Audio Engineering Society Announces New Networked Audio-Over-IP Interoperability Standard: AES67-2013

New York, NY, September 12, 2013 — The Audio Engineering Society (AES) has officially announced the publication of AES67-2013, a new engineering standard for networked/streaming audio-over-IP interoperability.

High-performance media networks support professional quality audio (16 bit, 44.1 kHz and higher) with low latencies (less than 10 milliseconds) compatible with live sound reinforcement. The level of network performance required to meet these requirements is available on local-area networks and is achievable on enterprise-scale networks. A number of networked audio systems have been developed to support high-performance media networking, but until now there were no recommendations for operating these systems in an interoperable manner. This standard provides comprehensive interoperability recommendations in the areas of synchronization, media clock identification, network transport, encoding and streaming, session description and connection management.

The project was initiated by the AES in December 2010 under the project name AES-X192. In August 2012, the AES and EBU jointly announced an active collaboration to achieve interoperability of networked audio. The intent was not to invent new technology, but to identify an interoperable subset of existing technologies to achieve this goal. Task Group SC-02-12-H, under the leadership of Kevin Gross, met regularly using web conferencing and email to refine and clarify the necessary parameters.

To obtain a copy of this standard, go to http://www.aes.org/publications/standards/search.cfm?docID=96. AES standards are available to AES members free of charge as a benefit of membership. Details of AES membership can be found at: http://www.aes.org/membership/.

About the AES Standards Committee
The AES Standards Committee is the organization responsible for the standards program of the Audio Engineering Society. It develops and publishes a number of technical standards, information documents and technical reports. Working groups and task groups with a fully international membership are engaged in writing standards covering fields that include topics of specific relevance to professional audio. Membership of any AES standards working group is open to all individuals who are materially and directly affected by the documents that may be issued under the scope of that working group. Complete information, including scopes of working groups and project status, is available at http://www.aes.org/standards. Enquiries may be addressed to standards@aes.org.

Clear-Com Delivers Major Updates to the Eclipse HX Digital Matrix Intercom Solution at IBC 2013

Updates include the New Ethernet/IP Intelligent Trunking, Dual-Label and Arabic Language Support for V-Series Panels, IVC-32-HX Redundancy and the New Eclipse HX-Delta Frame

AMSTERDAM, SEPTEMBER 13, 2013 – Clear-Com® today announces the delivery of major enhancements to the Eclipse HX Digital Matrix Intercom System, including the first European debut of the compact 3RU Eclipse HX-Delta matrix frame, at IBC 2013 (Stand 10.D29). New capabilities of the Eclipse HX system include Ethernet/IP Intelligent Trunking with IVC-32-HX card redundancy, as well as dual-label and Arabic language support for V-Series panels. These new additions are particularly ideal for mobile production and multi-location production facilities that require agile and flexible communications solutions.

Compact, 3RU Eclipse HX-Delta System Frame
The cost-effective and compact Eclipse HX-Delta system is optimal for installation across many different production environments, from mobile broadcast trucks to smaller and multi-level studios. The Eclipse HX-Delta intercom system provides two CPU cards for redundant system control, along with the option of up to four varied I/O frame cards and up to three interface modules in a 3RU frame.

Instead of installing large system frames in just one location, the Eclipse HX-Delta gives broadcasters the option of building a distributed matrix system. This offers a more flexible workflow and permits shorter cable runs between system frames and intercom panels, cutting down on cabling costs. The size of Eclipse HX-Delta is a benefit for mobile truck installations where space is limited, but where varied and complex connectivity is required.

Similar to other Eclipse HX system frames, the Eclipse HX-Delta is also supported by the high-performance EHX Configuration Software and can be intelligently linked with Eclipse HX-PiCo, Eclipse HX-Median and Eclipse HX-Omega frames to create seamless local and/or remotely networked intercom systems.

Ethernet/IP Intelligent Trunking with IVC-32-HX Redundancy
With the application of Ethernet and IP connectivity continuing to grow in live production, Clear-Com has enhanced its 32-channel IVC-32-HX IP card to allow flexible Ethernet/IP intelligent trunking of up to 64, local and/or remote, Eclipse HX matrix frames. Following this update, a single IVC-32-HX IP card can now flexibly support both panel-to-matrix and matrix-to-matrix connectivity. From its inception, the card has been designed to provide encrypted communications over standard IP networks and its use of the established G.722 audio codec has enabled low latency voice communications without the need for dedicated infrastructure or fiber pipes. Consequently, IVC-32-HX IP has been proven to provide reliable service over LAN, WLAN and Internet infrastructure, including mobile data networks. This card has also been used in support at the world’s most prestigious sporting events.

In addition, the updated Eclipse HX offers the IVC-32-HX card redundancy feature. This new capability allocates a spare IVC-32-HX card to function as a hot redundant backup for one or more IVC-32-HX cards, which are located in the same matrix frame. On detection of a failure of the primary IVC-32-HX to communicate to its associated panels or matrices, the hot redundant backup card takes over service provision.

V-Series Panel Dual-Label and Arabic Language Support
Offering Arabic characters and dual label support on all V-Series panels is another significant enhancement to the Eclipse HX family. Previously, the V-Series panels uniquely offered 10-character and international character displays. Now, the panels can also support the Arabic language and allow operators to toggle between two predefined languages on the panel. This is most helpful in production situations where two operators with different preferred languages share use of the intercom system.

