Sound Devices Expands Line of Video Recorders with Introduction of PIX 270i and 250i at NAB 2014

New Recorders Offer Extensive High-Quality Video, Audio and Networking Capabilities Addressing the Multiple Source Needs of Today’s Large-Scale Productions

LAS VEGAS, APRIL 2, 2014 – Sound Devices, specialists in audio and video products for production, introduces its latest PIX recorders, PIX 270i and PIX 250i, at the 2014 NAB Show (Booth C2546). PIX 270i and PIX 250i seamlessly replace tape- and disc-based video decks for a complete offering that addresses a range of multiple-source video productions, including fast-paced, mission-critical studio applications, live sports and events, and mobile production.

The PIX 270i and PIX 250i recorders offer significant advantages and time-savings to 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 peace of mind with their rock-solid redundancy and backup capabilities (four drives for PIX 270i and two drives for 250i). Their extensive audio capabilities, including 64 channels of both MADI audio and Dante audio-over-Ethernet for PIX 270i, and PIX 250i’s 16 tracks of audio, make each unit a comprehensive, cost-effective replacement for complex video servers and an effective tool for high-performance video production.

The PIX recorders offer 3G-SDI (12-bit, 4:4:4) and HDMI I/O, and can record at numerous data rates. Full RGB Apple ProRes 4444 (330 Mbps) and low data rate proxy files (36 Mbps) are available. Files are ready for import directly into popular editing environments, including Avid, Final Cut Pro and Adobe Premiere Pro, eliminating time-consuming transferring and transcoding.

Up to four drives, two SATA drives in PIX-CADDYs and two SATA-connected drives can be connected to the PIX 270i. All four drives can be recorded to simultaneously or sequentially for redundancy and long-form programs. For PIX 250i, up to two SATA drives in PIX-CADDYs can be connected to the easily accessed front-panel drive bays. In the same fashion, both drives can be recorded to simultaneously or sequentially. This redundancy in local, removable storage devices, coupled with standard, Ethernet-based file-transfer features, further reduces steps in the production workflow. Recording to multiple drives offers immediate file backup, eliminating time-consuming post-record copying. Gigabit Ethernet network ports enable remote access to recorded files and the ability to transfer these files quickly into a post-production environment.

Both products feature extensive network connectivity and can be connected over Ethernet for simultaneous grouped recording and playback, creating a cost-effective scalable solution that addresses the multi-camera recording needs of today’s production. Its built-in Web server, PIXNet offers browser-based transport and setup-menu control of any number of units. In addition, PIX 270i features built-in multiple unit synchronization, offering simultaneous, frame-accurate recording and playback, ideal for multi-camera production and live event multi-screen playback. Any number of units can be grouped and controlled as a single system from either the hardware or the built-in Web-based control panel. Frame accurate sync works with other PIX 260i and PIX 270i recorders. The PIX 250i can be grouped with other PIX 250i, PIX 260i and PIX 270i recorders. The PIX can also be controlled by external RS-422 (Sony 9-pin compatible) controllers as well as via its GPIO port.

The PIX 270i offers extensive audio capabilities, with 64 record tracks (32 tracks at 96k), eight channels of analog audio, eight channels of AES digital audio, 16 channels of embedded SDI audio, and 64 channels of both MADI (coaxial and optical) audio and Dante audio-over-Ethernet. The PIX 250i features eight channels of analog audio, eight channels of AES digital audio and 16 channels of embedded SDI audio, and supports up to 16 tracks of audio.

With its built-in Ambient Clockit time-code generator/reader with genlock output, the PIX line is designed for multiple-camera and double-system sound applications. In addition to generating ultra-stable time-code, time-code can be read from the SDI stream, the HDMI stream or external sources. PIX 270i and PIX 250i include a high-performance hardware scaler and frame-rate converter. Regardless of the incoming signal, PIX records the signal after up-, down- or cross-conversion at the same or different frame rate. Hardware-based 3:2 pull-down removal is also available. Its convenient 1/2-rack, 2-U chassis dimension allows it to be easily integrated into any existing environment. It is powered by 10-27 VDC through a four-pin XLR connector. The PIX 270i offers a secondary DC input for power supply redundancy.

