Archive of the The Wire Category

RTW Showcases Latest TouchMonitor Updates at IBC 2014

Upgrades to Timecode Reader and Logging Data Server Licenses Add Loudness Recalculation and More Plus Chart Displays to TM7 and TM9 Meters

AMSTERDAM, 10 SEPTEMBER, 2014 – RTW, the market leader in visual audio meters and monitoring devices, is pleased to debut two major updates to its highly regarded TouchMonitor TM7 and TM9 audio meters at the 2014 IBC Show (Hall 8, Stand D92). The meters’ Timecode Reader License SW20008 now permits recalculation during loudness metering, while their Logging Data Server License SW20014 has gained expanded chart-display functionality.

The new Loud.Recal (Loudness Recalculation) instrument helps mix engineers and editors save valuable time during a broadcast sound editing session. Jumping back and forth in a program segment with continuous timecode, it automatically calculates loudness measurements for the complete runtime of a segment at the time the user performs corrections to the mix or sequence (wherever located in the program). Logging Data Server License SW20014, meanwhile, now offers graphs with up to four different loudness and TP values, as well as real-time relative-gate display.

“When it comes to loudness monitoring, anything that helps the operator work more efficiently makes a huge difference. We had this in mind when we developed these latest upgrades,” says Andreas Tweitmann, managing director, RTW. “Now, users can recalculate the loudness measurements for a segment without having to pass through the program after corrections on overdriven program spots have been completed, and they have more options than ever to view loudness values. It all adds up to a faster, easier user experience, which can save time when it really counts.”

The TM7 and TM9 series TouchMonitors, which include the innovative Magic LRA instrument, feature a seven- and nine-inch touch-sensitive display, respectively, and pair unparalleled flexibility and modularity with intuitive control. The software visualizes multiple sources simultaneously. Both support displaying the same signal on multiple instruments in parallel, each with dedicated defaults with both horizontal and vertical operation. TM7 visualizes up to 40 sources at the same time, while the TM9 visualizes up to 48.

Various audio interfaces and combinations are available i.e. analog, AES3, AES3id or 3G-SDI. RTW’s entire TouchMonitor range was created to help adhere to all major industry loudness standards, including EBU R128, ITU BS.1770-3/1771-1, ATSC A/85, ARIB, OP-59, AGCOM, and the CALM Act.

About RTW
RTW, based in Cologne (Germany), has nearly 50 years of experience in designing, producing, and marketing advanced recording-studio equipment, leading and innovating the market for high quality audio metering and monitoring tools. RTW operates a worldwide distribution and service network. For more information on RTW, visit www.rtw.com, www.facebook.com/rtw.de or call +49 221 709130.

GeoBroadcast Solutions Helps West Virginia Radio Maximize Coverage with MaxxCasting

Two western Maryland FM stations overcome significant terrain challenges with proprietary, scientific MaxxCasting™ formula for market-wide signal penetration

CHICAGO, September 10, 2014GeoBroadcast Solutions announces that a MaxxCasting™ deployment for West Virginia Radio Corporation has significantly improved market-wide signal penetration for two FM stations in Cumberland, Maryland. MaxxCasting systems combine radio broadcast and mobile cellular technology to reduce interference between main transmitter and booster sites, enabling broadcasters to maximize network topology for the purpose of increasing coverage and revenue potential.

Located in western Maryland, the Cumberland market is home to West Virginia Radio stations WZDN-FM and WQZK-FM, with transmitters located well outside of city limits. Both stations have had considerable challenges with terrain shielding, particularly on major interstates running through the region.

“We deployed a traditional booster for WZDN many years ago that wasn’t able to minimize interference across all the locations we targeted, and in fact created significant issues on I-68. We also had virtually no direct coverage within the boundaries of Cumberland for WQZK,” said Chris Moran, director of technology, West Virginia Radio Corporation. “We also needed to improve coverage across the main corridors that run through Cumberland. MaxxCasting was the only solution where we could optimize coverage across these trouble spots while steering away interference. GBS’ predicted coverage increases in advance of the upgrade have proven to be remarkably accurate.”

