DPA 4015A wide cardioid ORTF for piano, and if I am recording acoustic guitar, I like to use a DPA cardioid 4011 XY. For me, DPA microphones are indispensable because they suit any musical instrument and provide all the accuracy that I need.”

Ken Kimura, DPA Microphones’ Regional Sales Director, Asia Pacific, says: “Following the upgrade and release of our finest Reference Standard Microphones, and given Mr. Fukada’s requirement for the best audio equipment, I’m very pleased to see that he continues to rely upon our 4006A, 4011A and 4015A mics for his recording sessions under Dream Windows, Inc.”

RTW SELLS 100 TOUCHMONITOR TM3 UNITS TO COLOGNE BROADCASTING CENTER

From left to right: Martin Leuenberg - Sales Manager RTW Mahmoud Chatah - Head of Marketing and Sales RTW Oliver Schmitz - CEO Schmitronic Jürgen Mölders - Head of Postproduction CBC

RTL Deutschland Group’s CBC Relies on RTW Loudness-Metering Systems

AMSTERDAM, SEPTEMBER 7, 2012 – RTW (IBC Stand 8.E76), a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, is pleased to announce the recent sale of 100 TouchMonitor TM3 units to Cologne Broadcasting Center (CBC), a television production and broadcasting company with offices in Cologne, Munich and Berlin. CBC purchased the TM3s to help meet the German government’s upcoming loudness requirements for TV shows. Schmitronic, a Cologne-based expert provider of professional audio components, supplied the units, which CBC has already begun to install.

CBC initially planned to purchase approximately 80 TouchMonitor TM3 units, but after further studying its requirements, increased that number to a total of 100 units. According to Jürgen Mölders, head of post production at CBC, who manages nearly 70 post-production suites, when it came to purchasing new loudness meters, CBC, already a longtime user of RTW equipment, felt RTW was the obvious choice. “When we tested a prototype version of the TM3, we were quite taken by its simple and intuitive operation,” he says. “We typically use the TM3 units in editing suites. As the monitoring device is a separate hardware unit, the main screen is reserved for the primary edit applications at any time.”

Since the TM3 installation at CBC spans several stages, Mölders insisted on having the first shipment delivered late in May. “Internally, we already transitioned our production to the new loudness-metering systems in June,” he explains. “This means that our editing suites already comply with EBU R128, but for the time being, we’ve adapted the levels in Final Cut Pro to our previous standards, which are still applicable. Thus, we were well prepared for when German regulators began to enforce loudness regulations for all major TV stations at the IFA in Berlin on August 31.”

Jochen Wellnitz, senior sound engineer at CBC, says he and his team are very happy with the experience they’ve had during their first few weeks with the TouchMonitor TM3. “Operating the device locally using the touch screen is simple and quick,” he says. “When browsing presets, the graphical preview feature is truly handy.”

According to Mölders, in order to avoid operating errors, his team decided to use a single preset that the editor cannot change or modify at the workplace. “This ensures that the metering is based on the same specifications at all our editing suites,” he notes. “On the other hand, there are other workplaces such as post-production suites or special-purpose systems where multiple presets are available to our creative team.”

Andreas Tweitmann, CEO of RTW, says his company is thrilled with the sale. “CBC’s acquisition of the 100 TouchMonitor TM3 units reaffirms the company’s faith in RTW’s loudness monitoring systems. We are very happy about that. We are convinced that the latest member of our extremely successful TouchMonitor series will meet and surpass all expectations in practical use.”

The RTW TouchMonitor TM3 enables quick and easy loudness metering. The system comprises a display unit featuring a 4.3-inch touch screen for horizontal or vertical use and a separate interface box. The easy-to-learn operating concept allows for fast selection of presets that are configured using RTW’s Devicer DC1 software, which is available for Macintosh and Windows. In addition to PPM and true-peak instruments, the TM3 offers comprehensive loudness metering in compliance with all globally relevant standards, including EBU R128, ITU BS.1770-2/1771, ATSC A/85 and ARIB. Instruments include single-channel and summing bar graphs, loudness range and numerical displays. The TM3 stereo version handles analog and digital audio; in addition, the TM3-6CH version also supports six-channel digital input. An upgrade option for stereo units is available.

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The Radio magazine The Wire provides information from manufacturers and associations about industry news, products, technology and business announcements. The information shown here is posted by companies and their representatives and are not edited or previewed by the Radio magazine staff. The content providers are solely responsible for the content of their posts. If you would like your company's news and information to appear here, contact us.

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