“We are very pleased to launch this latest set of capabilities to the Eclipse HX family, which further demonstrates Clear-Com’s commitment to innovating intercom solutions for the broadcast market,” says Peter Stallard, Senior Product Manager, Clear-Com. “As increasingly more broadcasters are decentralizing their productions across multiple locations, the need for reliable and high-performance Ethernet/IP connectivity, as well as the extended language support, makes the Eclipse HX family the ideal matrix intercom solution for live productions on a local or global scale.”

About Clear-Com®
Clear-Com, an HME company, is a global provider in professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analog & Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.

Osheaga Music and Arts Festival Leaps Onto the World Stage as Sennheiser Provides Exquisite Sound for Fourth Year in a Row

Montreal, September 12, 2013 – Montreal’s Osheaga Music and Arts Festival, held every summer at the city’s breathtaking Parc Jean-Drapeau on Île Sainte-Hélène, is not only well established as Canada’s top music festival, but is also ranked as one of the top music festivals in the world. With many thousands of passionate indie music fans in attendance, audio manufacturer Sennheiser was on hand to support the Green Stage (La scène verte) for the fourth year in a row, along with loudspeaker manufacturer K-array.

Since launching in 2006, when headliners including Sonic Youth, Ben Harper, and the Flaming Lips drew a crowd of 25,000, Osheaga has grown to attract no less than 135,000 music fans – and along the way has become an essential stop among many touring artists’ itinerary. In 2012, Pollstar ranked Osheaga Music and Arts Festival as the 11th largest in the world. This year, amidst mostly sunny skies, international touring artists gracing the Green Stage included The Breeders, The Gaslight Anthem, Tricky, Explosions in the Sky, Beach House and many others. Sennheiser’s Global Relations Team supported Osheaga’s Green Stage by supplying an impeccably pre-configured rack of its wireless solutions including IEMs (in-ear monitors), while Sennheiser Canada supplied a comprehensive selection of instrument and vocal microphones as well as the latest energy-efficient loudspeakers from K-array.

“The Osheaga Music and Arts Festival continues to enjoy an increasing international profile as a ‘destination music festival’, attracting music fans from all around the world with the beautiful backdrop of Montreal,” said Sennheiser’s Kristy Jo Winkler, relations manager, Americas. “Four years ago, Sennheiser helped the Green Stage establish an impressive standard in sound quality, staging and power efficiency. We hope to continue doing this for many years to come.”

Sennheiser makes Osheaga’s La Scène Verte sing

Dozens of veteran and emerging artists delivered electrifying sets through to a rapt audience of as many as 25,000 at the Green Stage. Living up to its “green” moniker, the stage featured the latest, highly efficient line of K-array speakers, as well as Sennheiser’s 2000 series wireless transmitters and receivers, its evolution series wired microphones, and its ew 300 IEM G3 wireless monitoring systems.

Sennheiser e 935 wired microphones were used as well as MMD 935-1 microphone capsules in conjunction with SKM 2000 XP handheld wireless transmitters. “I have been using Sennheiser 935 capsules for many years now and I love them,” states Greg “Monk” McClement, front-of-house engineer for the Sennheiser Green Stage. “We used them throughout the festival, in both wired and wireless applications. That’s the main vocal capsule I use on anything I do.”

Sennheiser’s evolution series microphones were also used throughout the backline. Monk had Sennheiser mics covering the entire drum kit on the stage, starting with the e 602-II cardioid microphone on the kick drum: “When the e 602-II mic came out, suddenly I had the attack, as well as the softness that is necessary for the type of music that I am doing,” he says. “All kick drum mics are different, but the e 602-II gives me more options to find the sound I am looking for.”

For the rest of the drum kit, Monk used a Sennheiser e 905 on the snare, an e 604 on the toms and a Neumann KM 184 on the hi-hat. “The e 604 clip-on is great because it not only sounds great but also helps facilitate the quick changeover we need in between acts for the patch guys on stage,” observes Monk.

The guitars amplifiers were covered by Sennheiser e 906s and e 609s, which were used in combination with a Sennheiser MK 4 large-diaphragm microphone on some of the amps. “The large-diaphragm on the MK 4 helps me pick up the mid-range frequencies properly. On the guitar amps, we had the mic pretty close up to the speaker and the capsule really held up,” Monk says.

Monk was particularly pleased with the state the Sennheiser rack containing the wireless receivers and handheld transmitters arrived in. “Everything seemed to be tuned, and it was super-easy for us to access all the packs and handhelds we needed,” he says. In a live scenario where every production minute counts, this made set up more efficient: “We don’t have time to mess around,” he says. “We are doing live music and everything has to work on the first shot.” The Sennheiser IEMs, as well as the wireless transmitters, proved to be a magical combination for both the production staff and the artists: “When the in-ears sound this good, the bands are all just so happy,” Monk observes. “The clarity between the wireless mics sending and the in-ears receiving is just insane – I have never heard that kind of quality from any other company.”

K-array Powers The Green Stage for Four Years Running

The self-powered PA system on the Green Stage consisted of ten KH4 two-way speaker systems, ten KS4 dipole subwoofers, and ten KO70 dual-21-inch sub-bass cabinets, with additional KH4/KS4 arrays as well as KH15 compact two-way speakers providing fill and delay. “It felt like we were indoors,” says Monk. “It’s very difficult when you are outdoors to have that feeling, but the K-array system managed to deliver that. All the bands’ sound guys were very impressed and really felt like they were mixing inside.”