The newest additions to the PIX line of products feature Sound Devices’ 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.

Both the PIX 270i and PIX 250i have precision five-inch IPS, 800- x 480-pixel displays for setup menu access and video monitoring. The high-accuracy display, with its peaking, false color and zoom functions, is perfect for framing, exposure and focus evaluation.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, live event and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

GatesAir AES-192 Solution Breaks New Ground in Signal Transport over IP for Radio Broadcasters

IP Link is industry’s first IP Audio codec to support AES-192 standard from studio to transmitter, adapting to all leading on-air processors

CINCINNATI, April 2, 2014GatesAir, a global leader in over-the-air broadcast solutions for television and radio, today announced a continuation of its legacy of innovation in over-the-air broadcasting with the industry’s first end-to-end, interoperable solution for transporting AES-192 signals over IP. The transformative solution, to be on display at the 2014 NAB Show (Las Vegas Convention Center, April 7-10, Booth N609) gives broadcasters the first truly reliable, cost-reducing way to move program audio — and all program-associated data — as a digital composite stereo signal, allowing a seamless migration from legacy analog connections.

“Broadcasters are interested in the higher quality audio signals that AES-192 transport can achieve, as it eliminates analog conversion processes that can degrade signals as they pass through the air chain,” said Rich Redmond, chief product officer GatesAir. “The GatesAir customer-first approach ensures that broadcasters will save a lot of money by requiring less conversion equipment, while maintaining the best possible signal integrity. We maximize opportunities for customers with the industry’s only solution to reliably carry a complete bit stream coming out of the on-air processor and packetizing it via IP, all while applying forward error correction and redundant streams.”

The complete solution utilizes the Intraplex® IP Link™ and Flexiva™ FAX exciter at its core, giving broadcasters a transformational end-to-end architecture to leverage next-generation digital signal transport techniques. The IP Link, regarded for its robust and feature-rich transport capabilities, is the first codec in the industry to support AES-192 transport over the network. IP Link uses all available networks to ensure audio and data reach their destination intact and without interruption, feeding AES-192 streams directly into the FAX exciter for over-the-air delivery. This eliminates additional processing stages at the transmitter site, allowing broadcasters to safely move those components back to the studio.

The GatesAir solution works across any of three leading on-air processor brands (Omnia, Orban and Wheatstone) and is equipped to deliver stereo composite baseband over AES-192. This flexibility ensures that broadcasters aren’t locked into using a specific solution, freeing them to use their preferred processing platform to maintain a high-quality digital signal across the entire transport chain.

The robust, reliable end-to-end connectivity of the entire solution means that broadcasters interested in using AES-192 to establish a high-quality digital link can safely rely on the IP network for transport. The high-speed nature of AES-192 transport — typically 4.5MB/s per stream — requires a robust solution to ensure successful delivery of these signals.

Visitors to 2014 NAB Show Booth N609 can see a complete, interoperable GatesAir AES-192 transport demonstration using the IP Link with Flexiva exciters and over-the-air transmitters.

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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RTW Debuts New Masterclass PlugIns Series at 2014 NAB Show

RTW Loudness Tools First in New Range of RTW Masterclass PlugIns

COLOGNE, 2 APRIL, 2014 – RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, is pleased to announce the debut of its Masterclass PlugIns range at the 2014 NAB Show (C1246). The new software provides the company’s renowned metering tools as standard-format plug-ins for Windows and Mac OS platforms. The RTW Loudness Tools, scheduled for availability in May, will be the first of the company’s monitoring products available as part of the new range. This will allow a larger number of RTW customers to access its award-winning metering tools.

