Powersoft Joins the Legends

Florence, Italy, January 12, 2015: Built for the 2002 FIFA World Cup, Seoul’s Sangam Stadium could scarcely have hosted a more unusual ‘World Final’ than when some of the best gamers on the planet assembled recently for the League of Legends showdown.

1Based on the online game that has swept the globe (and particularly Korea), some 45,000 thronged to witness this online sport (or ‘e-game’) as the Star Horn Royal Club from China took on Samsung White, and fingers clicked furiously across a computer mouse.

And with an estimated further 40 million people watching around the world — either online, in cinemas or on the ESPN3 sports channel, production values were set high.
Seoul-based Rhino Sound Systems were brought in to design the sound reinforcement inside the bowl and they assembled a vast battalion of Powersoft amplifiers to power their new EAW Anya system (and KF740/KF730 speakers).

2The system engineer was Gwon Seung Cheoul (also known as Mr. PAMAN), and not for the first time he had cause to thank the versatility of Powersoft’s advanced inherent control.

Gwon said that although this was a long way removed from being a rock concert the disciplines were the same as he strove to produce a powerful sound. After trying several simulations the model managed to remove reflections from the back wall, while KF740 delays ensured that the sound carried evenly to all parts of the stadium.

3The biggest challenge he faced was having the main tower position set behind the stage, and production requiring clean sightlines on the stage itself.

Mr. PAMAN designed and configured his amp racks back at the company warehouse, deploying 80 of the powerful K10 and 43 x K3. “I spent two weeks prepping the show which was an amazing size,” he said. “We used Powersoft’s DSP so I could control and monitor all the amplifiers from my laptop using the Armonía software.”

Rhino featured a 32-box Anya system, believing this to be the first worldwide deployment of two 16-element hangs — all controlled by dedicated Resolution 2 software, operating over Dante. This automatically configured the best performance parameters and conditions. A second laptop was used solely to control the EAW Resolution 2 software driving Anya. Subs comprised 20 each of EAW’s SB1002 and SB2001 (in an end fire set up).

Powersoft provided EAW Greybox-specific plug-ins for the Armonía software. “We drove the EAW MW12 and MW15 stage monitors using this plug-in loaded onto the Armonía and Powersoft DSP, and it sounded f***ing great!” reports the system tech.

He added that when Rhino first invested in the Powersoft brand it was because they liked the economy of the 1U rack size, combined with the tremendous power output. “It was just the perfect amplifier, with very low power consumption, which was a further bonus.” Now they are also aware of its far-reaching control.

4At Sangam Stadium, all Powersoft amps received the audio signals from an EAW UX8800 controller on a combined network so everything could be controlled from FOH via the 11 UX8800 controllers.

The EAW subs were assigned to Powersoft’s K10s, and sounded no better than during a performance by the Imagine Dragons. Said Mr. PAMAN. “I always use the damping control function. In the outfield, running cables over 20 or 25 metres for example we would generally be losing power; but using the Powersoft damping control function the quality of the sound changed immediately and was really great. Driving the subwoofers the sound also changed enormously, it was much tighter and had more punch … and I loved it.”

In summary he said that the League of Legends World Finals had been the most challenging event he had ever designed a control network for. “But the success was due to the Powersoft technology — not only the external Powersoft amps, but also the Powersoft modules in Anya itself.”

Jeff Na, from DasanSR, Powersoft’s Korean distributors, was the sound director, and the event was also supported by James Bamlett, and Bernie Broderick from EAW’s Application Support Group. Others involved in the design included Dasan SR team leader, Kang Hyun Min and Will Taylor from 3G Live Productions.

Watch the official League of Legends Show video here: www.youtube.com/watch?v=8Y3t52hWIas

Click here to watch the DasanSR video on the build up: www.youtube.com/watch?v=0bhfmJ6Xudc

About Powersoft:
Powersoft is the world leader in lightweight, high power, single rack space, energy efficient amplifiers for the professional audio market. Founded in Italy in 1995, headquartered in Florence, Italy, with offices in Ventura, CA, Powersoft couples the experience and precision of its production department with exceptional components to deliver products with perfect audio response and high performance reliability. Its state-of-the-art amplifiers can be found in an array of markets, ranging from stadiums, sporting arenas, theme parks, performance venues and airports to convention centers, churches and clubs, and are used by the world’s leading tour sound companies. For more information, visit the Powersoft website @ www.powersoft-audio.com.

Waves Audio to Offer WavesLive Mixing Master Classes at Soundcheck Nashville

Waves Audio, the leading provider of audio DSP solutions for the professional, live sound, broadcast and consumer electronics markets, will be holding a two-day WavesLive master class event at Soundcheck Nashville, January 12 and 13, 2015.