Vaino Gennaro, Business Director-Live sound Sennheiser Canada, articulated how the K-array speaker system continues to deliver significant energy and cost savings: “The power consumption on the K-array KH4/KS4 speaker system is reduced to a minimum thanks to the use of digital amplifier modules with high-energy output from minimal power input, hence saving energy and becoming the first ‘green’ PA in the market.”

“The compact size, shape and light weight of the K-array system will fit most PA system demands while requiring only a minimal footprint,” Gennaro continued. “This results in savings on trucking – smaller trucks mean lower rental costs, savings on fuel, and requires only a regular driver’s license.” He also observes that the labor for set-up and teardown is minimized, because less crew and man-hours are required. “A lighter system requires fewer rigging points, smaller motors, and can be easily ground-stacked,” he says.

Aside from the cost and set-up efficiencies, the K-array over-delivered when it came to the sound. With its built-in DSP settings, the entire rig was easy to tune and optimize for the venue. “It delivered an awesome clean and true sound that could be heard even from a distance!” says Gennaro. One of the main considerations in setting up the PA was ensuring that the PA would deliver sufficient headroom, in case a sound engineer were to push the system by a few dBs. Gennaro recalls such an instance: “During a set by C2C, the engineer pushed the system and the K-arrays really rose to the occasion and sounded amazing,” he says. “On the live console faders for a system this large, the difference of zero plus one or zero plus two can mean a huge amount of sound. We knew the speakers would handle this and there was absolutely no distortion.”

Looking back on another successful Osheaga festival, Monk is grateful to have Sennheiser at his back: “Sennheiser takes professionals very seriously, and the company stands behind their products when they are engaged at a festival like this,” he concludes. “Each time, they put a really good team together with a lot of experience. This goes a long way during a festival that has many of us working long hours over the course of many days. It is also great for the bands coming in to play, because they know they’re going to get great sound.”

The Sennheiser Group, with its headquarters in Wedemark near Hanover, Germany, is one of the world’s leading manufacturers of microphones, headphones and wireless transmission systems. In 2012 the family company, which was founded in 1945, achieved a turnover of around 584 million euros. Sennheiser employs more than 2,300 people worldwide, and has manufacturing plants in Germany, Ireland and the USA. The company is represented worldwide by subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico and the USA, as well as by long-term trading partners in many other countries. Also part of the Sennheiser Group are Georg Neumann GmbH, Berlin (studio microphones and monitor loudspeakers), and the joint venture Sennheiser Communications A/S (headsets for PCs, offices and call centres).

You can find all the latest information on Sennheiser by visiting our website at www.sennheiser.com.

Photo captions:
1: Sennheiser Canada artist Misteur Valaire performs on the Green Stage using Sennheiser equipment
2: Richie Follin from Guards, singing through a Sennheiser e 935 wired microphone
3: Front-of-house engineer Greg ‘Monk’ McClement, manning the Green Stage at Osheaga
4: Racks containing Sennheiser ew 300 IEM G3s wireless monitors and 2000 series wireless microphones
5: France’s C2C turntable quartet pushed the highly efficient K-array PA system to its limits
6: The K-array KH4 and KS4 loudspeakers, at left of main stage

iZotope Releases RXTM 3: A Complete Audio Repair Suite

IBC, Amsterdam, Netherlands, (September 12, 2013)iZotope Inc., a leading audio technology company, has released the much-anticipated update to its spectral audio editing and repair suite, RX. RX 3 and RX 3 Advanced provide audio professionals with a completely redesigned user interface, the ability to reduce or remove reverb, clean up dialogue in real time, and new features for post production, music production, mastering, and more.

“RX 3 and RX 3 Advanced are the culmination of three years of invaluable user feedback. We’re happy to bring these customer-driven improvements to our industry-leading repair software,” says Alex Westner, Director of Product Management at iZotope, Inc. “Crafting broadcast-quality audio is now even easier with RX 3’s workflow improvements designed to enhance speed, power and flexibility for time-strapped professionals working in post production.”

KEY FEATURES:

What’s New in RX 3 Advanced?
- Remove or reduce reverb from audio using the new Dereverb module.
- Clean up dialogue in real time with the new Dialogue Denoiser.
- Monitor your audio and loudness compliance using InsightTM, iZotope’s comprehensive metering suite, now included with RX 3 Advanced.
- Advanced features and settings for Declip, Declick, Time & Pitch, Channel Operations and more.

What’s New in RX 3?
- Work up to six times faster than before in the RX 3 standalone application, thanks to intelligent DSP and optimized multicore processing.
- Time-saving features like a completely redesigned user interface, the new RX Document format and multi-file workflow.
- Addition of audio recording and monitoring, SRCTM sample rate conversion, waveform statistics, and more.
- Overall enhancements to Denoise and Declip modules, parametric EQ, drawing and selection tools, MBIT+TM dither, and more.

Used everywhere from Hollywood post production studios to leading sound editing facilities, iZotope RX 3 transforms troubled recordings into professional-grade material with remedies for noise, clipping, hum, buzz, crackles, and more. With an intuitive spectral editor and 10+ intelligent modules, RX 3 enables you to fix troubled audio with unprecedented power and precision.

For more information on RX 3 and RX 3 Advanced, visit www.izotope.com/rx.

Compatibility
RX 3 works as a standalone application, or as a suite of plug-ins for use in a host, including many popular DAWs and NLEs. Supported plug-in formats include AAX for Pro Tools 11, RTAS, Audio Suite, VST & VST 3, and Audio Unit.