Each RTW Loudness Tools Masterclass PlugIn visually depicts audio with all relevant level and loudness values as specified by international standards. It conforms to the EBU R128 loudness standard, as well as SPL, ITU-R BS.1770-3/1771-1, ATSC A/85, ARIB, and custom (to set OP-59, AGCOM), making it ideal for audio and video engineers, radio producers and musicians, who are required by TV and radio broadcasters to conform to the standard. It is also a handy tool for quality control, offering the precision and ease of use required to ensure compliance with custom specifications. Operation of the plug-in is highly intuitive, so that even users without a great deal of experience in monitoring loudness can use it effectively.

The RTW Loudness Tools support all standard sampling rates up to 96 kHz and offer plug-in operation in mono, stereo and surround formats (eight channels maximum). The plug-in includes RTW’s Peak Program Meter, TruePeak, and Spot Correlator instruments and also offers all common loudness formats plus MagicLRA and an SPL view.

The user interface of the plug-in is based on the award-winning RTW TouchMonitor TM7 and TM9 units, and offers the same degree of functionality and clarity as the hardware models. The instruments provide graphical/numerical, as well as bargraph views, and can be freely rearranged and scaled. Various function parameters, such as integration time, operational range and tolerance, along with a number of viewing options for metering data and scales, offer extra flexibility. The plug-in window dimensions can be set to the native resolution of RTW TouchMonitor display screens, including 480×272, 800×480, 1024×800 (landscape view) or 272×480, 480×800, 800×1024 (portrait view). Users can store all setups and layouts as presets in their DAWs.

The RTW Loudness Tools Masterclass PlugIns require Windows 7/8 (32-bit or 64-bit) or Mac OS 10.6 or higher. RTW will first make them available in the VST 2.4 format for Windows systems and the RTAS format for Mac OS. VST, RTAS and native AAX64 support on the two platforms will follow. PACE anti-piracy and iLok USB copy-protection dongle are used for handling license management and plug-in activation. On an authorized computer, users can use unlimited RTW Loudness Tools instances.

About RTW
RTW, based in Cologne (Germany), has more than 45 years of experience in designing, producing, and marketing advanced recording-studio systems. The company focuses its business on professional audio signal metering tools that are in use in the leading recording studios as well as by radio and TV broadcasters worldwide. The current product portfolio highlights the TouchMonitor range, a new series of tools for visual signal analysis and comprehensive loudness metering. The TouchMonitor combines the highest of flexibility and modularity with an intuitive user interface and touchscreen-based multichannel-analysis features, integrating exceptional surround-signal visualization using the unique and groundbreaking Surround Sound Analyzer. The high-end SurroundControl series of products with fully fledged loudness measuring combines the convenient metering options of the RTW surround display devices and the control functions of an eight-channel monitoring controller.

As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by RTW, showing the company’s dedication to supporting its customers and dealer networks in the U.S. The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers.

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.

Audio-Technica Hosts Livestreamed “Ask Me Anything” and Educational Mic Presentation Events at NAB 2014

STOW, OH, March 31, 2014 — Following successful booth events at other recent trade shows, Audio-Technica(Booth C1720), a leading innovator in transducer technology for over 50 years, is hosting 15 Livestream events at its booth at NAB 2014.

Some of the industry’s top audio experts will converge on the Audio-Technica booth on Monday, Tuesday and Wednesday during the show. In the morning, get answers to YOUR questions during 30-minute, Q&A-style “Ask Me Anything” (AMA) forums. Then in the afternoon, attend A-T’s popular educational Mic Presentations. All sessions will be livestreamed at www.livestream.com (free registration) and viewable at http://www.audio-technica.com/NAB2014 during and after the NAB show.

“Ask Me Anything” questions are fed to the presenters through a moderator during a 30-minute Q&A session. Questions can be submitted by individuals present at NAB booth C1720, online at Livestream.com, and via Twitter #ATliveNAB.