The MaxxCasting formula is superior to traditional booster systems due to its proprietary modeling software and cutting-edge distribution architecture, featuring high-efficiency transmitters and intelligent IP networking solutions from GatesAir. The scientific formula considers the distance between transmission points, heights above average terrain, and time differentials between locations. GBS produces a detailed software modeling solution for each station based on these and other measurements, determining the areas of concern and specifying booster site locations – along with antenna heights and power ratios – to maximize signal penetration in the customer-defined target coverage areas. The GBS coverage analysis can be optimized by benchmarking coverage against population and ratings measurement data to further help the station target its key audience. The designs are then implemented and fine-tuned in the field.

West Virginia Radio is also benefiting from the simplicity of the MaxxCasting architecture, which is made possible through cost-effective IP signal distribution. Using GatesAir Intraplex® IP Link 200 codecs, the MaxxCasting network can drive two stations from a single system, with built-in real-time adaptive synchronization across booster sites courtesy of Intraplex SynchroCast® time precision delay technology. Low-power GatesAir Flexiva™ transmitters and Jampro JAVA log periodic antennas complete the distribution network.

“MaxxCasting made perfect sense for the Cumberland market based on the terrain,” said Moran. “We deployed highly directional antennas very low to the ground, which allowed us to really target areas we wanted to cover while minimizing interference from the boosters to areas that the main site reaches. It’s been a remarkable improvement. We’ve eliminated six miles of interference on a stretch of I-68 west of Cumberland for WZDN, and the WQZK signal now covers the downtown area. The minimal interference that does exist has been pushed to unpopulated areas thanks to GBS’ precise software modeling. The design and prediction mapping that GBS brings to the system, along with the cost-effective and compact IP and transmission technology from GatesAir to embed timing information makes MaxxCasting unique.”

According to Moran, response from the community has been “extremely positive,” adding that a major advertiser has shared that he can now hear the station clearly. “You can’t put a dollar figure on that kind of perception,” said Moran.

Hal Kneller, VP Global Sales and Business Development, GBS, adds that while the main purpose of MaxxCasting is to improve the listener’s signal, the benefits expand to the business side of over-the-air radio.

“MaxxCasting systems increase visibility with potential advertising clients and agencies by making sure they can tune in and hear the signal clearly from their in-market business locations,” said Kneller. “There is also a positive effect on ratings as audience sampling is extended to new areas. Meanwhile, GatesAir is helping us significantly lower the total cost of ownership for West Virginia Radio by driving two stations from a single IP Link 200, instead of requiring separate systems for each station. This all adds up to a high value proposition for West Virginia Radio and other MaxxCasting customers.”

About GeoBroadcast Solutions
GeoBroadcast Solutions, LLC (GBS) offers proprietary products and solutions to enhance radio station coverage areas to maximize both coverage and revenue as well as the ability to zone both audio (pending FCC approval) and RBDS/RDS. With several additional patents pending, new techniques for Single Frequency Networks have been developed to improve coverage. GeoBroadcast Solutions’ charter is to innovate and bring to market technologies that help radio broadcasters maximize their signal and grow revenues. MaxxCasting will expand the coverage area of a FM signal. ZoneCasting, pending FCC approval, will provide technology to geographically target radio advertisements. These emerging technologies give broadcasters tools to compete in the face of innovations internet and cellular message distribution. GBS partners with GatesAir for transmission and IP distribution equipment, and with Jampro for antennas and combiners.

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Sound Devices Introduces FileSafe into Rack-Mounted Video and Audio Recorders

New Mission-Critical Technology Protects Video and Audio Recordings from Unintentional Drive Removal and Power Loss

AMSTERDAM, SEPTEMBER 9, 2014 – Sound Devices (IBC Show: Hall 8, Stand B59) introduces its unique FileSafe™ technology as part of its 2.02 firmware release for its multi-drive, network connected video and audio rack-mounted recorders. Incorporated into the Video Devices PIX products, including the 270i, 260i and 250i, as well as the Sound Devices 970, FileSafe recovers video and audio files if, during recording, drives are unintentionally removed or power is lost.

“Pulling a drive mid-recording with a Windows, MAC or other hardware-based recording system will most likely result in corrupted files,” says Dan Desjardins, Software Development Manager at Sound Devices. “It’s taken some clever engineering to make FileSafe work, especially with high bandwidth ProRes and DNxHD video files.”