Pricing and Availability
RX 3 and RX 3 Advanced are available now. Through September 27, 2013, get RX 3 for $249 (Reg. $349/ €285) MSRP or get RX 3 Advanced for $749 (Reg. $1199 / €919) MSRP.

RX 2 or RX 2 Advanced users who purchased after July 1, 2013 will receive a free upgrade to RX 3.

Users of previous RX versions can log in to their iZotope accounts at www.izotope.com/myaccount for upgrade information and special upgrade pricing.

About iZotope, Inc.

iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony.

For more information on iZotope products, please visit www.izotope.com.

iZotope Releases RX™ 3: A Complete Audio Repair Suite

Built for the Toughest Audio Repair Tasks in Music, Post Production, and more

IBC, Amsterdam, Netherlands, (September 12, 2013) - iZotope Inc., a leading audio technology company, has released the much-anticipated update to its spectral audio editing and repair suite, RX. RX 3 and RX 3 Advanced provide audio professionals with a completely redesigned user interface, the ability to reduce or remove reverb, clean up dialogue in realtime, and new features for post production, music production, mastering, and more.

“Anytime you put a microphone on a sound and record it—whether it’s a vocal, an acoustic guitar, or a snare drum – you’re going to pick up a variety of unwanted noises. These user experiences are what RX is built on,” explains Alex Westner, Director of Product Management at iZotope, Inc. “RX 3 now provides even more features to help enhance audio for all musical applications, from simple podcast recording to professional mastering.”

Key Features: What’s New in RX 3 Advanced?
- Remove or reduce reverb from audio using the new Dereverb module.
- Clean up dialogue in real time with the new Dialogue Denoiser.
- Monitor your audio and loudness compliance using Insight™, iZotope’s comprehensive metering suite, now included with RX 3 Advanced.
- Advanced features and settings for Declip, Declick, Time & Pitch, Channel Operations and more.

What’s New in RX 3?
- Work up to six times faster than before in the RX 3 standalone application, thanks to intelligent DSP and optimized multicore processing.
- Time-saving features like a completely redesigned user interface, the new RX Document format and multi-file workflow.
- Addition of audio recording and monitoring, SRC™ sample rate conversion, waveform statistics, and more.
- Overall enhancements to Denoise and Declip modules, parametric EQ, drawing and selection tools, MBIT+™ dither, and more.

Used everywhere from Hollywood post production studios to leading sound editing facilities, iZotope RX 3 transforms troubled recordings into professional-grade material with remedies for noise, clipping, hum, buzz, crackles, and more. With an intuitive spectral editor and 10+ intelligent modules, RX 3 enables you to fix troubled audio with unprecedented power and precision.

For more information on RX 3 and RX 3 Advanced, visit www.izotope.com/rx.

Compatibility
RX 3 works as a standalone application, or as a suite of plug-ins for use in a host, including many popular DAWs and NLEs. Supported plug-in formats include AAX for Pro Tools 11, RTAS, Audio Suite, VST & VST 3, and Audio Unit.

Pricing and Availability
RX 3 and RX 3 Advanced are available now.
Through September 27, 2013, get RX 3 for $249 (Reg. $349/ €285) MSRP or get RX 3 Advanced for $749 (Reg. $1199 / €919) MSRP.
RX 2 or RX 2 Advanced users who purchased after July 1, 2013 will receive a free upgrade to RX 3. Users of previous RX versions can log in to their iZotope accounts at www.izotope.com/myaccount for upgrade information and special upgrade pricing.

About iZotope, Inc.
iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. For more information on iZotope products, please visit www.izotope.com.


Media Contact:
Music Marcom
Martina McConnon
v: 610-577-4982
e: martina@musicmarcom.com
www.musicmarcom.com

Media Group International Installs VidiGo’s Visual Radio Solution at Clouds FM

Leading Media Systems Integrator Media Group International has assisted Tanzania’s Clouds FM radio station to give its audience a totally new, interactive experience by installing VidiGo Visual Radio software. The new software will go live on air at Clouds FM within the next few weeks.

The Clouds FM project is the first major radio installation MGI and VidiGo have completed in Africa since meeting at CABSAT 2012 and subsequently forging a partnership. The two companies are now working together to give MGI’s television and radio customers much greater access to VidiGo’s revolutionary range of broadcast software products.
VidiGo Visual Radio was the ideal solution for Clouds FM, one of four stations operated by Tanzania’s Clouds Media Group. Affectionately referred to as The People’s Station, Clouds FM is annually rated the number one station in Tanzania for the youth segment.

MGI’s Sales Director Paul Wallis, who brokered the Clouds FM deal in conjunction with Sales Assistant Diana Velikova, says: “Thanks to its strong reputation for delivering trendsetting programming, dynamic presenters and innovative promotions, Clouds FM is widely regarded as the ‘coolest’ radio station in Tanzania by the country’s 18 to 35 year olds. Given this demographic, the station wanted to incorporate interactive graphics that could be overlaid onto the video feed of its radio broadcasts and used to enhance its internet presence and Twitter, RSS and social media feeds. Diana and I felt that VidiGo Visual Radio was ideal for Clouds FM because it will be able to deliver all the elements station staff need in a very simple to use and intuitive package.”