The master classes will feature top live sound engineers Sean “Sully” Sullivan (Beck, Norah Jones), Pete Keppler (Nine Inch Nails, Katy Perry), Zito (OneRepublic, Backstreet Boys), and Stephen Bailey (Matt Redman, Rend Collective), as well as post-production mixing engineer Jeremiah Clever (Elevation Church). The presenters will show how to integrate Waves plugins into live mixing consoles, offer an up-close look at plugin “problem-solvers,” and demonstrate how they use Waves plugins in their live and studio mixing sessions.

Each day’s presentations and workshops will be followed by an open Q&A session. Waves product specialists Luke Smith, Johnny Mann and Noam Raz will also be on hand to provide in-depth information on Waves plugins and their integration into live systems using the Waves MultiRack application.

Soundcheck – Studio B
750 Cowan St.
Nashville, TN 37207

Each day will have a different focus and may be attended separately:

January 12, 12pm–5pm: Waves Solutions for Houses of Worship

The DiGiGrid Product Line: Overview and Demos
Mixing with Plugins Workshops:
Using Waves Tools for Post-Production at Elevation Church (presented by post-production mixing engineer Jeremiah Clever)
Mixing Matt Redman (presented by FOH engineer Stephen Bailey)
Mixing Katy Perry (presented by FOH engineer Pete Keppler)
Speech Intelligibility in the Studio and Live (panel with Pete Keppler, Jeremiah Clever, and Steven Bailey).

January 13, 10am–2pm: Waves Solutions for Live Sound

WavesLive Solutions: Overview and Demos
The SoundGrid Audio Network
Mixing with Plugins Workshops:
Mixing Katy Perry (presented by FOH engineer Pete Keppler)
Mixing Norah Jones & Beck (presented by FOH engineer Sean “Sully” Sullivan)
Mixing OneRepublic (presented by FOH engineer Zito)
Loudness (panel with Pete Keppler, Sean “Sully” Sullivan and Zito)

To sign up and for questions about the WavesLive Mixing Master Classes in Nashville, contact WavesLive at the Event Page.

The Audio Engineering Society Returns to New York City for AES139 Convention – October 2015

— AES announces Jim Anderson and Paul Gallo to Co-Chair AES139 Convention —

New York, NY — The Audio Engineering Society is set to bring the AES139 International Convention to the Jacob K. Javits Center in New York City, NY, October 29 – November 1, 2015 (Conference Oct. 29 – Nov. 1, Exhibits Oct. 30 – Nov. 1). Following highly-successful conventions in Los Angeles (2014) and New York (2013), which saw increased attendance as well as the development of expanded attendee and exhibitor offerings including the Project Studio Expo, Live Sound Expo and High Resolution Audio sessions, the 139th AES Convention will bring together the world’s largest gathering of audio professionals for four days of audio technology, information, and networking. Additionally, longtime industry veterans Jim Anderson and Paul Gallo have been announced as co-chairs for the convention, each lending his own unique and storied experiences to the AES agenda this year.

From recording and production, to broadcast and streaming, game audio, live sound, post-production, sound for picture, product design and more, attendees will have the opportunity to hear from top audio industry figures while immersed in the latest research and technology through informative presentations and special events. Furthermore, the AES will once again present the year’s only dedicated professional audio-focused convention, drawing attendees from every market sector and level of involvement – from students and enthusiasts to leading professionals from every corner of the industry.

AES Executive Director Bob Moses commented, “I’m really excited that Jim Anderson and Paul Gallo have agreed to co-chair our AES139 Convention. Both are legendary in the NY recording, broadcast and pro audio communities, and we expect to hit the ball out of the park in 2015 just like we did recently in L.A. Lots of new ideas are in the works – this is going to be another great year under their leadership and with participation from our amazing exhibitors and sponsors.”

Further information on the AES139 International Convention to be available at http://www.aes.org/events/139/.

The Recording Academy® Producers & Engineers Wing® Renews Partnership with Iron Mountain


Iron Mountain’s Entertainment Services Continues to Provide Expertise on Issues Related to Preserving Music and Protecting Musical Intellectual Property for the Recording Industry

Santa Monica, Calif. (December 8, 2014) — The Recording Academy® Producers & Engineers Wing® has renewed its partnership with Iron Mountain Incorporated (NYSE: IRM) Entertainment Services. As an official P&E Wing partner, Iron Mountain provides title sponsorship of regional Recording Academy Chapter professional development events and serves as a sustaining member of the P&E Wing Manufacturer’s Council, a diverse array of audio-related companies that function as a creative think-tank to address industry issues, including technical best practices, new technology development, preservation of recording assets and creative rights.