During recording, data is written to a proprietary Sound Devices file format optimized for high-data rate, real-time video and audio recording. Video Files have an ‘.sdv’ file extension and audio files have an ‘.sda’ file extension. When a recording ends, files are automatically “finalized” by converting the ‘.sdv’ files to QuickTime movie files and the ‘.sda’ files become ‘.wav’ files. This process typically only takes a couple of seconds. In the event that files cannot be finalized, whether due to power loss or inadvertent drive disconnection, they still remain intact on the drive. These files are recovered simply by inserting the drive back into a Sound Devices or Video Devices rack-mounted recorder. Each time a drive is mounted, the recorder automatically scans for unfinalized files and finalizes them.

In the absence of a Sound Devices or Video Devices rack-mount recorder, the FileSafe MAC or PC utility, which is available as a free download http://www.sounddevices.com/products/filesafe/, can be used to recover unfinalized files. Simply connect the PIX drive caddy via Firewire, USB or eSATA to the computer, open the utility and point it to the drive’s directory path containing the unfinalized files and click ‘Scan and Finalize.’

“Providing our customers with mission-critical product performance and reliability has always been a top consideration as we continue to develop the Sound Devices and Video Devices product lines,” says Paul Isaacs, VP of Marketing and Product Design. “FileSafe is yet another example of our commitment to this design philosophy.”

In addition to FileSafe, the new 2.02 firmware release includes longer file-splitting options, RS-422 control improvements and enhanced metadata editing.

Video Devices’ PIX line of rack-mounted products, PIX 270i, 260i and 250i, are a complete offering addressing a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports and events and mobile production. Video Devices recorders offer significant advantages and time-savings for production workflows, providing tapeless, file-based recording and playback with the ability to access and transfer high-quality files over Ethernet. The units record edit-ready Apple ProRes or Avid DNxHD files, and allow simultaneous multiple-drive recording, giving production staff rock-solid redundancy and backup capabilities.

A powerful tool for professionals requiring a significant number of audio channels, Sound Devices’ first-ever dedicated audio-only rack-mounted solution, the 970, records 64 channels of monophonic or polyphonic 24-bit WAV files from any of its 144 available inputs. Inputs available include 64 channels of Ethernet-based Dante, 64 channels of optical or coaxial MADI, eight channels of line-level analog and eight channels of AES digital. Any input can be assigned to any track. In addition, 32-track recording at 96 kHz is supported. The 970 records to any of four attached drives, which include two front-panel drive bays and two rear-panel e-SATA connected drives. Material can be recorded to multiple drives simultaneously or sequentially. This eliminates time-consuming post-record copying and allows for continuous long-form, high-track count recordings.

The Video Devices PIX recorders and Sound Devices 970 all feature the company’s proprietary PowerSafe technology. PowerSafe circuitry has a built-in 10-second power reserve. In the event of power loss, the unit continues to operate for up to 10 seconds, then stops any file operation and shuts down. This ensures that a complete power loss has no effect on the recording.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Video Devices, a brand of Sound Devices, produces digital video recorders and related products that address a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports, live events and mobile production.

Founded in 1998, the company designs and manufactures both brands from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI. For more information, visit the Sound Devices and Video Devices websites, www.sounddevices.com; www.videodevices.com.

GatesAir Optimizes Next-Generation Over-The-Air Platforms at The Radio Show

Advanced HD Radio, intelligent networking architectures combine with high-efficiency performance to accelerate return on investment

CINCINNATI, September 9, 2014
GatesAir, a global leader in over-the-air broadcast solutions for television and radio, comes to The Radio Show this week with its over-the-air efficiency message, exhibiting turnkey solutions to create, transport, deliver and monetize over-the-air radio for AM, FM and HD Radio™ broadcasters. With advanced new platforms for digital multichannel and intelligent IP networking on display, GatesAir’s vision delivers high-efficiency solutions that accelerate ROI and new revenue streams while providing the lowest total cost of ownership.

Many sessions at The Radio Show, taking place Wednesday-Friday at the Indiana Convention Center in Indianapolis, will focus on launching, operating and maintaining a successful digital radio service. At the GatesAir booth (303, Exhibit Hall D), broadcasters can learn how the company’s latest HD Radio solutions support these initiatives while simplifying operations and launching new business opportunities. GatesAir will showcase its innovative line of Flexiva analog and digital transmitters incorporating the Gen 4 Exgine architecture for multichannel HD Radio program transport and delivery, building on its long legacy of innovation in HD Radio broadcasting that dates to the first IBOC tests in the 1990s.

