Archive of the The Wire Category

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

# # #

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.

133rd AES Convention Workshops: Raising The Bar For Attendee Edification

iPhone Apps, Digital Cinema, Loudness Standards, “Up-Sampling…” & More

SAN FRANCISCO: Paramount on the ‘not to miss,’ lists of AES Convention regulars, the Workshops Program epitomize pro audio’s extraordinary diversity. Thanks to Workshops Co-Chairs David Bowles and Jeffrey McKnight, 133rd Convention attendees will benefit from a particularly robust program. “Dozens of worthwhile proposals are submitted each year,” says Committee Co-Chair Valerie Tyler. “Our Workshops Co-Chairs final picks will challenge visitors to budget their time in order to maximize their opportunities to expand their knowledge.” The 133rd AES Convention will be held in SF’s Moscone Center, Oct. 26-29.

Highlights of the 133rd AES Convention Workshop Program include ‘mini-tracks’ on Digital and 3D Cinema Sound, Loudness and on Height Channel (an AES 1st):

Cinema Sound in 3D: Chair, Christof Faller, author/co-principal IIusonic, Switzerland – Enlisting many key players currently involved with 3D cinema sound, this panel will outline their 3D Sound strategies, including impact on production and compatibility with legacy equipment, content, and signal format/coding. The workshop will include a discussion on MPEG’s efforts on 3D Sound compatible formats.

Reconsidering Standards for Cinema Sound – Alternatives to ISO 2969: Chair, Brian McCarty, Coral Seas Studios, Australia – ISO 2969 (aka, SMPTE S202), has been a cornerstone of the audio reproduction ‘B-Chain’ for many years. Like the RIAA curve, it was originally implemented to compensate for delivery defects. What are the implications for these standards and the B-Chain, as film shifts to Digital Cinema delivery, with full bandwidth soundtracks?

Post Production Audio Techniques for Digital Cinema and Ancillary Markets: Chair, Brian McCarty, head of the AES Technical Committee on Sound for Digital Cinema & TV – With the film industry’s rapid move to audio distribution in full-bandwidth, multi-channel, discrete format, post-production techniques to provide high-quality audio continue to evolve. This workshop will feature four leading sound post mixers (music, dubbing, and DVD-Audio) discussing changes being implemented.

Loudness Wars – The Wrong Drug? Presenter, Thomas Lund, HD Development Mgr. TC Electronics – Newly produced music rarely sounds good on fine speakers. Could the wrong mastering ‘drug’ have been used for decades, affecting Dynamic Range (DR) instead of Loudness Range (LRA)? Addressing the grim side effects of this question, the panel, will provide a unique perspective on the difference between DN and LRA from a technical, perceptual & practical POV.

Broadcasters Experiences In The Use of Loudness Standards: Lars Jonsson Swedish Radio – With the recent U.S. adoption of the CALM Act, Loudness Standards have reached the tipping point in audience awareness. This Workshop will bring together a group of leading international broadcasters to address the use of new EBU and ATSC standards on loudness.

Acoustics & Audio iPhone Aps: Peter Mapp, Acoustic Consultant, PMA – has designed this Workshop to survey the range of audio and acoustic measurement, calculation and related apps currently available for the iPhone, iPad and other smart phones. A member of the AES Technical Committee on Acoustics & Sound Reinforcement (TCASR), Mapp will review current apps, their uses and limitations

Mastering for Specific Music Genres: Andres Mayo Vice Chairman TC Arms – Mastering projects occasionally require an expert in a music style which has very specific parameters (dynamics, color, warmth, S/N ratio, etc.). Examples include, classical and regional music e.g. Tango, and powerful ‘bassy’ tunes created for clubs. This workshop will review those unique features, and also address mastering for vinyl and iTunes.

The Controversy over ‘Up-sampling,’ Boon or Scam? Vicki Melchior Audio DSP Tech Consultant, Boston – Many ‘high resolution’ Blu-ray, DVD releases, and HD download files are created by ‘up-sampling’ Redbook or 48kHz data. A practice that frequently draws vehement outcries of ‘fraud.’ And yet, ‘up-samplers,’ both hardware and software, are commonly marketed to consumers and professionals with the promise of boosting Redbook Sonics to near-equality with high resolution. What’s going on? A panel of top mastering engineers, DAC and DSP designers will discuss in depth.