VidiGo Virtual Radio combines the strength of VidiGo Live and VidiGo Audio Director. VidiGo Live is a full blown software solution for multi-camera TV production. The VidiGo Audio Director is an intelligent extension to VidiGo Live that makes automatic decisions by analyzing audio signals with its advanced algorithms, allowing it to make decisions like a real television director. Finally, the graphics and text overlays are automatically inserted within VidiGo Live, which makes it possible to superimpose content in a live situation using a station’s own designed Flash application.

Joseph Cusago, Managing Director, Clouds Media Group, says: “We are really thrilled with the workflow VidiGo Virtual Radio has provided and our audiences will love the fact that we will soon offer an interactive visual radio experience via the internet and social media feeds. The system is incredibly easy to operate and, because the cameras are switched automatically on the basis of which microphone input is being used, there is very little for our presenters to do. This means they can concentrate on the job of presenting, leaving VidiGo’s clever software to take care of everything else.”

VidiGo CCO Reinout Lempers adds: “With VidiGo’s background in radio, we understand the culture and needs of a radio station. We knew from the start that we shouldn’t bother radio presenters with creating video. That’s why we developed an automated software workflow that is fully compatible with existing radio workflows. With our solution presenters to do what they are good at, which is making radio, while VidiGo’s automated workflow creates an entire TV show, just like a real director would.”

-ends-

Notes to the editor:
About Ghanim bin Saad Al Saad & Sons Group Holdings
Ghanim bin Saad Al Saad & Sons Group Holdings (GSSG) was founded by Ghanim bin Saad Al Saad in 1993 and incorporated in 2007. Today it is one of Qatar’s most successful private sector business groups, making a major contribution to the country’s economic growth.
GSSG has enjoyed steady growth and success in many fields and industries locally and internationally. GSSG’s diverse portfolio gives it strength and enables its companies within the group to maximise global business opportunities wherever and whenever they arise.
The founder, Mr. Ghanim bin Saad al Saad, has enabled the group to grow to over 40 companies around the world. As an inspirational business leader, he has steered the group to achieve its success in industries that include aviation, maritime, automobiles, oil & gas, real estate, manufacturing, contracting and trading, finance & asset management, engineering, education, fitness, hotels, hospitality and fashion, information technology and telecommunications.
In addition to its corporate headquarters in Doha, GSSG also has five international offices located in London, Zurich, Cairo, Singapore and Dubai.
www.gssg.com

Media Group International
Media Group International is a proven media broadcast and communications technologies systems integrator, serving the media, telecommunications, security, education, hospitality and advertising industries in the Gulf region for more than 40 years. Formerly known as Salam Media Cast (SMC), the company joined GSSG Holdings in 2010, with offices in Qatar, UAE, Oman, Bahrain, Saudi Arabia and the UK.

Media Group International is diversifying its business into new technologies. As well as equipping professional television stations and studios, master control rooms, newsrooms, concert stages and theatres providing light and sound technology, the company also equips whole multivendor

and multisensory environments. Media Group International provides solutions from safeguarding national security such as in government operations, creating the best venues for education such as museums and classrooms, enhancing sports environments and revolutionising health facilities and satellite telecommunications.

To support the workflow and innovation demands of our valued customers, the team has grown with new local and international talent. We use our expertise to help realise your goals and ambitions – we listen, advise, design and build great workflows that work for you. Our ambition is to be your trusted partner in the Gulf region.

www.mgi.tv
Clouds Media Group
Clouds Media Group is a privately owned media house based in Dar es Salaam, Tanzania. Clouds Media Group excels at entertaining and deepening community engagement, integrating new media technologies to meet evolving lifestyles, and leveraging resources to build vibrant and informed communities. Now celebrating its 15th year, Clouds Media Group has an impeccable track record for excellence in execution of radio campaigns and broadcasting performance. Comprised of 4 dynamic broadcast stations, East & Central Africa’s largest event production firm as well as a 40 Channel DTT network on the Island of Zanzibar, all of which are leaders in their specific categories fuel the Clouds Media Group powerhouse. This dynamic assortment of formidable companies allows advertisers to achieve maximum value by enabling them to reach their core demographic on multiple platforms all within one media house. Clouds Media Group stands as a beacon of fair business ethics, openness, transparency, and value; and is one of the highest awarded media houses in Tanzania. Clouds Media Group recently was named the #2 Mid -Company in Tanzania in 2012 by Superbrands.
VidiGo
For almost a decade VidiGo has been the visionary leader in the broadcast industry, with the first full software based AV-workflow running on standard IT hardware. The core of all VidiGo workflows is DAVE; an in-house developed powerful, low-latency video engine. All VidiGo workflows focus on automation, flexibility and open architecture to make broadcasting easier, faster and cost effective.
VidiGo stands for innovation, reliability, product leadership, and premium support.
VidiGo clients include leading broadcasters, radio stations, sport arenas and video production companies all around the world.
VidiGo offers a full portfolio of broadcasting workflows and solutions
VidiGo Live – Multi camera live production suite
VidiGo Visual Radio – Quality video content of your radio show
VidiGo Studio Automation – Full rundown automation
VidiGo Arena Solutions – Boost stadium experiences
VidiGo Toolbox – Desktop grabber, Skype to SDI and VLC media plugin
VidiGo Graphics – Adobe Air/Flash directly into your live broadcast
VidiGo Playout – 24/7 Playout with Adobe Air/Flash graphics
www.vidigo.tv

Visual Unity Helps Clouds Media To Deliver OTT Content Service

Leading OTT solutions provider Visual Unity has helped Tanzanian media conglomerate Clouds Media to deliver a complete Over the Top content service to the East African market.