The complete GatesAir Gen 4 Exgine integrates all pertinent signal processing and transport solutions with the industry’s most cost- and power-efficient transmitters, bringing toward an all-in-one, networked solution from the company’s market-leading Flexiva portfolio. The Gen 4 Exgine architecture is ideal for broadcasters facing the challenges associated with HD Radio power level increases, where power utilization, bandwidth, noise and interference challenges can affect efficiency, quality and compliance. The GatesAir Gen 4 Exgine platform enables higher HD Radio power levels through advanced digital signal processing and efficient broadband transmitter designs, increasing headroom while reducing signal distortion and eliminating interference. These improvements ensure an enjoyable experience for listeners who appreciate the high-quality, multichannel experience that HD Radio provides, while helping broadcasters increase market share and monetize digital services through improved coverage and performance.

GatesAir will also showcase intelligent networking solutions for contribution and distribution. The company’s Flexiva range of on-air and production solutions for studio facilities, including multi-destination routing architectures with networked consoles and accessories, enhance creativity and collaboration across studios while reducing infrastructure, wiring and management complexity. GatesAir will also showcase its latest contribution and distribution solutions for external signal transport, including compact Intraplex® IP Link codecs and the North American debut of Intraplex LiveLook, a new network optimization that strengthens visibility into IP network performance. LiveLook’s real-time, interactive monitoring platform is designed to help broadcasters better comprehend and optimize network performance through in-depth analysis and troubleshooting of IP transport architectures.

About GatesAir
GatesAir, Inc. provides complete solutions for over-the-air radio and television broadcasting, leveraging wireless spectrum to maximize performance for multichannel, mission-critical services. Powering over-the-air networks worldwide with unparalleled reliability for nearly 100 years, GatesAir’s turnkey solutions enable broadcasters to create, transport and transmit radio and TV content. With customers in more than 185 countries, the company leads the industry in innovation and design breakthroughs, improving efficiency and reducing total cost of ownership. Visit www.gatesair.com for more information, and follow us on Twitter at @GatesAir.

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HD Radio™ is a trademark of iBiuqity Digital Corp.

How Much Do Game Audio Professionals Really Make?

Current state of income levels among video game composers and sound designers revealed in the recent GameSoundCon report

Los Angeles (September 8, 2014) - With the assistance of the Game Audio Network Guild (G.A.N.G.), Brian Schmidt, Executive Director of GameSoundCon, the premier conference for video game music and sound design, conducted a comprehensive survey among composers, sound designers, audio directors, and others involved in writing music and/or sound content for video games. The goal of the survey was to establish an updated and realistic picture of the income possibilities and parameters for video game composers and sound designers, including the freelancer segment.

GameSoundCon received over 500 responses to questions related to compensation, work and environment, additional compensation, use of live musicians & middleware, and contract terms within the categories “large budget games”, “casual games” (smaller budget but professionally produced and marketed), and “independent games” (self-financed, such as Kickstarter projects, etc).

“The changes in the overall game industry are certainly reflected in the game audio industry,” said Schmidt. “Especially in smaller scale games, composers are also creating sound effects and doing integration or other technical work. One thing that surprised us was that compensation had two definite peaks, one at around $55,000 and one around $110,000. We believe this reflects the premium that top composers and sound designers with the right skills can demand, even in a very competitive market.”

The results of the GameSoundCon report reveal important findings for working professionals in the game sound industry:
- Game Music and Sound is predominantly a freelance gig (60%)
- Game Music is overwhelmingly “work for hire” (95%) and “per unit” royalties are rare.
- A salaried employee makes $70,532 per year on average, whereas a freelancer in the large-budget game category can make more than that with just one project. More details, such as project fees for indy/casual games can be found in the report at GameSoundCon.com
- Most game composers, particularly for smaller games, also deliver sound effects and/or do integration or other technical work
- Even in large-budget games, most of the music is produced virtually as opposed to predominantly by live musicians(54%).
- Women are underrepresented in the industry, at less than 5%

“It’s hard to define our industry”, says Brian Schmidt, “It is impossible to draw a sharp line between the categories. Nevertheless, we believe it serves as a useful distinction so that we’re not comparing the compensation from a blockbuster like Call of Duty with that of a, 2-person development company making an iPhone game in their basement.”