“We are very pleased that Iron Mountain will continue to work closely with The Producers & Engineers Wing this year,” stated P&E Wing Managing Director Maureen Droney. “Iron Mountain is renowned as a purveyor of best practices related to film and sound archiving, preservation, restoration and transfer, and this ties in perfectly with the music preservation initiatives and intellectual property issues that are fundamental to the P&E Wing. Our partnership has been fruitful, and we look forward to continuing to work with them on professional development events that educate about preserving the past and protecting the future.”

“Iron Mountain has been a partner to the music recording industry for many years, protecting and preserving some of the most important recordings in America’s musical history,” said Jeff Anthony, SVP, Iron Mountain Entertainment Services. “This partnership with The Recording Academy Producers & Engineers Wing will allow us to continue that relationship with the industry while also giving us a platform to advise on, and advocate for, best practices in asset preservation and creative rights management. We look forward to playing an active and important role in helping to shape the future of recorded music.”

Photo File: IronMountain.JPG
Photo Caption: Pictured L-R: SVP of Iron Mountain Entertainment Services Jeff Anthony; Producers & Engineers Wing® Managing Director Maureen Droney; and Project Manager Iron Mountain Film & Sound Archives Barry Cardinael. Ph

Digigram at BES EXPO 2015

Exhibiting with Technomedia Solutions on Stand 66 (IP Audio) and AVF on Stand 73 (Sound Cards)
Jan. 15-17, New Delhi

At BES EXPO 2015, the Digigram team will highlight a complete range of products designed to address the performance and cost requirements of all IP audio applications. In showcasing solutions that simplify the capture and delivery of high-quality audio over IP networks, the company will feature the low-cost, ultra-low-latency IQOYA *CALL and IQOYA *CALL/LE audio-over-IP contribution codecs; the IQOYA *LINK and IQOYA *LINK/LE stereo audio-over-IP distribution codecs; and the high-density IQOYA *SERV/LINK multiple-stereo or multichannel audio-over-IP codec for professional IP audio distribution. As a preeminent provider of professional-grade sound cards, Digigram will show its popular VX, LoLa, and LX series sound cards, including the new low-latency, high-density LX-MADI PCIe(R) sound card and LX-IP RAVENNA PCIe sound card with a MADI option. For reporters on the go, Digigram also will demonstrate the ultra-robust Cancun USB card, which enables native USB Audio 2.0 streaming, mixing, and processing in a stylish casing.

Audio-Over-IP Distribution Range

IQOYA *SERV/LINK Multiple-Stereo or Multichannel Audio-Over-IP Codec for Professional IP Audio Distribution
Digigram’s IQOYA *SERV/LINK incorporates multiple distribution codec instances and the company’s advanced FluidIP(TM) technology on a single processing hardware platform to simplify the transport of multiple audio programs (mono, stereo, multichannel) over IP networks in a high-density format. Designed for radio broadcasting and for intercom and commentary for both radio and TV, the IQOYA *SERV/LINK codec allows users to configure multiple-stereo or multichannel solutions for links between studios and between the studio and transmitters, DVB operators, or content delivery networks. In its compact 1-RU version, the solution can handle up to eight stereo analog channels, 16 stereo AES/EBU channels, 32 stereo MADI channels, or multichannel LAN IP audio interfaces (Livewire and RAVENNA), and up to 64 codecs with multiple GPIOs and RS232 ports for auxiliary data tunneling. The scalability of the system allows users to mix and expand the supported audio I/Os, and a larger 4-RU version provides even higher channel density. The solution supports analog, AES, MADI, Livewire, or RAVENNA audio connectivity and multiple audio codecs (PCM, MPEG L2 and L3, AAC, apt-X), and is one of the industry’s few audio-over-IP codecs that can simultaneously stream raw RTP, HTTP, and MPEG-TS/IP streams.

Photo Link: www.wallstcom.com/Digigram/Digigram-IQOYA_ServLink_1U.jpg
Photo Caption: IQOYA *SERV/LINK Audio-Over-IP Codec

IQOYA *LINK and IQOYA *LINK/LE Audio-Over-IP Codecs
The IQOYA *LINK and IQOYA *LINK/LE codecs are full-duplex encoding and decoding solutions that provide uncompromising performance for IP-based studio-to-studio and studio-to-transmitter links, as well as audio program delivery to DVB operators. Developed in collaboration with major European telcos, the IQOYA *LINK/LE codec is a cost-effective version of Digigram’s full-featured IQOYA *LINK codec that gives broadcasters the benefit of 24/7 reliability, audio format flexibility, ease of use, and affordability. Based on FluidIP(TM) technology, the smart IP audio streaming engine developed by Digigram, both IQOYA *LINK and IQOYA *LINK/LE boast high, field-proven mean time between failures (MTBF), very low back-to-back latency, and a host of state-of-the-art features that guarantee audio quality and continuity. With audio synchronization based on Network Time Protocol (NTP), these Digigram solutions enable operators to provide a seamless listening experience for users on the go — even as they move among the contiguous transmitters used in a multifrequency network. An intuitive Web-based user interface simplifies configuration, control, and monitoring and gives users access to real-time metrics on the network.

Photo Link: www.wallstcom.com/Digigram/Digigram-IQOYA-LINK.jpg
Photo Caption: IQOYA *LINK and IQOYA *LINK/LE Audio-Over-IP Codecs

Audio-Over-IP Contribution Range

IQOYA *CALL and IQOYA *CALL/LE Audio-Over-IP Codec for Professional IP Audio Contribution
Digigram will highlight IQOYA *CALL and IQOYA *CALL/LE codecs, which allow users to build reliable low-latency IP audio contribution links while keeping costs under control. These codecs are utilized by Digigram’s Mobile Studio and Ultra Mobility solutions, which bring professional quality to full-duplex connections between a remote site and a studio.

IQOYA *CALL protects the investment of broadcast institutions within large fleets of heterogeneous ACIP EBU Tech 3326-compatible equipment managed by SIP infrastructure. Its front panel enables simple and straightforward usage in all outside broadcast situations.

IQOYA *CALL/LE is a cost-effective and versatile addition to the IQOYA range of IP codecs. It easily provides full-duplex IP audio sessions over the Internet and wireless connections thanks to its smart signaling and hassle-free symmetric RTP connection mode.

As with all IQOYA family members, IQOYA *CALL and IQOYA *CALL/LE codecs share the benefits of Digigram’s FluidIP(TM) IP audio streaming engine, including smart jitter, packet loss and drift management; quality of service optimization; end-to-end dual-stream redundancy; and stable ultralow latency.

Photo Link: www.wallstcom.com/Digigram/Digigram-IQOYA_CALL_LE.jpg
Photo Caption: IQOYA *CALL/LE Audio-Over-IP Codec

Digigram Quote:

“As a leading supplier of audio-over-IP solutions for all applications and all budgets, Digigram will bring to BES EXPO 2015 a full range of innovative IP audio codecs, audio solutions, and professional sound cards particularly well-suited for the FM Radio Phase-III deployment. We look forward to demonstrating the cost and technical efficiencies that our IQOYA audio-over-IP solutions bring to audio contribution and distribution, as well as the uniquely robust performance and feature sets provided by our acclaimed VX, LoLa, LX, and Cancun series sound cards.”
– Philippe Delacroix, President and CEO of Digigram

Company Overview:

Positioned at the convergence of professional audio and video with IT, Digigram offers IP-based solutions that enable users worldwide to increase their competitiveness through change.

The company’s products enable the reliable capture, production, and delivery of high-quality audio and video over IP networks. Its innovative IP audio codecs, professional sound cards, and audio processing software are used by thousands of journalists, broadcasters, and audio engineers worldwide. Digigram’s all-IP video product line provides advanced contribution and distribution solutions to broadcast, IPTV, Web TV, and OTT operators. The company also delivers key audio/video technologies and OEM solutions to software vendors and manufacturers.

For more than 25 years, through constant innovation and the development of fruitful partnerships, Digigram has been influential in energizing the industry, raising standards, and pushing forward technological development.

Further information on Digigram and its product portfolio is available at www.digigram.com.

All trademarks appearing herein are the property of their respective owners.

Sennheiser Lights Up H.O.T. Zone with Wireless Headphones as Hardgroove Brings ‘The Silent Jam’ to NAMM Show 2015

Interviews and ‘Silent Jams’ to Include Steve Morse and Jeff ‘Skunk’ Baxter

hotzoneAnaheim, CA – January 5, 2015 – Audio specialist Sennheiser (NAMM Show 2015: Hall A, Booth 6577) announced that its wireless headphone technology will support the H.O.T. (Hands On Training) Zone this year as Brian Hardgroove hosts ‘Silent Jam’ at the NAMM Show 2015. Hardgroove (Public Enemy) and host of the radio shows ‘Hardgroove’s Fuse Box” and “This is Hardgroove”, will host the ‘Silent Jam in the H.O.T. Zone stage on Friday, January 23, Saturday, January 24th and Sunday, January 25th. David Schwartz of the TEC Award Foundation will serve as producer for each event, which is limited to 140 attendees.

The sessions, which are an hour long and being co-produced by Sennheiser and Impulse Groove Foundation, will feature Steve Morse of Dixie Dregs fame (Friday, 1:00 p.m.) and Jeff “Skunk” Baxter, known for his work with Steely Dan and The Doobie Brothers (Saturday, 12:00 p.m.). Sunday’s session at 12:00 p.m. will fea-ture special guests to be announced. Each session will be broadcast through Sennheiser wireless headphones to 140 attendees and consist of in-depth artist interviews, followed up by an impromptu jam session featuring Hardgroove on bass, Mike Boyko on drums and Robert Muller on keys.

ahardgroove“This event is an extension of the ‘From A Whisper To A Dream’ band competi-tion we did last summer, during which we used wireless headphones at the sug-gestion of Sennheiser’s Dave Missall,” commented Brian Hardgroove, who was inducted into the 2013 Rock and Roll Hall of Fame with his band Public Enemy. “It was a huge success there, so Dave asked me to bring it to NAMM and invite some extremely high profile musicians.”

On bringing Steve Morse and Jeff ‘Skunk’ Baxter to the H.O.T. Zone stage, Hardgroove says: “My choices are based on what inspires me. As a kid, I remem-ber Steve Morse and The Dixie Dregs coming to play where I lived — they were so progressive. Meanwhile, Skunk is a guy who can play anything. He can play heavy-hitting rock or the funk and soul like he created these genres.”

headphonelistenersLongtime IEM engineer Mark Frink will be mixing each of the lunch-time sessions, which will occur in the NAMM H.O.T.Zone’s Tec Lab (Room 202 B). Sennheiser RS 120 headphones will be provided for the audience, with the band using Senn-heiser EK 2000 IEM wireless monitors and Ultimate Ears custom molds. “I’ve used Sennheiser IEMs on all my tours and find them very musical,” Frink said. “We used the RS 120 headphones for the recent inaugural AES Live Sound Expo in Los Angeles.”

Interview content and post-session Q&A will be captured with Sennheiser e 835 wired and wireless dynamic microphones, while all instrumentation is fed into a Yamaha digital console via Radial JDIs. “Sennheiser, Yamaha and Radial and Ulti-mate Ears have been very supportive of all my recent trade show events,” Frink added.

For more information on the H.O.T. Zone, please visit the NAMM Show site at https://www.namm.org/thenammshow/2015/hot-zone-grid; to learn more about Sennheiser, please stop by booth 6577 during the exhibition, or visit www.sennheiserusa.com.

The Sennheiser Group based in Wedemark near Hanover, Germany, was founded in 1945 and has gone on to become a leading manufacturer of microphones, headphones and wireless transmission systems. Sales in 2013 totaled 590.4 mil-lion euros. Sennheiser employs more than 2,500 staff worldwide and operates plants in Germany, Ireland and the USA. The company has a worldwide network of subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hongkong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading partners in other countries. Georg Neumann GmbH, Berlin, a maker of studio microphones and monitor speakers, and Sennheiser Communications A/S, a joint venture making headsets for PCs, offices and call centers, are also part of the Sennheiser Group.

More up-to-date information about Sennheiser is available on the internet at www.sennheiser.com.

1) Brian Hardgroove (Public Enemy) in the studio
2) Sennheiser RS 120 headphones will be provided for the audience at this year’s Silent Jam at NAMM 2015.

Hollywood Sound, Powersoft, Symetrix and Yamaha Bring Networked Audio Alive at Temple Israel of Hollywood

Latest upgrade in Miller Hall enables the efficient distribution of 200-channels of high quality, low latency audio

1Los Angeles, December 22, 2014: Established in 1926, Temple Israel of Hollywood continues to be a beacon for Reform Jewish traditions and values. Today this multi-purpose cultural and worship center hosts an increasingly diverse selection of events, with many taking place in its principal venue – the exquisitely appointed Miller Hall.

The fully equipped 5,000 sqft. ballroom stages a mix of live performances, cinema screenings and religious services. Clients are able to make use of an impressive AV infrastructure comprising over 200 channels of low-latency audio – which was recently the subject of a substantial overhaul courtesy of Hollywood Sound Systems (HSS).

The firm’s Brett M. Grossman served as digital systems design/programming lead on the project, and recalls that Temple Israel approached HSS with the core concept of “updating the digital technologies involved and moving forward with a best of breed audio networking solution” – the regular need to reconfigure the layout and change the mix position according to event type effectively demanding a flexible networking solution. Now, every physical input and output is individually addressable, while remaining space-efficient and allowing for the possibility of future expansion.

2To meet the project’s unique requirements, Hollywood Sound Systems set about devising a system based around products from Powersoft, Symetrix and Yamaha.

“One of the most important decisions during the design process is what brands to trust,” says Grossman. “We chose Powersoft, Symetrix and Yamaha because they make our designs flexible, expandable, and dependable without sacrificing the quality of sound. Our systems perform because these brands perform.”

3Condensed into an “insanely small-rack space”, the Powersoft specification packs a robust 26 channels of amplification derived from two Ottocanali 8K4s, one Ottocanali 12K4 and one Duecanali 3904. Introduced in 2013, these Ottocanali models incorporate Class D topologies for high output power – up to 12,000 Watts over eight channels for the 12K4 – while the Duecanali 3904 delivers notably energy-efficient performance from a 1U format.

Regarding what is Hollywood Sound Systems’ first substantial installation of Powersoft equipment, Jon LeBlanc, Project Lead, says “We could not believe our ears the first time we turned them on. We A/B’d the amp against four of our other “go to” amps, and the Powersoft units won unanimously in a blind test of our entire shop. We’re really happy with the result.”

For the FOH mixer, Hollywood Sound Systems sought a desk that possessed “a small form factor and was easy to teach to operators” – a requirement satisfied by the new Yamaha QL5 digital audio console. Having served as a Yamaha Commercial Audio dealer since Yamaha entered pro audio in 1973, Hollywood Sound Systems is very familiar with all spheres of its pro-audio range, and so also they called on the company for a new loudspeaker system, choosing the Installation Series, and consisting of six IF2112/95s, four IF3115/95s, four IH2000/95s, one IL1115 and one IS1218 and two RIO3224 units.

4Managing venue-wide signal processing is a pair of Symetrix SymNet Radius AEC open architecture Dante-scalable DSPs, equipped with AES option cards, along with xIn 12 and xOut 12 Dante network audio expanders. A long-term user of Symetrix products, Grossman describes SymNet Radius AEC as “one of my real go-to tools… we use it for a wide variety of projects.”

In the case of Temple Israel, he expects the Symetrix DSPs to have several specific benefits. For a start, the automixing capability will be a real advantage for those “smaller-scale events that basically have an operator-free set-up”. Meanwhile, the inclusion of the AEC (Acoustic Echo Cancellation) algorithm will become useful for “speech presentations, where the sound can be a bit ‘roomy’. Flipping on the AEC in a PA situation definitely allows some correction to take place.”

Work on the install was completed in November, and Hollywood Sound Systems’ efforts resulted in a “delighted” reaction from Temple Hall personnel. “They love the capabilities that the Dante network and the Dante-supporting products offer them,” says Grossman. “For example, every Yamaha speaker and floor wedge is individually addressable as part of the Dante network. The new infrastructure really sets them up for the new era of digital audio.”


About Powersoft:
Powersoft is the world leader in lightweight, high power, single rack space, energy efficient amplifiers for the professional audio market. Founded in Italy in 1995, headquartered in Florence, Italy, with offices in Ventura, CA, Powersoft couples the experience and precision of its production department with exceptional components to deliver products with perfect audio response and high performance reliability. Its state-of-the-art amplifiers can be found in an array of markets, ranging from stadiums, sporting arenas, theme parks, performance venues and airports to convention centers, churches and clubs, and are used by the world’s leading tour sound companies. For more information, visit the Powersoft website @ www.powersoft-audio.com.

1) Brett M. Grossman of Hollywood Sound, standing in front of the rack at Temple Israel of Hollywood.
2) View towards the stage at Temple Israel of Hollywood.
3) View of the mix position at Temple Israel of Hollywood.
4) The fully equipped 5,000 sqft. Ballroom at Temple Israel of Hollywood stages a mix of live performances, cinema screenings and religious services.

Sennheiser Ushers in a new Class of RF Experts

2Wedemark, Germany, December 19, 2014: Nine months of hard work have paid off: a total of 19 wireless professionals from the worldwide Sennheiser organization have been awarded the coveted RF Expert certificate. The last of three on-site training sessions took place in Delhi, and in the meantime the new RF experts have been in action all over the world to provide support for Sennheiser customers and partners in their projects.

“The system of extensive online training and close supervision by mentors combined with several weeks of on-site training has proven itself,” said Kirsten Wessendorf, Manager Sennheiser Sound Academy, summarizing the training course. Meanwhile, some of the new RF experts have already completed their first major projects.

Ryan Burr from Sennheiser Middle East provided support for his client Doummar – Q2 Advanced Technology in planning the conference and entertainment facilities for the Sheraton Hotel and Conference Centre in Doha (Qatar). This included carrying out a thorough analysis of the wireless conditions at the location, planning the conference/interpreting systems and the wireless microphone channels, coordinating all wireless frequencies and programming and testing the systems on site.

3Ryan Burr: “This project is simply gigantic. Five conference rooms are equipped with ADN-W wireless conference systems with a total of 380 delegate units, while a further six have SR 2020/HDE 2020 interpreting systems with a total of 4,000 receivers. 150 channels of wireless microphones, mostly 5000/3000 systems, are used in the event venues. One room alone has 72 channels! It’s the largest single project that Sennheiser Middle East has ever worked on, and my further training as an RF expert came just at the right time for me.”

Vincent Tilgenkamp from Sennheiser Benelux has also earned the right to call himself an RF expert. In fact, he achieved top results in all tasks and was presented with an Outstanding Achievement Award. He can also look back on a number of successful projects, including the hit TV show “Utopia”, devised by John de Mol and produced by Talpa, in which he supported the multimedia company Dutchview by providing a special wireless solution. Dutchview was faced with the daunting challenge of picking up the wireless microphone signals from the reality show participants over an area of 12,500 square metres. Vincent Tilgenkamp and his team succeeded in covering this vast area with a single rack of receivers and a number of antenna distribution combiners that were custom-built for Utopia (link to the report: http://en-de.sennheiser.com/news-utopia-becomes-a-reality-with-sennheiser-wireless).

Tilgenkamp too is delighted with the RF expert course: “I particularly liked the on-site training sessions where we had to solve tricky problems. Our mentors made a lot of effort to manipulate the equipment, introduce all sorts of RF interference and additionally put us under time pressure. For example, they would invite a big audience to a concert and ask us to get the band miked and the RF wireless systems running in virtually no time at all! In the end, of course, the audience was let in on time and enjoyed a top-quality gig.”

The Sennheiser Group based in Wedemark near Hanover, Germany, was founded in 1945 and has gone on to become a leading manufacturer of microphones, headphones and wireless transmission systems. Sales in 2013 totaled 590.4 million euros. Sennheiser employs more than 2,500 staff worldwide and operates plants in Germany, Ireland and the USA. The company has a worldwide network of subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hongkong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading partners in other countries. Georg Neumann GmbH, Berlin, a maker of studio microphones and monitor speakers, and Sennheiser Communications A/S, a joint venture making headsets for PCs, offices and call centers, are also part of the Sennheiser Group.

More up-to-date information about Sennheiser is available on the internet at www.sennheiser.com.

Image captions:
RF Experts.jpg: The new Sennheiser RF experts with their mentors

Outstanding Achievement.jpg: Vincent Tilgenkamp (2nd from l.) achieved the top results and was presented with an Outstanding Achievement Award by Eric Denise (Global Sales Vice President APAC), Volker Schmitt (Director Product Lifecycle Management Professional) and his mentor Sam Davison (from l. to r.)

Pro Sound Effects Hybrid Library Sale Ends December 31st

30 discounted units available for freelance sound designers

NEW YORK, NY : ’Tis the Season for the annual Pro Sound Effects Hybrid Library sale and only 30 units remain available at $1500. After December 31, the Hybrid Library will go back up to $2500 for qualified freelance sound designers.

“The Hybrid Library is a big studio library valued at over $10,000,” says Douglas Price, Founder & President of Pro Sound Effects. “Since 2012, we have supported independent media creators with affordable access to the same sonic resources used by big production companies worldwide. We always release a limited number of units towards the end of the year give freelancers the best possible price for the most competitive sonic arsenal going into the New Year.”

On November 1st, Pro Sound Effects released 100 Hybrid Library units at $1500. As of December 17th, only 30 units remain. To reserve one of these Hybrid Libraries, you can go to the Hybrid Library Application page.

Hybrid Library Key Features:

- 56,477 Sound Effects on Hard Drive: 338 GB of professional sound delivered on flashy Hybrid-branded USB 3.0 hard drive
- Spans the Sonic Spectrum A to Z: Categories include Ambiences, Animals, History, Nature, Science Fiction, Technology, Warfare and beyond
- World-Class Recordists : we curate sound effects content from the top recordists and sound designers including Blastwave FX, BBC, BOOM, Foundation, Sound Control SE, and beyond
- Online Access to 215,000+ sounds from any computer through the Pro Sound Effects Online Library
- Masterful Metadata for lightning fast, pinpoint searches. Compatible with Soundminer, NetMix, Basehead, AudioFinder, iTunes, and beyond.
- Free Annual Updates: 2014 Update includes 400 new sounds (6.4 GB) from Blastwave FX plus enhanced metadata
- 100% Royalty-Free Lifetime License

View Full Hybrid Library Features, Videos, Audio Demos & Reviews

In 2014, Pro Sound Effects released a number of videos and blog post highlighting how the Hybrid Library is used by sound designers to get a leg up in their career and productions performance:
Hybrid Library Season 3 Product Video
Sound Designer Spotlight: Ryan Billia (Rumble Audio, Brooklyn NY)
How I Work 1: Matt Piersall (Gl3KK, Austin TX)
How I Work 2: Will Morton (Solid Audioworks, Scotland UK)

About Pro Sound Effects:

Pro Sound Effects® curates and delivers the Next Level sound effects library for media producers worldwide. The Pro Sound Effects Library is 220,000+ royalty-free sounds effects available both online and on hard drive. The Library spans the entire sonic spectrum and is continually updated. Founded in 2004, Pro Sound Effects is relied upon by top freelancers and big media production companies worldwide.

Lord of the Rings and Hobbit Dialogue Editor Editor Relies on iZotope’s Audio Toolkit

Bringing the Voices of Middle Earth to Life with RX 4 Audio Repair

Cambridge, MA. December 19, 2014 – iZotope, Inc., a leading audio technology company, revealed that Ray Beentjes, dialogue editor for The Lord of the Rings and The Hobbit trilogies, has made extensive use of iZotope’s RX 4 audio repair and enhancement toolkit to capture more of the actors’ on-set dialogue-resulting in more emotional performances and more impactful storytelling.

When Beentjes began working on The Lord of the Rings fifteen years ago, many of the actors’ best performances were unusable, often contaminated with noise from production equipment and the surrounding environment. In the end, only 5-10% of the original location audio was usable for the final cut, because the production team didn’t have a solution for salvaging the troubled audio.

“An actor could have delivered a stellar performance on location, but the audio would often be unusable,” Beentjes points out. “They would then have to spend hours in a dubbing room re-recording their lines, and due to the complexity of the production, they might be covering what was six months’ worth of filming in a two-day ADR session. That often makes it very difficult to create the same mood again,” explains Beentjes.

The audio team began searching for a solution that would enable them to rescue troubled audio from the best on-location performances and chose iZotope’s RX audio repair software, which Beentjes describes as a “game changer.” Today, the team is able to save more than 80% of the original production dialogue, and blend in ADR seamlessly when required.

“RX has been fantastic, and we’ve developed a completely different workflow,” Beentjes says. “Now we can focus on finding the best performances from the original material delivered by the actors. Peter Jackson and Fran Walsh love utilizing production audio over ADR where possible if it sells the performance better, and then it’s up to us to clean up that audio and get it working. That’s their gold, and that’s where the magic is for us.”

After the resounding success of the Lord of the Rings trilogy, Beentjes and the team took on an equally epic project with the Hobbit trilogy. The films utilized cutting-edge camera technology, which presented Beentjes and the Dialogue team with a new set of technical challenges.

Instead of the normal 24 fps frame-rate, the films were shot in 3D at 48 fps, which required many of the lights to be re-engineered for flicker-free operation to avoid visual strobing. Unfortunately, the new lights and control methods often introduced extra high-frequency noise from 3 to 8 kHz-significantly interfering with dialogue clarity. However, using the Denoiser feature in RX 4, Beentjes was able to remove many of the artifacts created by the new lighting, while preserving the crisp definition of the original dialogue.

Another key feature Beentjes utilized in RX 4 was Spectral Repair, which enabled him to isolate and remove unwanted sounds, even during long passages of audio. For The Desolation of Smaug – the second film in the Hobbit series – a large part of the film takes place on a desolate mountain, devoid of animal and human life. Unfortunately, there were birds and other distracting noises all over the audio track.

“The magic of Spectral Repair is actually being able to take away the sounds that would take the audience out of the scene,” says Beentjes. “It could be a very important line, and there’s a Cessna prop plane taking off from a nearby airport that’s buzzing through the track. With Spectral Repair, we can go in and remove sounds that are completely out of context for the scene.”

The powerful tools in RX have not only advanced Beentjes’ workflow, they have helped the entire audio post team. Beentjes is now able to deliver dialogue to the re-recording mixers that is clean and sonically neutral-a process that used to require massive amounts of time and expensive studio equipment. Mixers are now able to spend more of their time and energy focusing solely on the mix.

“RX has really come into its own with RX 4 and the ability to run the standalone program connected to Pro Tools (via the RX Connect feature). What used to take us a couple of hours is now taking 20 minutes, which ends up saving the editors thousands of hours over the course of a project,” remarks Beentjes. “We are able to create material that is effectively the same as what would come out of a dubbing suite.”

“Like a person who is retouching photographs or restoring a historical film, I love the ability to rebuild or restore things,” Beentjes concludes. “RX 4 is the most complete set of tools we have, and I’m looking forward to whatever’s next. Each version drastically improves what we can do.”

Learn more about RX 4 at www.izotope.com/rx

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. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX®.
For more information on iZotope products, please visit www.izotope.com.


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