Other 133rd Convention Workshop Program Highlights Include:

*Sound Design Tools for Multichannel Audio With Height: Wieslaw Woszczyk McGill U. Center For Interdisciplinary Research In Music Media.

*Recording Music In 9.1 Height Surround: Presenter, Morten Lindberg, Engineer/Producer Lindberg, Lyd.

*3D Audio Formats (Multichannel Sound With Height) Channel or Object Based? Presenter, Bert Van Daele

*Height Channel – Adding The Vertical Dimension To Surround Sound: Chair, Paul Geluso, Teacher, Chief Recording Engineer NYU Steinhardt

Multi-Microphone Applications & Testing In Telecommunications Systems: Bob Zurek Motorola

Spatial Audio Evaluation: Sean Olive, Director, Acoustic Research Harman Intl.

What Does an Object Sound Like? Towards a Common Definition Of A Spatial Audio Object: Frank Melchior, BBC R&D

MUSHA Reloaded: Presenter, Judith Liebetrau, Fraunhofer IDMT

What Every Sound Engineer Should Know About The Voice: Eddy Brixen EBB Consultant

New Delivery Mediums & How To Get There Safely… Or, Jumping On The New Media Express: Jim Kaiser Educator, Belmont U/Engineer, MasterMix, Nashville

Forensic Authentication of Digital Audio: Jeffrey M. Smith

*The Height Channel ‘Mini-Track’ will be held at Pyramind Media & Music Production School/Studio in the Bay Area’s trendy SoMa neighborhood.
In-depth descriptions of all the 133rd AES Conventions are posted on the Preliminary Calendar of Events http://www.aes.org/events/133/calendar/calendar.cfm

Photo: 133rd AES Convention Workshop Co-Chairs Jeffrey McKnight & David Bowles

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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

Moog Music Sponsors This Weekend’s Hopscotch Music Festival

Moog Music has announced it will be sponsoring this weekend’s Hopscotch Music Festival, which showcases some of North Carolina’s finest musicians while pairing them with notable national and international artists. Slated to bring over 10,000 attendees to downtown Raleigh, Hopscotch is the second biggest new music festival in North Carolina after Moog’s own festival, Moogfest.

“Hopscotch is doing great things for music lovers in our state by bringing boundary pushing artists to North Carolina and putting local bands on a larger platform. Moog has always supported musicians that aren’t afraid to take risks and we’re honored to support festivals like Hopscotch that showcase these artists. It’s a great time to be a music fan in North Carolina with Hopscotch and Moogfest happening almost back to back on the calendar,” said Emmy Parker, Moog Sr. Marketing and Brand Manager.
 
Moog’s Hopscotch stage at the Hive @ Busy Bee Café, will feature some of North Carolina’s most experimental genre bending musicians, including: Found sound sculptor, Feltbattery; avant-garde jazz trio, The Hot at Nights; DJ’s for change, Beat Report; heart breaking fuzz-folk outfit, The Toddlers; and experimental-electro-metal duo Tomas Phillips and Craig Hilton.
 
Festival goers will also get a treat when DJ, Producer, and founder of Fool’s Gold records, Nick Catchdubs, hits the Moog stage. Fool’s Gold has signed and supported some of the most influential and experimental hip-hop and electronic artists of the last three years, including Moogfest alumni, Chromeo. 
 
To show its support for music fans in its home state of North Carolina, Moog will be welcoming each Hopscotch ticket holder at Wrist Band City in Downtown Raleigh’s Sheraton Hotel with giveaways, a daily raffle of their handcrafted effects pedals and the chance to play Moog’s iconic analog synthesizers.

RTW ADDS PRODUCT VIDEOS TO ITS WEBSITE

Demos Enhance User Experience, Further Educating Visitors on the Company’s Offerings

AMSTERDAM, SEPTEMBER 6, 2012 – RTW (IBC Stand 8.E76), a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, has incorporated video demonstrations of its entire product line to its website. The videos, available in both English and Chinese, were filmed during various trade shows during the year and offer visitors an up close look at the products in action.