In addition to compensation information, the survey reported on
+ Work and Environment
+ Additional Compensation (Royalties, Bonuses)
+ Use of Live Musicians in video game music
+ Use of Middleware in games
+Contract terms, Soundtracks & Performance Rights clauses

The complete report with details, graphs, and remarks on the statistical validity of the GameSoundCon survey can be found in the complete downloadable PDF at GameSoundCon.com
The 10th GameSoundCon conference will be held in Los Angeles, October 7 – 8. Go to GameSoundCon.com for details.

About SoundCon LLC
SoundCon LLC is dedicated to education on the art, technology and business of composing for video games and video game sound design. With award-winning speakers and panelists from throughout the game and traditional audio industries, GameSoundCon is the leading music and sound conference specifically for the professional audio community. GameSoundCon creator and speaker Brian Schmidt received the Game Audio Network Guild’s 2008 Lifetime Achievement Award, and is a 27 year veteran in the game audio industry, having composed award-winning game music and created sound effects for over 130 interactive games.

RTW TM3-Primus TouchMonitor Now Shipping Worldwide

Ultra-Compact Meter Enables Extensive Loudness and Audio Metering Capabilities for a Variety of Applications and Budgets

AMSTERDAM, 8 SEPTEMBER, 2014 – RTW (IBC Hall 8, Stand D.92), the market leader in visual audio meters and monitoring devices, is pleased to announce that the TM3-Primus, its new smart series product, is now shipping worldwide. This highly compact model from the award-winning TouchMonitor line provides a full set of easy-to-read instruments for level and loudness metering in commercial and non-commercial production and broadcasting environments. Executives will be available during the 2014 IBC Show to demo the TM3-Primus and discuss its capabilities.

Introduced to the market earlier this year at NAB, the RTW TM3-Primus is a multifunctional audio measurement desktop unit featuring unbalanced RCA type two-channel analog, digital (SPDIF) and USB interfaces. In addition, it features an advanced USB hybrid mode where a metering point in a digital audio workstation (DAW) (implemented using a specific RTW plug-in) can be visualized right on the new TouchMonitor’s screen. Also, a USB port allows for implementing an innovative USB/plug-in hybrid mode that enables metering to be performed on the DAW so that a user can process and visualize the information instantly.

As a compact and low-cost member of the TouchMonitor family, the TM3-Primus is equally suited for professional use in minor or secondary workflows for broadcasting, video editing, music and other recording environments. It offers a new quality solution for non-commercial use in small radio environments or podcasting. Like other models from the award-winning TouchMonitor series, the TM3-Primus comes with a highly intuitive and user-friendly 4.3-inch touchscreen interface that simplifies system handling even for operators without a strong background in audio.

Supported loudness standards include: ITU BS.1770-3/1771-1, ATSC A/85, EBU R128, ARIB, OP-59, AGICOM and CALM. The TM3-Primus includes level and loudness display with bargraph type or numerical readout plus MagicLRA type. Other instruments included with the meter are PPM, moving coil, correlator, RTA, vectorscope, numerical and chart.

About RTW
RTW, based in Cologne (Germany), has nearly 50 years of experience in designing, producing, and marketing advanced recording-studio equipment, leading and innovating the market for high quality audio metering and monitoring tools. RTW operates a worldwide distribution and service network. For more information on RTW, visit www.rtw.com, www.facebook.com/rtw.de or call +49 221 709130.

Digigram and KALRAY Partner to Create High-Quality, Low-Power, Real-Time HEVC Video Encoder Solutions

Digigram Expertise in Video Quality Metrics, Encoding, and Streaming Enables Use of KALRAY Manycore Processor to Facilitate High-Density HEVC Encoding more

GeoBroadcast Solutions Receives ZoneCasting™ Patent

Achievement brings targeted advertising for over-the-air radio broadcasters one major step closer to reality

CHICAGO, September 8, 2014GeoBroadcast Solutions has a message for over-the-air broadcasters heading into The Radio Show: The era of geo-local advertising to increase radio revenues is about to begin.

GeoBroadcast Solutions, LLC (GBS) is the company behind ZoneCasting™, a unique and groundbreaking technology that delivers the dual benefit of over-the-air, hyper-local advertising opportunities for businesses right down to targeted neighborhoods; and new revenue-generating opportunities that provide long-term sustainable value for radio stations and networks. As of this week, GBS has been granted a patent for ZoneCasting that makes deployment a realistic proposition for the very near future.

“ZoneCasting is the first true dynamic ad insertion opportunity for over-the-air radio on a geographical basis, using our now-patented wireless architecture,” said Bill Hieatt, Chief Technical Officer, GBS. “We now look forward to the FCC’s approval of the ZoneCasting technology, clearing the way for ZoneCasting deployments that will bring lost revenues from a fractured marketplace back to the terrestrial airwaves.”

The approval of the ZoneCasting™ patent comes at a time when radio broadcasters are faced with increasing competition for ad revenue from online radio, mobile streaming and other emerging models online. ZoneCasting’s targeted precision delivers unique commercial content simultaneously to many defined zones across a single broadcast market, unleashing new revenue opportunities for broadcasters, ad agencies and local businesses through a neighborhood focus. GBS’ proprietary modeling approach is instrumental in enabling targeted advertising capability across multiple in-market zones.

The road to patent approval began in September 2009, when GBS filed a provisional patent to protect the proprietary nature of the ZoneCasting concept. Since filing, the GBS team has partnered with GatesAir for transmitters and IP transport solutions to support low-cost distribution methods; and hyper-directional antennas and combiners from Jampro. After receiving FCC Experimental Authorization grants, two successful field tests were conducted in 2010 (Salt Lake City) and 2011 (Sebring, Florida), followed by simulations and listening tests in 2012. Each of these important events offered significant value and insight into proper zone location, system design, coverage modeling and optimization for ZoneCasting deployments.

GBS continues to evolve the ZoneCasting concept as the final FCC rulemaking phase moves toward completion. The company has filed two additional patent applications since 2010 that will allow for further refinement and optimization of the ZoneCasting architecture.

“The ZoneCasting patent approval underlines the unique character of the ZoneCasting design, and our thorough testing and significant technology partnerships instill exceptional confidence in our design philosophy,” said Hal Kneller, VP Global Sales and Business Development, GBS. “Our mobile network-like approach enables broadcasters to deliver a very robust and high-quality signal with targeted ad insertions. We’re excited about the future of ZoneCasting and the opportunities it brings broadcasters and advertisers alike.”

About GeoBroadcast Solutions
GeoBroadcast Solutions, LLC (GBS) offers proprietary products and solutions to enhance radio station coverage areas to maximize both coverage and revenue as well as the ability to zone both audio (pending FCC approval) and RBDS/RDS. With several additional patents pending, new techniques for Single Frequency Networks have been developed to improve coverage. Christine McCarthy of Barnes & Thornburg guided the ZoneCasting patent to approval and is currently processing the pending patent applications. GBS partners with GatesAir for transmission and IP distribution equipment, and with Jampro for antennas and combiners.

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The 137th Audio Engineering Society Convention to Offer Expanded Broadcast and Streaming Track

— As many as 15 separate Broadcast and Streaming sessions will cover a huge range of timely topics, from loudness issues and CALM Act compliance to facility design, codecs and signal routing —

New York, NY — The ways in which both broadcast and streaming audio platforms are evolving and converging will be on display at this year Broadcast and Streaming Track during the 137th Audio Engineering Society Convention, set for Thursday, October 9, through Sunday, October 12, 2014, at the Los Angeles Convention Center in Los Angeles, California. Broadcast and Streaming Track Chairman David Bialik has identified key trends in these spheres and assembled a series of cutting-edge panels that will explore and discuss these topics.

The list of presentations is comprehensive, including:

Loudness for Streaming and Radio
Audio Issues for 4k and 8k Television
Facility Design
Audio Issues and HTML5
Routing Audio in a Broadcast Facility
Listener Fatigue and Retention
Hear Now/Sound Effects
SBE/Troubleshooting and Maintenance of Equipment
Troubleshooting Software
Compliance with CALM Act/PLOUD
The Streaming Experience
Telephony and IP Codecs: How to Choose What Is Best for You
Understanding Audi0 Processing—How to Use the Audio Processor
MPEG-DASH—What about Audio?

These panels and presentations will go into considerable depth under the guidance of thought leaders in their categories. For instance, the Loudness for Streaming and Radio panel will look at key questions, such as “Is the ‘loudness war’ in radio over?” “Has it moved over to Internet streaming?” “How can we control level without disrupting the audience?” These will be examined by a panel consisting of John Kean, NPR Labs; Thomas Lund, TC Electronics; Robert Orban, Orban; Frank Foti, Telos Alliance; Tom Box, DTS; and Scott Norcross, Dolby.

Attendees at the Broadcast and Streaming Track sessions will also experience a rare treat: a look at facility design through the eyes of two audio legends. Eddie Kramer, acclaimed engineer/producer for such legendary acts as Jimi Hendrix, Led Zeppelin and Kiss; and the Walters-Storyk Design Group’s John Storyk, designer of Hendrix’s Electric Lady Studios as well as hundreds of other iconic recording and broadcast facilities, will both be there to discuss how two leading FM music stations, KEPX in Seattle and KPFK in Los Angeles, are managing substantial changes. KEPX is preparing to move to a new broadcast facility that will feature cutting-edge broadcast/recording studios and a live performance venue designed to showcase visiting artists, while KPFK, one of the most powerful stations in the U.S. at 110,000 watts, will undertake a major acoustical update of their live performance studio and create a new control room. That both stations will operate professional-level recording studio/performance venues underscores radio’s continued importance for music, and the presence of Kramer and Storyk to share their expertise will provide a unique perspective for attendees.

Commenting on the Broadcast and Streaming program at the AES137 Convention, David Bialik states, “The AES Tracks, Sessions and Workshops are about learning ‘Technology and Technique,’ while the sales presentations stay on the exhibition floor. I believe this is the reason that the attendance for the ‘Broadcast and Streaming’ sessions only increases year after year.”

For information on how you can get your FREE Exhibits-Plus badge (pre-registration required) and detailed information on the Broadcast and Streaming Track at the AES137 Convention, as well as further Registration, Hotel, and Technical Program information, visit the AES137 webpage at http://www.aes.org/events/137/.

Calendar of Technical Program Events for 137th Audio Engineering Society Convention Is Now Online

— Full schedule of Workshops, Papers and Presentations helps attendees make the most of their AES137 experience —

New York, NY — An extensive calendar of Technical Program events is now online for the 137th Audio Engineering Society Convention, which will take place Thursday, October 9, through Sunday, October 12, 2014, at the Los Angeles Convention Center in Los Angeles, California. This year’s Technical Program is full of cutting-edge events, where attendees will have the opportunity to be a part of history as the next chapter in professional audio developments come to light through a detailed series of Papers, Engineering Briefs, Tutorials, Workshops and Special Events. AES137 will offer dedicated program Tracks in the fields of Broadcast and Streaming Media, Game Audio, Live Sound, Networked Audio, Recording and Production, Product Design, and Sound for Picture, as well as Historical Events sessions, Standards Committee meetings, Tech Tours and more.

Those in attendance with either an “Exhibits-Plus” badge (FREE with pre-registration) or a premium “All Access” badge will have entry to two of the AES convention’s newest and hottest events: the Project Studio Expo and the debut of the Live Sound Expo and High Resolution Audio (HRA) program. The Project Studio Expo brings together the latest techniques, tools and experts for professional training on topics ranging from acoustics in small spaces to microphone placement, mixing and mastering. The Live Sound Expo offers expert advice for the broad spectrum of live sound engineers with an emphasis on the practical, bringing professionals with decades of experience to the stage to inspire and educate attendees. Additionally, a High Resolution Audio (HRA) program will be held on Friday, October 10, 2014. The direct result of a collaborative effort between the AES and DEG: The Digital Entertainment Group, the HRA program will include sessions addressing the current and future direction of HRA from various perspectives, including content creation, digital distribution, licensing of hi-res music files, archiving, subscription models, marketing/promotion of hi-res music, compatibility of playback devices and more. These sessions will feature some of the brightest minds in the business as they discuss some of the most current and controversial issues concerning the rapid adoption of high-resolution audio across the industry.

AES Executive Director Bob Moses stated, “Excitement is growing as we finalize the Technical Program itinerary for AES137. We have quite a varied program this year that is sure to garner attention in many audio circles. People who have been to the AES conventions know what a truly unique experience we offer, and this year’s convention is on track to be one of the best. Our online calendar, mobile app and other resources really help to round out the experience and help attendees take advantage of the full spectrum of what they want to get out of the convention. And we are looking forward to more big announcements in the weeks to come further underscoring that AES137 will be the audio event of the year.”

For information on how you can get your FREE Exhibits-Plus badge (pre-registration required) and access the Tech Program Calendar for the AES137 Convention, as well as further Registration, Hotel, and Technical Program information, visit the AES137 webpage at http://www.aes.org/events/137/.

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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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