The session schedule is listed below, and additional details are available at the Audio-Technica booth or at www.audio-technica.com/NAB2014. (Note: this schedule is subject to change; updates will be made on this link.)

Audio-Technica NAB Event Schedule, Booth C1720:

Monday, April 7, 2014

10:00 a.m. Ask Me Anything with Dennis Baxter – EMMY® Award-winning sports and Olympic sound designer
11:00 a.m. Ask Me Anything with Michael Abbott – TV audio mixer & producer; work includes GRAMMY® and CMA Award shows
1:30 p.m. Mic Presentation with Fred Ginsburg, C.A.S. (Cinema Audio Society) – “Rigging Lavalier Microphones for Film/Video Production”
2:30 p.m. Mic Presentation with Robert Bigelow, Audio mixer/sound editor for film and TV; recent projects include NCIS New Orleans, Star-Crossed and Treme – “Mid-Side/Stereo Miking Demystified”
3:30 p.m. Mic Presentation with Dennis Baxter – “Sports Miking Techniques”

Tuesday, April 8, 2014

10:00 a.m. Ask Me Anything with Maureen Droney – Senior Executive Director, The Recording Academy® Producers & Engineers Wing®
11:00 a.m. Ask Me Anything with Lenise Bent – Audio mixer/engineer & producer for music and film, including DreamWorks productions
1:30 p.m. Mic Presentation with Fred Ginsburg – “Selection and Use of Boom Microphones”
2:30 p.m. Mic Presentation with Robert Bigelow – “Recording Live Music for Broadcast”
3:30 p.m. Mic Presentation with Fred Ginsburg – “When and How to Use Planted Microphones”

Wednesday, April 9, 2014

10:00 a.m. Ask Me Anything with Larry Estrin – Audio technology innovator, Founder of BEST Audio; work includes presidential debates, the Super Bowl, Olympics and Disney
11:00 a.m. Ask Me Anything with Robert Bigelow
1:30 p.m. Mic Presentation with Steve Savanyu – “Microphone Techniques for Digital SLR Cameras”
2:30 p.m. Mic Presentation with Fred Ginsburg – “Intro to Multi-track Location Dialogue Recording”
3:30 p.m. Mic Presentation with Fred Ginsburg – “Advanced Workflow for Multi-track Location Dialogue Recording”

For more information, please visit www.audio-technica.com.

DK-Technologies Launches Entry Level DK T7 Audio Meter at NAB 2014

Just months after launching its versatile DK T7 audio meter, DK-Technologies is using the NAB 2014 platform to launch a brand new, entry level version of this ground-breaking product (Booth N1202 in conjunction with Ward-Beck).

The DK T7 Stereo is aimed squarely at engineers who are only working with stereo audio, whether that be in radio, post production or recording music for subsequent CD release. Designed to be intuitive, the DK T7 Stereo has an easy to use, fast responding touch interface that makes it a breeze to set up and operate. Like its DK T7 big brother, the DK T7 Stereo offers high precision features and functionality at a highly cost effective price – just €2895 or USD 4890 MSRP. Its extensive feature-set includes industry compliant Loudness readings, Vectorscope, FFT spectrum analysis and Loudness Logging and Reporting.

“We recognized that our DK T7 audio meter was perfect for engineers working in stereo, but that we could reduce the cost to them by removing multichannel capabilities and SDI interface,” says Uffe Kjems Hansen, Product Marketing Director of DK-Technologies. “Therefore we have targeted the same tools for stereo metering, and made it a much more cost-effective bargain.”

The DK T7 Stereo includes balanced and unbalanced AES I/O, Analogue stereo inputs, headphone outputs as well as HDMI for external screen view. It is available as a stand-alone desktop or a 19” rack mounted unit. DK-Technologies can also offer in-console mounting options for console manufacturers and customers who prefer their meter to be integral to their desk.