Based in Dar-es-Salaam, Clouds Media was established in 1998 as a radio and television broadcaster, delivering music, television and film content the Tanzanian market. With Visual Unity’s expertise, Clouds Media has now expanded its operations to deliver Over the Top Transmission (OTT) directly to their viewers on any screen or connected device anywhere in the world.

Visual Unity provided Clouds Media with the technology necessary to deliver its new service. The technical infrastructure is based on Visual Unity’s award-winning vuMediaTM Over the Top (OTT) content solution. vuMediaTM allows broadcasters to manage, monetize and monitor delivery of content to any connected screen and over 7000 connected devices including legacy phones.

Tomas Petru, CEO of Visual Unity, says: “Visual Unity was awarded this contract on the basis of our proven expertise in multiscreen integration. With over 20 years’ experience in designing, building and technically supporting linear broadcast to multiscreen solutions we demonstrated to Clouds Media our ability to successfully design VoD solutions similar to our customers such as the leading Czech portals ivysilani.cz, voyo.cz, topfun.cz, cinema.cz and Calinos Entertainment’s VodVod.com in Turkey.”

“Thanks to vuMediaTM and Clouds’ modern approach to content delivery, Clouds is now able to reach its audience online, thus avoiding expensive and geographically limiting satellite transmission. Clouds can now provide films, news, dramas and popular television throughout East Africa, the Middle East and the rest of the world,” added Joseph Kusaga, Managing Director, Clouds Media Group.

Visual Unity’s vuMedia™ platform supports comprehensive streaming and VoD services and integrates with billing and CRM processes. For this project, Visual Unity is providing full live channel streaming capability a Visual Unity designed UI/UX with full GUI/API access, DMR protection, analytics, delivery and support for an amazing array of mobile devices.

With TV in Tanzania going digital we found that this was the right time to reach fans of the Clouds brand both domestically and internationally via OTT multiscreen. The complete service is officially being launched in October.

Visual Unity will showcase the latest version of its award-winning vuMedia™ multiscreen platform at IBC 2013, Connected World (Hall 14, Stand 114).

-ends-

About Visual Unity

Visual Unity is a global provider of video and digital media solutions, enabling our clients to deliver premium quality video content. Our clients can measure, analyze and optimize their libraries over time and achieve optimal business success. Our platform capabilities inspire our clients to deploy their assets across multiple devices, screens, and media formats. Visual Unity helps clients manage, deliver and monetize their digital content.

Visual Unity is a Multiscreen Solution Provider, bridging the gap between linear broadcast, IT and IPTV to help clients reach and engage audiences on any screen. Since 1991, the team has been designing and delivering turnkey broadcast and complex multiscreen solutions worldwide – from HD outside Broadcast (OB) vehicles and major playout facilities to live internet streaming and Video on Demand services. Visual Unity’s award-winning vuMediaTM platform helps broadcasters and content owners control how their brand and assets are managed and monetized in the multiscreen environment. vuMediaTM is a highly scalable and a modular architecture, delivering a cutting-edge live viewing experience on the web or any mobile or connected device – all of which can be deployed into existing workflows and business processes.

Visual Unity is based in Prague, London, Munchen, Las Vegas, Nairobi and Dubai. For further information, please visit www.visualunity.com

Visual Unity: Na Hrebenech II 1718/8, Prague 4, 147 00, Czech Republic
T: +420 271 742 111 F: +420 271 742 112 E: info@visualunity.com

About Clouds Media Group

Clouds Media Group is a privately owned media house based in Dar es Salaam, Tanzania. Clouds Media Group excels at entertaining and deepening community engagement, integrating new media technologies to meet evolving lifestyles, and leveraging resources to build vibrant and informed communities. Now celebrating its 15th year, Clouds Media Group has an impeccable track record for excellence in execution of radio campaigns and broadcasting performance. Comprised of 4 dynamic broadcast stations, East & Central Africa’s largest event production firm as well as a 40 Channel DTT network on the Island of Zanzibar, all of which are leaders in their specific categories fuel the Clouds Media Group powerhouse. This dynamic assortment of formidable companies allows advertisers to achieve maximum value by enabling them to reach their core demographic on multiple platforms all within one media house. Clouds Media Group stands as a beacon of fair business ethics, openness, transparency, and value; and is one of the highest awarded media houses in Tanzania. Clouds Media Group recently was named the #2 Mid -Company in Tanzania in 2012 by Superbra

Emmy Award Winner Felipe Borrero Is A Winner At Location Sound

Industry veteran walks away with a PSC PowerStar LiFE Power Distribution System valued at $1,835

North Hollywood, CA (September 10, 2013) –Location Sound’s Most Awesome 50 Days of Audio Gear Giveaways Ever (at http://www.locationsound.com/most-awesome-audio-gear-giveaway) has been running since July and continues to make audio professionals very happy. The most recent winner is Felipe Borrero who has won a PSC PowerStar LiFE Power Distribution System.

“Flip” Borrero has enjoyed a very successful career as a professional sound mixer: He has been in the business for over 40 years and worked on countless movies and television shows. He was nominated for a CAS Award for outstanding achievement in Sound Mixing, and in 1999 won a Primetime Emmy Award for Outstanding Sound Mixing for The Rat Pack (1998).