“In addition to our commitment to producing innovative solutions for today’s broadcast technology needs, we are also firm believers in education,” says Mahmoud Chatah, director of sales and marketing, RTW. “Our website is a reflection of this commitment and it is why we decided to incorporate video demonstrations of each of products. Each video lives alongside each product’s specs, images and technical information, that way when a customer or potential customer visits our site, they receive a 360 degree view of our products.”

RTW’s current roster of products includes its groundbreaking TouchMonitor line of next generation loudness-compliant professional audio signal meters that consists of the TM3, TM7 and TM9 units. The TM3, the latest model, includes features of the larger TM7 and TM9 TouchMonitor versions, and is controlled using a touch-sensitive display. With its budget-friendly base price, a 4.3-inch touch screen and stylish exterior allowing for horizontal and vertical placement, the TM3 is a highly appealing, compact solution for editorial offices, edit suites and small control rooms.

In addition, RTW’s SurroundControl and SurroundMonitor series both continue to be popular solutions for today’s broadcast needs, implementing 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.

All of these product lines will be available for demos at the RTW booth, during the upcoming IBC 2012 show that kicks off on Friday, September 7, 2012 in Amsterdam.

SOUND DEVICES INTRODUCES NEW 664 PRODUCTION MIXER AT IBC 2012

New Flagship Mixer Features an Unprecedented Amount of I/O Connectivity and Recording Flexibility

AMSTERDAM, SEPTEMBER 6, 2012 – Sound Devices, experts in audio and video products for field production, unveils the 664 Production Mixer, the newest addition to its best-selling line of field and production mixers, at IBC 2012 (Stand 8.D74). The new flagship in Sound Devices’ line of portable production mixers, the 664 builds upon the powerful features of the 552 Production Mixer and offers expanded input/output connectivity and recording capabilities, along with greater flexibility and ease-of-use. Its six input channels have dedicated controls for trim, fader, pan and PFL. The inputs and four output buses are all recordable, for a total of 10 tracks of recording.

Sound Devices’ 664 contains six ultra-low noise, high-dynamic range transformer-less preamps that accept mic- or line-level signals and include analog peak limiters, high-pass filters, input trim control and direct outputs on every channel. Featuring full analog audio paths for high-performance audio and superb power efficiency, the 664 also has numerous digital capabilities. Inputs 1 and 6 are unique in that they can be selected as AES3 or AES42 inputs for digital microphones, each with its own SRC for simplicity in system clocking.

The analog output compliment includes four output buses. The L and R buses are on balanced XLR, 10-Pin, TA-3M connectors, or unbalanced on TA-3M or 3.5mm connectors. Auxiliary output buses X1 and X2 are available on balanced TA-3M connectors. Inputs and buses can be routed to four AES3 connections for eight digital outputs on the XLR and 10-pin connectors.

The 664 can record up to 10 tracks, 16- or 24-bit broadcast WAV files to SD and/or CompactFlash cards. All six inputs and its four outputs are individually selectable for recording, enabling the mixer to record all 10 channels of audio. With its dual card slots, content can be recorded to either or both cards simultaneously, with the added ability to assign individual tracks to each memory card.

Sound Devices also introduces a companion accessory, the CL-6 Expander. The CL-6 is specifically designed to add six analog line-level inputs to the 664 Production Mixer. With the CL-6 attached, the direct output connectors are available as recordable inputs, controlled by faders located on the CL-6 front panel. The CL-6 also offers additional LED output metering and duplicate-recording transport controls. With the 664 Production Mixer connected to the CL-6 Expander, users can now record up to 12 input channels and four outputs, for a total of 16 tracks.

The 664 features an abundance of connectivity options in addition to the main audio I/O, catering to the complex productions that are becoming more common today. It has expanded return-monitoring capabilities, with three separate camera returns as well as a dedicated private line communications connection. The 664, like the 552, has a built-in slate microphone and tone oscillator, and includes a dedicated input for an external slate mike. The internal or external slate mike can be routed to either outputs or to the dedicated comm output. The 664 can easily build a private line communication with a comm return input, separate from camera returns.