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About DK-Technologies
DK-Technologies develops and produces audio meters, video waveform monitors and video sync and test signal generators. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

DK-Technologies Ships First DK T7 Meters To Calrec

Audio and video metering specialist DK-Technologies has fulfilled the first orders for its new DK T7 Audio and Loudness meter, which was launched to much critical acclaim at IBC last year.

The DK T7 began shipping in February with the first two units delivered to UK console manufacturer Calrec. These have now been fitted into 48-fader Artemis Light consoles destined for Al Jazeera in London. Other broadcast and post production customers have chosen either stand-alone DK T7 meters or the new 3U rack mounted variant – the PT0T7. This fits neatly into a Tektronix rack system and can be used separately or in conjunction with a waveform monitor.

“We’re delighted with the number of pre-orders the DK T7 has generated and we’re ramping up production to fulfil them,” says DK-Technologies’ Product Marketing Director, Uffe Kjems Hansen. “The DK T7 is exactly what the market needs – a cost-effective audio meter with an easy to use multi-touch interface that delivers a whole host of useful features at a very cost effective price. At just €3,495 and USD 6,390 MSRP, there is simply nothing else on the market in this price range that gives users access to so much functionality. The nearest competitor product that even comes close to the DK T7′s feature-set is nearly double the price.”

Dubbed as the ‘everything included’ audio meter, the high precision DK T7 incorporates as standard every Audio and Loudness meter function currently offered by the award winning DK Meter range. These functions include Bargraphs, Moving Coil Emulation, DK-Technologies’ proprietary StarFish™ and JellyFish™ display technology, FFT spectrum analysis and, of course, industry compliant Loudness and Logging. The new DK T7 also includes 3G SDI Picture Preview, as well as the ability to read and log against SMPTE time-code – a feature that has only recently been added to the DK Meter range.

“Engineers working in the broadcast and post production industries now have to cope with a complex set of formats, standards and documentation requirements,” Uffe Kjems Hansen adds. “For this reason we felt it was vital to give them an easy to use Audio and Loudness meter that did the job it was bought for as soon as it came out of its box. The DK T7 is the most complete, high precision Audio and Loudness meter on the market today – and the most honest because it does not involve any hidden costs.”

The DK T7 allows end-users to adapt to virtually any format including 3G SDI I/O. The unit also offers 8 AES/EBU input/output channels, 2ch Analogue input channels, headphone output and HDMI monitor output. At just 20 x 135 x 180 mm (depth, height and width), its compact design also allows it to be highly portable and easy to position, while its intuitive multi touch interface makes it very straightforward to use.

Since first showing the DK T7 at IBC 2013, DK-Technologies has incorporated a number of improvements that are now available as standard. These include a pause/resume function for Loudness Logging that will save engineers time when they are adjusting Loudness to hit targets on larger time spans.

“Essentially, this function allows engineers to work step-wise through the entire audio clip, rather than having to go back and measure loudness from the top for every tweak,” Kjems Hansen says. “We’ve also improved our software so that it includes a new 7.1 Surround display feature for Theatrical Mix. This is something no other meter can do and it will have particular relevance to engineers working on big motion picture productions.”

For more information about the DK T7, please visit www.dk-technologies.com. Alternatively, please visit DK’s US distributor Ward-Beck, which will be showing the DK T7 and other DK product at NAB 2014, Booth N1202.

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About DK-Technologies
DK-Technologies develops and produces audio meters, video sync and test signal generators, as well as video waveform monitors and colour analysers both for LCD and CRT monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

Jünger Audio Shows The D*AP4 VAP Voice Processor At NAB 2014

At NAB 2014 (Booth C2134), dynamics processing specialist Jünger Audio will be showing its recently introduced D*AP4 VAP Voice Processor – a unique unit that is designed to make life easier for engineers working in radio stations, TV production voice-over studios and feature film ADR facilities.

What makes this processor so special is the inclusion of Jünger Audio’s proprietary Spectral Signature™ dynamic EQ – a totally new creative tool that offers automatic and dynamic EQ control to balance spectral differences. By analyzing incoming audio and comparing its spectrum with individually predetermined voice ‘fingerprints’, this clever unit can automatically apply dynamic EQ corrections to give a consistent sound.

For people working in TV voice over and feature film ADR, this facility is a Godsend. Imagine, for example, that you have booked an expensive and well-known actress to voice the cute little rabbit in your new children’s TV series. Over the course of the recording sessions you notice that her voice sounds different at different times of the day – maybe because she is tired, or has developed a sore throat, or has had a heavy night and smoked a lot of cigarettes. If you want your rabbit to sound exactly the same every time, how do you overcome this?

Jünger Audio’s D*AP4 VAP Voice Processor is the answer. On day one you record the actress’ best rabbit voice, and then measure it using Spectral Signature. The voice’s tonal characteristics are analyzed and recorded as a curve on a graph, which is used as a template for all future recordings. The next time your actress does her rabbit voice, the unit compares the new recording to the saved version and automatically adjusts the frequency until both voices match. Voilà! A perfect rabbit voice every time, thus saving a fortune in repeated ADR and voice over sessions, not to mention a lot of frustration on all sides.

Jünger Audio’s D*AP4 VAP Voice Processor is equally interesting to radio broadcasters who want to create an aural identity for their radio stations. By using exactly the same spectral sound management principles, the unit measures specific voice recordings and then uses these sound fingerprints as a reference. The Spectral Signature algorithm matches all subsequent live recordings to these fingerprints, thus creating a dedicated ‘station sound’.

“The D*AP4 VAP draws on our extensive experience with previous Voice Processing devices such as our popular VO2, but adds new tools and algorithms to create an easier and more efficient approach to voice processing with no compromise in sound quality,” says Peter Pörs, CEO of Jünger Audio. “We have also included processing such as HP/LP filtering, versatile dynamics section, full parametric EQ and de-essing, and made the unit really easy to use – even for non-technical radio staff such as producers and journalists.”

Jünger Audio has also provided a dedicated voice leveler combined with an auto-mixer circuit to help mixed voice programs into loudness-based broadcasting on the fly. Using the optional SDI I/O card automated voice over for SDI embedded audio becomes an attractive feature of the D*AP4 VAP.

Available as either an insert into a mixing desk or as a stand-alone unit, D*AP4 VAP offers interfaces that allow integration in existing environments via an AES insert. The unit can also be used with an optional analogue board that adds two high quality mic-preamps.

For more information about Jünger Audio’s D*AP4 VAP, please visit NAB booth C2134 or visit the company’s website at www.jungeraudio.com

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About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.jungeraudio.com

The Music Producers Guild Introduces Mastering Engineers To Broadcast WAV

As the music industry prepares to adopt the Broadcast WAV file format as the best means of embedding ISRC data into future recordings, the Music Producers Guild is hosting an event to highlight the importance of this initiative and give recording professionals the information they need to make it a success.

The event, which is primarily aimed at Mastering engineers, will take place at the Hospital Club in London on the evening of April 9th, 2014. It is sponsored by digital audio workstation manufacturers Magix/Sequioa, Merging/Pyramix and Prism Sound/SADiE, all of whom have recently announced their support for the initiative by backing file exchange between their systems.

Headed by Alchemy Mastering’s Barry Grint, the MPG has led a strident campaign to get Broadcast WAV accepted by the music industry in place of ordinary WAV files, which don’t contain a method for embedding ISRC information. Their efforts have been successful as the boards of both the BPI and AIM have now recommended to their members that this new format be adopted.

“Our event on April 9th is the only opportunity Mastering engineers will have to understand and prepare for this format change,” Barry Grint explains. “Each of our DAW sponsors will demonstrate how the ISRC embedding process fits within their workflow, and how they are working together to ensure seamless exchange of the data between all of the workstations. This is a massive step forward for the industry and we really hope that Mastering engineers and other recording professionals who are interested in ISRC will take the opportunity to come along and learn more.”

Grint adds that the importance of ISRC cannot be understated. ISRC, which stands for International Standard Recording Code, is uniquely allocated to every song recorded. These codes are then registered with royalty payment agencies, thus ensuring that recording artists and copyright holders are properly remunerated for their work when it is played on radio or TV.

Broadcast WAV, the professional WAV format created by the European Broadcasting Union, can carry ISRC information and this is why MPG is so keen to see is adopted by as the de-facto standard for music interchange in the production process.

“The inclusion of ISRC information will remove the need for it to be re-entered and reduce the opportunity for error,” Grint says. “The new system is simple to implement and, once adopted, it will allow ISRC to flow through the whole production chain.”

The MPG’s aim is to establish ISRC as the cornerstone of every aspect of digital asset management, from tracking and reporting through to royalty reporting and song identification. This will give the entire music industry a robust and secure system for identifying tracks, and who had input into their creation, so that it can safeguard the incomes of all artists and copyright owners.

Ultimately, the adoption of BWF as standard will provide a cornerstone for the MPG’s Credit Where Credit is Due campaign, which aims to highlight the woeful lack of credit information within the digital domain.

“Our overall goal is to ensure that all music creators receive proper credit and proper payment for their work, and having an industry-standard technical solution that allows credit information to be included in the metadata is a major step forward in achieving this ambition,” Barry Grint says.

To register for this event, please visit: http://www.mpg.org.uk/events/279

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About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

DK-Technologies Shows its New DK T7 Audio Meter at NAB 2014

Danish manufacturer DK-Technologies is using the NAB 2014 platform to highlight its new DK T7 Audio and Loudness meter, which will be on show for the first time in the USA (Booth N1201, in conjunction with Ward-Beck).

Launched to enormous critical acclaim at IBC 2013, the ‘everything included’ DK T7 is now shipping with the first units already installed into two Calrec consoles destined for Al Jazeera London.

Designed as a cost-effective, one-box solution for broadcast and post production engineers, the DK T7 incorporates as standard every Audio and Loudness meter function currently offered by the award winning DK Meter range. These functions include Bargraphs, Moving Coil Emulation, DK-technologies’ proprietary StarFish™ and JellyFish™ display technology, FFT spectrum analysis and, of course, industry compliant Loudness and Logging.

The new DK T7 also includes 3G SDI Picture Preview, as well as the ability to read and log against SMPTE time-code – a feature that has only recently been added to the DK Meter range. At just 20 x 135 x 180 mm (depth, height and width), its compact design also allows it to be highly portable and easy to position, while its intuitive multi touch interface makes it very straightforward to use.

“The DK T7 allows end-users to adapt to virtually any format including 3G SDI I/O,” says Uffe Kjems Hansen, Product Marketing Director at DK-Technologies. “The unit also offers 8 AES/EBU input/output channels, 2ch Analogue input channels, headphone output and HDMI monitor output. At just €3,495 and USD 6,390 MSRP, there is simply nothing else on the market in this price range that gives users access to so much functionality.”
At NAB 2014, DK-Technologies will show a new Theatrical Mixing 7.1 Surround display feature for the DK T7, which will have particular relevance to engineers working on big motion picture productions. Also on show is a new pause/resume function for Loudness Logging that will save engineers time when they are adjusting Loudness to hit targets on larger time spans.

“Essentially, this function allows engineers to work step-wise through the entire audio clip, rather than having to go back and measure loudness from the top for every tweak,” Kjems Hansen adds. “The DK T7 was already the most comprehensive audio meter on the market but with these new features it can deliver functionality that no other audio meter can offer.”

DK-Technologies will also be using the NAB 2014 platform to launch its new Matrix PC application, which allows complete audio routing, preset handling, backup and overall management of an audio meter from the end user’s computer. Designed to work with all DK meters including the new DK T7, the Matrix PC application gives users a much better graphical overview of their meters – and significantly easier setup and handling.

Also on show for the first time will be the new DK T7 Stereo – an entry level version of the DK T& meter that is designed for engineers working in stereo.

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About DK-Technologies
DK-Technologies develops and produces a wide range of audio meters, video sync and test signal generators and video waveform monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

Audio Engineering Society Releases Program and Event Details for 136th International Convention in Berlin

— FREE “Exhibits-Plus” Badge and premium “All Access” Badges are now available for AES136 Berlin Convention —

New York, NY, March 26, 2014 — The Audio Engineering Society has just announced details on the Technical Program for the 136th Audio Engineering Society International Convention, being held in Berlin, Germany, on April 26 – 29, 2014, at the Estrel Hotel and Convention Center. Offering a diverse range of engaging Tutorials, Workshops, Technical Papers, Engineering Briefs, and industry Exhibits spread over four days, AES136 will also see the European debut of the Project Studio Expo (PSE), as well as special events and presentations featuring leading engineers, producers and luminaries of the audio industry. Additional information on programs, presenters, and registration is available on the AES136 Convention web page at http://www.aes.org/events/136/.

Engineering Briefs
AES136 will feature over 25 Engineering Briefs covering diverse topics of audio engineering, including presentations such as: Remixing a Historic Film in HOA 3-D Audio; New Studio Strategies in Music Production — The Disappearing Gap between Engineer and Producer; An Approach to Bass Enhancement in Portable Computers Employing Smart Virtual Bass Synthesis Algorithms; Metadata, Tagging; and Multitrack: The Future of Music Formatting, among others.

Paper Sessions
As the chief goal of the Audio Engineering Society, audio research and applied techniques remain the top priority at the Berlin Convention, which will feature over 75 paper presentations within the topics of Recording, Audio Education, Signal Processing, Room Acoustics, Applications in Audio, Perception, Spatial Audio, Transducers, Network Audio and Forensics.

Project Studio Expo
The Project Studio Expo, a well-attended hit of recent AES Conventions, offers a venue for specialized discussions on some of the most timely and relevant areas of interest facing today’s recordist. These comprehensive presentations cover topics of note for engineers (whether in a home studio or top commercial facility), such as Basic Microphone Technology; Professional Mixes from Your Project Studio – Common Mistakes, Immediate Solutions; Electronic Dance Music: Live Performance Mixing Techniques; The Business of Being in the Music Business; How Did They Get that Sound?; Advanced Vocal Editing; Mastering Engineering – The Link to Your Audience; and more. Hosted by notable industry engineers, educators, journalists and sponsors, the Project Studio Expo offers a unique, new opportunity for attendees to interact with working industry professionals and to further their knowledge in order to get the most out of their recording experiences. Admission is included with both free “Exhibits-Plus” and premium “All Access” registration options.

Tutorials
A selection of in-depth Tutorials will also take place over the convention’s four days, offering analysis of topics including Tuning Your Studio – Acoustic Analysis of Small Rooms for Music; Dither and Noise Shaping in Digital Audio: Hows and Whys; Audio Forensics — What’s It All About; and The Drum Kit: What a Recordist Ought to Know.

Workshops
Another popular series of events is the audio Workshops that focus on areas of creative and technical applications and concerns. This year’s Workshops will include, among others, Practical Techniques for Recording Ambience in Surround; Speech Intelligibility; Myth-Busting Microphone Specifications; Applications for Object-Based Audio; and Implementing New Cinema Calibration Standards.

For more information on AES136 technical program, presenters, and registration visit the AES136 Convention web page at http://www.aes.org/events/136/.

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