Borrero currently works on the TV show Enlisted that will air on the FOX Network on October 18, 2013. He was going to buy the PSC PowerStar LiFE Power Distribution System when he found out that his boom operator had just won a microphone, one of the many prizes of the Location Sound giveaway. “This actually works!”, he thought. “It’s not like the lottery where millions of people enter. Because only audio professionals enter this contest, the odds are much greater to actually win something. I entered 3 times and then I won!”

This prize couldn’t have come at a better time. Borrero had actually retired from his job 10 years ago and he had sold his equipment at that point, worth over $100,000, for pennies on the dollar. In 2009, he decided to come back to the industry and to mixing sound but he didn’t want to re-invest in his own equipment. Winning the prize at the LSC giveaway was a more than welcome surprise.

Borrero has been renting equipment at Location Sound for over 30 years. “I’m probably one of their first customers. I used to shop with them even before there was a West Coast location. Now, I go to their North Hollywood store all the time”, he said. “The customer service is like doing business with friends. They have respect for what I do, and they bend over backwards to help me. I remember that when one of my machines broke down, the Location Sound staff opened the store in the middle of the night for me, they got me a machine, and I was off and running the next day.”

Registration for Location Sound’s giveaway will continue at http://www.locationsound.com/most-awesome-audio-gear-giveaway until September 24, 2013, with new prizes and new winners every day. Website visitors can enter to win many high-priced and high-quality items such as Sound Devices’ 664 Field Mixer/Recorder, Lectrosonics’ UCR411/UM400A Wireless UHF System, and many others. A complete prize list is accessible at http://www.locationsound.com/most-awesome-audio-gear-giveaway-prize-list

Customers can enter up to three times a day. Bonus entries are made possible if a customer, AFTER completing the entry form, uses the Twitter “share” button to tweet the giveaway (must have Twitter account to do this). With this option, one person can potentially have up to 6 entries each day. Once a customer wins, however, they will no longer be eligible for the other prizes. The giveaway is open to all legal residents of the United States, 18 years of age or older, excluding residents of Florida, New York, Puerto Rico and all other U.S. territories. For complete Official Rules, go to http://www.locationsound.com/most-awesome-audio-gear-giveaway-official-rules.

About Location Sound Corporation
Location Sound Corp. opened its doors in January of 1977 with a mission to be the one-stop facility for production sound mixers for all their sales, rental, and equipment service needs. More than 36 years later, the client roster now also includes production companies, broadcast companies, law enforcement and private security firms, universities, houses of worship, government agencies, and more. Location Sound is known for its excellent customer service and unparalleled depth of inventory: No matter the industry, Location Sound will get anyone the sound equipment for their critical sound recording needs, while providing unmatched support services before and after the sale. For more information, please visit www.locationsound.com

Audio Expert Mike Thornton to Explore iZotope’s Innovative RX 3 Toolkit for Post Production Professionals During SuperMeet at IBC

Amsterdam, September 10, 2013 – With IBC approaching next week, one of the most pressing issues facing post production professionals is how to create and deliver high quality audio tracks in an increasingly ‘noisy’ modern world. Next week on September 15th, sound designer, audio producer and post production expert Mike Thornton will address these challenges, and explain how iZotope’s new RX 3 audio restoration software can help overcome audio issues in post production with unprecedented efficiency.

During his showcase appearance at CPUG Amsterdam SuperMeet during IBC, Thornton will give his 20-minute stage presentation Rescue Bad Audio from the Cutting Room Floor in Amsterdam’s Grand Hotel Krasnapolsky on Sunday night between 7:00 p.m. and 11:00 p.m. — product demonstrations will begin at 4:00 p.m. Following is a brief preview of what attendees can expect, according to Mike:

What are some of the modern challenges post production professionals face in maintaining integrity in their audio?

One of the biggest challenges we are all facing is that there are less and less sound recordists being booked to record audio, so very often these tasks are left to production assistants, cameramen or directors rather than audio engineers. The reality is that these people can’t be expected to do everything at once and achieve an optimal result. What we see time and time again is that the sound suffers accordingly. As a result, very often, lower grade sound arrives in the edit room and now we can address this with intelligent tools such as iZotope RX 3.

What about audio coming from ‘controlled environments’?

In my opinion, the world is getting noisier and noisier. So even if you have good sound recordists on location to capture the audio, trying to get a truly quiet soundstage is quite a challenge and becoming next to impossible. Television studio floors on ‘light entertainment shows’ are incredibly noisy, for example. There are very often lights with motors in them, projectors, fans and other gear that introduces more acoustic noise. That means that the audio coming into the microphones is already substandard, even though there are good quality microphones on the set positioned by professionals. All of these things together mean that more and more of the audio we see in post-production is noisy, and we’ve got to deal with this. These are the kinds of challenges we see post professionals dealing with on a daily basis.

What are some standout features of the RX 3 audio restoration software?

First, it’s the Dialogue Denoiser, which operates in real-time. Until now, denoising was something that the software had to learn based on a specific noise after you assigned it a “noise profile.” Now, RX 3 reduces the background noise in real time, without adding any significant latency. The low latency aspect is key, because if you are working in television, you need to keep everything in sync. The Dialogue Denoiser is also incredibly easy to use.

What about the Dereverb module?