“Our customers are looking for more inputs, connectivity, flexibility and power in the field,” says Jon Tatooles, managing director, Sound Devices. “We have taken the strengths and knowledge gained from our existing mixer line and continue to evolve the technology to meet the growing needs of sound mixers. The 664 is how we see the future of high-performance field mixers; they need to have recording capabilities in order to be a fully functional tool in the field.”

Sound Devices’ 664 features an intuitive LCD menu that enables users to simply adjust input settings and offers the capability to see how an input is routed and connected when its settings are altered. The LCD display also enables users to quickly activate the individual tracks that are to be recorded. The Sound Devices 664 features dedicated front panel controls for gain, trim and faders, as well as full-size XLR connectors. The mixer is powered by five AA batteries or external DC power.

The 664 includes a high-precision Ambient-based time-code generator/reader for multi-camera and double-system sound applications. All common production time-code rates and modes are supported. The 664, like all Sound Devices products, is designed to withstand the physical and environmental extremes of field production. Its top and bottom chassis panels are made from molded, metalized carbon fiber for superior durability and weight reduction. The chassis panels are also gasketed for water resistance.

Jampro Antennas To Boost FM Signal for KJOK

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 company has been contracted to provide an FM antenna system for radio station KJOK in Altus, Oklahoma.

The configuration consists of Jampro’s model JHPC High Power FM Penetrator Antenna, complete with transmission line and RCBC band pass filters. The circularly polarized JHPC antenna offers exceptional performance for HD Radio, SCA and stereo operations with a maximum power rating of 40kW, excellent VSWR, and FCC directionalization. Available options include custom mounting brackets, radomes and electrical deicers.

“We are pleased to welcome KJOK FM to our family of satisfied broadcast clients,” said Alex Perchevich, president of Jampro. “Local radio remains an essential source for news, information and entertainment, even in this Internet age.”

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.
###

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

Jampro Antennas Meets Digital Deadline for Jamaica’s CVM TV

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 and very quick delivery of a television antenna system to Jamaica’s CVM TV, for its Marley Hill site. CVM TV, on-air since early 1993, enjoys a forty-nine percent market share and broadcasts a full 24 hours per day of news, sports and entertainment programming.

Jampro successfully met a tight schedule to supply a model JHD LV2 Band I Panel Antenna. The horizontally polarized half-wave antenna, available in spaced dual or single dipole configuration, offers excellent bandwidth and VSWR performance via its pressurized feed system & stainless steel dipoles.

“The contract award came with a very short delivery deadline,” said Alex Perchevich, president of Jampro. “Our manufacturing team was able to construct and test the system in record time so it could arrive on-site well within the station’s timeframe. We’re extremely pleased to have a role in upgrading the quality of CVM TV’s broadcast signal.”

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.

###

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

NETIA Radio-Assist(TM) Installation at Ethiopia’s Amhara Radio Eases Transition to Digital, Boosts Efficiency

Installation in Concert With Fortune Enterprise Represents NETIA’s Third Implementation in Ethiopia

CLARET, France — Aug. 29, 2012 — NETIA, a leading software manufacturer of media asset management and radio automation solutions, today announced that it has supplied its Radio-Assist(TM) suite of digital audio automation software to Amhara Radio, a regional state-owned radio station in northeast Ethiopia.

The project, undertaken in collaboration with local broadcast and A/V systems integrator Fortune Enterprise PLC, represents NETIA’s third in the country, following Radio-Assist installations at Ethiopian Radio Television Agency (ERTA) and Radio Fana. The Radio Assist solution at Amhara Radio will cover the entire production chain, from ingest to delivery, with more than 30 users working on the system. In addition to facilitating the station’s transition from analog to digital, the NETIA software solution also will improve the efficiency of Amhara Radio’s daily operations.

NETIA is demonstrating Radio-Assist 8.1 at IBC2012, Hall 1, Stand A.29. More information about NETIA and the company’s products is available at www.netia.com.

# # #

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.

Photo Link: www.wallstcom.com/NETIA/RadioAssist.zip
Image Caption: NETIA Radio-Assist(TM)

About

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