This is another key product feature, because very often you have situations where non-professionals are recording and maybe the microphone is further away or positioned differently than a professional would have had it. Or perhaps the recording was good, but just captured in an overly reverberant facility, such as a church. With RX 3, iZotope has made it incredibly easy to reduce or remove reverb altogether. You get the RX 3 to learn a bit of the audio with the reverb, and then RX 3 provides recommended settings that would be needed to remove it. This gives the user a tremendous starting point, making it all the more easier to achieve a great result. The Dereverb and the Dialogue Denoiser are the biggies for me, but there have been other improvements right across the board. iZotope has worked very hard at improving the GUI as well, and this helps tremendously with the overall user experience.

Why is ‘ease of use’ so important?

It comes down to the old adage ‘time is money’ — if it takes me three hours to clean up the audio, chances are the client won’t want to pay for it. If I can do this in ten minutes though, the client is delighted and everybody is happy. One of the problems we have in the industry is diminishing budgets and how much time people are willing to devote to a project. We are very often constrained in post production and have limited time to finish a program. So we have to make good decisions about what we can do in the time we have available. If there is a tool such as RX 3 that enable us to do a really good job very quickly, then our client is happy because they get a great finished product. And we get more work!

About Mike Thornton

Mike has worked in the broadcast audio industry for his entire working life, some 35 years. He has worked with Pro Tools since the mid 90s, growing up with it when it could record 4 tracks on a good day with a following wind! He has been recording, editing and mixing documentaries, comedy and drama for both radio and TV, as well as working the occasional music project. Adding to all that, Mike has provided 24/7 Pro Tools support for 15 years, as well as being a broadcast audio consultant & trainer and is deputy editor of Pro Tools Expert.

About iZotope RX 3

RX 3 is an industry-leading audio repair solution for audio engineers, post production professionals, broadcasters, podcasters, archivists, forensic specialists, videographers and more. Work up to six times faster than before thanks to processing enhancements and a redesigned user interface. Remove or reduce reverb, clean up dialogue on the fly, recall session details with the new RX Document format, and much more with the new RX 3.

For more information on RX 3 and RX 3 Advanced, please visit: http://www.izotope.com/rx3

About iZotope, Inc.

iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony.

135th Audio Engineering Society Convention to Feature First-Ever “Systems Sound Symposium” Sessions

— Sponsored by Systems Contractor News, the SCN Systems Sound Symposium offers a day of panel sessions that provide real-world experience and practical knowledge on the most pertinent AV business and technology trends of today —

— In its inaugural year, the SCN Systems Sound Symposium events will provide a comprehensive look at one of pro audio’s fastest growing sectors —

New York, NY, September 9, 2013 — The 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City) this year will present the first comprehensive look at one of professional audio’s most robust market sectors. Sponsored by Systems Contractor News, the SCN Systems Sound Symposium, will bring together leaders in the business of installed AV, with an emphasis on how installed sound is expanding the professional audio industry. Running from 10.00 a.m. to 4.00 p.m. on Sunday, October 20, 2013, the SCN Systems Sound Symposium is a full day of panel sessions finely tuned to offer real-world experience and practical knowledge about the most pertinent AV business and technology trends of today. Four in-depth panel discussions will address the opportunities and issues affecting business growth and profitability in the near and long term. AV integrators, consultants and others in attendance will benefit from a program featuring relevant topics with compelling speakers that are changing the commercial audio business. The Systems Sound Symposium is open to all Exhibits-Plus badge-holders (free with registration in advance).

“The SCN Systems Sound Symposium will add a new dimension to the AES Show by more completely integrating what is an incredibly successful market sector further into the larger pro audio landscape,” explains Kirsten Nelson, Editor, Systems Contractor News. “From music clubs to restaurants to theaters and hotels and more, installed sound is part of the fabric of our day-to-day existence. It’s a massive market with a global reach, and one also intimately intertwined with the music industry, so it’s very appropriate that installed sound become a larger part of professional audio’s largest show – the AES Convention.”

The panel topic and presenter line-up for the SCN Systems Sound Symposium represents the many diverse aspects of installed sound. Topics include:

How Expertise in Intelligibility Measurement Can Build Your AV Integration Business, featuring Robert Badenoch of Shen Milsom & Wilke, among other notable speakers.

Big in NYC – How the Metro Area’s Premier AV Installations Influence the Industry, which will feature AV integrators, consultants and manufacturers in a discussion moderated by Felix Robinson of AVI-SPL, examining how top-level sound systems in clubs, performing arts venues, retail outlets, restaurants, stadiums, houses of worship, and boardrooms in the Big Apple represent the cutting-edge of systems implementation.

The Practicalities of Networked Audio in Permanent Installations, featuring presentations from Lee Minich, Lab X Technologies/AVnu Alliance; Kevin Gross, AVA Networks; Josh Evans, Lab.gruppen/Tannoy; and moderated by Karl Winkler, Lectrosonics.

Beyond Background Music – Designing Sonically Driven Spaces, Production Wireless Systems: Tips and Tricks from the Experts including Sam Berkow, SIA Acoustics; David Schwartz, Essential Communications; Ben Bausher, JaffeHolden Acoustics; and moderated by Josh Evans, Lab.gruppen/Tannoy.

For further detailed information on SCN Systems Sound Symposium presentations and programs and how they can broaden your horizons as an audio professional, visit http://www.aes.org/events/135/systems/. For further information on the 135th AES International Convention, or to Register for your Exhibits-Plus (free) or All-Access badge, please visit http://www.aes.org/events/135/.

About

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.

Calendar

April 2014
S M T W T F S
« Mar    
 12345
6789101112
13141516171819
20212223242526
27282930  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication