— Appointment helps to position Aphex® for next phase of growth —

Aphex®, a leader in professional audio technology for more than 35 years, announces the appointment of Jim Bailey to the position of General Manager. The announcement was made by Aphex Chairman and CEO David Wiener and underscores the company’s ongoing expansion. Bailey’s extensive experience in product development, illustrated by the recent debuts of such groundbreaking and acclaimed Aphex models as the USB 500 Rack and USB Microphone X, along with his management talent, combined with Wiener’s leadership and creative expertise, will see the company poised for unprecedented success in 2013 and beyond.

Wiener stated, “Aphex is firing on all cylinders. We have worked really hard over the last two years, adapting, evolving and expanding our Burbank and Salt Lake City operations to position us for the next phase of growth. A key step is putting Jim in the position of General Manager, where we can fully utilize his unique skill set in leading the product and operations teams.”

After many years as a successful engineer, producer and studio operator in Los Angeles, riding the transition from analog to digital, Bailey ultimately came into pro audio manufacturing to put that experience into new products. His motto of “get the sound that’s in the artist’s head” has resulted in numerous award-winning products. Prior to joining Aphex as Director of Product Development, Bailey held product management positions at TASCAM and Avid, where he acted as the glue between the customer, the sales force, the marketing team and engineering. With his new appointment as General Manager of Aphex, that glue is becoming stronger than ever.

For more information please visit http://www.aphex.com.

— Promotion of longtime GC Pro employee reflects the division’s ongoing growth —

Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, announces the appointment of Derek Snyder to the position of Director, Western Region. The announcement was made by GC Pro Vice President Rick Plushner and reflects the division’s ongoing success and expansion.

Plushner stated, “Derek has been a tremendous asset to GC Pro. He has provided guidance on starting our installations program; assisted in opening various commercial product lines; developed key post production and film accounts; and much more. His personal knowledge of equipment and strong relationships with the vendor community acquired over decades of doing business in our industry have translated into success for his staff and our division. He has a great understanding of the marketplace and our competition, and he operates with the utmost integrity. We look forward to continuing to work with him in this enhanced role.”

Derek Snyder stated, “I have been blessed to work for GC Pro over the last several years, and I am proud to see my role in the organization grow. I have a strong passion for this industry, and getting to serve the market working with major industry figures is a treat. I look forward to continuing my journey with GC Pro.”

For more information, please visit www.gcpro.com.

— Broadcast audio veteran Dr. Fred Ginsburg, TV audio engineer Robert Bigelow and Audio-Technica’s Steve Savanyu will impart practical information on broadcast recording and microphone techniques —

This year at NAB, on Monday, Tuesday and Wednesday (April 8-10, 2013), Audio-Technica’s booth C1711 will host five 30-minute audio instructional sessions throughout the day.

Dr. Fred Ginsburg, renowned industry veteran and specialist in production sound recording for motion pictures and video, will conduct two sessions each day. The first session will focus on microphone techniques and applications used for episodic television with a focus on multi-track recording, and the second session will be about techniques for rigging and attaching lavalier microphones to actors for film and video production.

Robert Bigelow, audio engineer for HBO’s Tremé, will also present two sessions. First he will share his experiences of recording live music for broadcast on Tremé, and later provide a better understanding of Mid-Side stereo recording.

Steve Savanyu, Audio-Technica Director of Educational Services, will offer instructions on selecting and using microphones with DSLR cameras, including single- vs. dual-system recording.

These Audio-Technica instructional sessions will be held in NAB booth C1711 all three days (April 8-10, 2013) as follows:

10:00am—10:30am
Microphone Techniques for Episodic Television and Features
By Dr. Fred Ginsburg —
Microphone techniques and applications used for television with a focus on multitrack recording.

11:00am—11:30am
Microphone Techniques for Digital SLR (single lens reflex) Cameras
By Steve Savanyu —
Selecting and using microphones with DSLR cameras, including single vs. dual system recording.

1:30pm—2:00pm
Rigging Lavaliers and Wireless Microphones for Film and Video Production
By Dr. Fred Ginsburg —
Techniques for rigging and attaching lavalier microphones to actors.

2:30pm—3:00pm
Recording Live Music for Broadcast
By Robert Bigelow —
Robert Bigelow, audio engineer for HBO’s Tremé, shares his experience.

3:30pm—4:00pm
Mid-Side/Stereo Miking Demystified
By Robert Bigelow —
Get a better understanding of Mid-Side stereo recording.

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

Santa Monica, CA – Antelope Audio announced that its Orion32 interface, the world’s first 32-channel AD/DA converter and audio master clock in a 1U rack unit, now includes another groundbreaking feature: the ability to notify users on firmware updates directly from the control panel and automatic updating at the user’s request.

The Orion32, which supports both MADI and USB interfaces and is clocked by Antelope’s renowned 64-bit Acoustically Focused Clocking (AFC) technology, automatically runs a software assessment at startup and can initiate any required software updates at the push of a button.

“Updates and user tips from the control panel and other new features we are announcing will enhance our customer’s experience even further,” commented Marcel James, director of sales & marketing, Antelope Audio. “With these and other new updates, the Orion32 packs a host of features never before seen on a pro audio device including its massive channel count per square inch and unmatched USB performance.”

Other recently updated features to the Orion32 — which is already being used by top recording artists such as Rihanna, Skrillex and Beyonce — include a zero-latency 32×2 mixer, news feed links to ‘how-to’s’ and helpful videos as well as other performance enhancements and general bug fixes.

Orion32: Unmatched Audio Quality and Clocking in an Interface

The Orion32 allows 192 kHz I/O streaming of up to 32 channels through its custom-built USB chip, which provides seamless connectivity to any USB-enabled DAW or computer. The converter also provides 32 channels of 96 kHz audio through its Fiber Optic MADI I/O connections, making it perfect for capturing audio in live sound environments and many other applications. When using the MADI interface, the Orion32 can handle 16 channels of 192k audio.

Orion32 is also an audio master clock, employing Antelope’s proprietary 4th generation of AFC and oven controlled oscillator — both technologies that made Antelope Audio clocks an industry leader for accuracy and reliability in recording, mastering and post-production facilities around the world. The four word clock outs, together with the 10 MHz input, make Orion32 ideally suited to be in the center of any project or high-end studio.

Orion32 is packaged in a 1U enclosure with an eco-friendly power consumption of only 15 Watts. In addition to saving rack space and having very low heating levels, Orion32 comes with an extremely reasonable pricing even for small home studio, launching with a street price of only $2,995.

Orion32: Key Features

• Zero latency 32×2 mixer
• Firmware update notifications at startup
• Antelope Audio precise AD/DA conversion technology
• Up to 192 kHz on 32 channels I/O via custom-built USB chip
• 32 channels I/O via Fiber Optic MADI I/O connections
• Eight D-SUB 25 connectors for AD and DA
• 16 channels on 4 ADAT input and output connectors
• Antelope’s renowned 64-bit Acoustically Focused Clocking with Atomic input
• Antelope’s proprietary Oven Controlled Oscillator for supreme clocking stability
• Four word clock outputs and one word clock input
• Five presets for fast and easy recall of favorite setups
• 1U rack size with power consumption of 15 Watts and very low heating levels
• A user friendly desktop application available for both Windows and OS X

About Antelope Audio

Antelope Audio is the brainchild of Igor Levin who has more than 20 years’ experience and a number of innovations in digital audio and synchronization technology. The company is widely acknowledged as the leading manufacturer of audio master clocks.

In 2009 Antelope Audio launched its product line of high-resolution USB D/A converters, being among the pioneers designing a 384 kHz DAC. Antelope’s DACs employ their renowned 64-bit clocking and jitter management technologies and custom-designed circuits, achieving unprecedented precision and sound clarity.

# # #

All brands and trade names are the property of their respective owners.

Contact information:

Jeff Touzeau
Public Relations
Hummingbird Media, Inc.
Phone: (914) 602-2913
E-mail: jeff@hummingbirdmedia.com

Georgi Lazarov
Marketing Communications
Antelope Audio
Phone: +44 20 8133 8113
E-mail: pr@antelopeaudio.com
Twitter: @AntelopeAudio
Facebook: http://www.facebook.com/AntelopeAudio

New HX-Delta Frame Offers High Performance Across Multiple Production Spaces

LAS VEGAS, APRIL 8, 2013 ? Clear-Com®, a global leader in critical voice communications systems, will debut the newest addition to its line of Eclipse HX Digital Matrix Systems, the Eclipse HX-Delta Matrix Frame, at the 2013 NAB Show (Booth C8008). The Eclipse HX-Delta offers the connectivity and high capacity of a larger matrix system in a 3RU frame, giving broadcasters more flexible installation options.

The cost-effective and compact Eclipse HX-Delta system is optimal for installation across many different production environments, from mobile broadcast trucks to smaller or 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 varied and complex connectivity is required.

“No other matrix line offers such a wide range of advanced control panels, intercom interfaces and system frames as the Eclipse HX,” says Stephen Sandford, Product Manager at Clear-Com. “With the addition of the Eclipse HX-Delta to the already extensive variety of Eclipse HX frames, Clear-Com provides broadcasters with a complete intercom solution for every type of production.”

The HX-Delta interface cards provide users with a variety of connectivity options. The Eclipse HX-Delta frame uses all of the current Eclipse interface cards, such as the E-MADI64-HX 64 bi-directional channel card, the IVC-32-HX IP connection card and the E-Que Integra integrated wireless or E1/T1 trunking card, to name a few. In addition to the four interface card slots, the HX-Delta also provides three internal slots for interface modules. Interface modules allow the HX-Delta to integrate seamlessly with other third-party communication devices, such as telephones, two-way radios and camera intercoms.

The Eclipse HX systems, comprising the Eclipse HX-Omega, Eclipse HX-Median, Eclipse HX-PiCo and Eclipse HX-Delta matrices, along with the EHX Software, allow users to rapidly make system-wide changes. They also provide simplified setup, operation and administration as well as high system capacity for many audio and user connections. Clear-Com’s V-Series and iStation user panels, existing frame I/O cards and interfaces are all compatible with the Eclipse HX range, providing a seamless and logical upgrade path for most existing Eclipse customers.

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.

Toronto, Ontario, Canada, April 5, 2013… First appearances in Las Vegas and Frankfurt: Lawo is presenting at the NAB and Prolight+Sound shows a new, compact and at the same time powerful router: the Nova73 compact. Only seven rack units in height, the system boasts an outstanding routing capacity and DSP power. The router can be used as a stand-alone device or as a core for the mc² series – in combination with the new mc²56 mixing console in particular, it forms an extremely powerful yet compact package that corresponds perfectly to the demands placed on broadcast mixing consoles today. more…

For Immediate Release

Acoustic First Ceiling Tiles get a face lift for the perfect fit to any application.

Acoustics First® has expanded their line of acoustical ceiling tiles allowing you to dress up any ceiling grid with a generous number of finish options. The legacy line of Sonora® ceiling tiles includes fabric faced ceiling tiles in either the standard square edge or a tegular edge that reveals below the grid. These tiles are available in a multitude of fabric colors and can be utiliezed in a wide range of applications to provide an upscale ceiling system that looks as good as it sounds. If you are looking for the absence of color, there are now two white options. The Sonora® UltraWHITE facing provides a basic smooth white finish while the Sonora® Nubby tile provides a texture white appearance. White ceiling tiles are an excellent choice for areas where a seamless look is desired and maintaining a room that is both bright and vibrant. Alternatively, if your application requires the ceiling to disappear, a black scrim version is also available. These black scrim ceiling tiles are a popular choice for public theaters, home theaters, restaurants or any application where a dark ceiling is desired. Additionally, choose from either a PVC faced or encapsulated ceiling tile if your application requires a wipe-able surface for resistance to liquids and dirt. Test labs, animal shelters, restaurants and similar facilities may require their ceiling tiles to be cleaned on a regular basis. In addition the ample amount of absorptive ceiling tiles, Acoustics First® also carries a wide range of diffusive ceiling tiles including the patented Art Diffusor® Model C and Model F. Product information, specifications and pricing can be found on the website @ http://www.acousticsfirst.com/sonora-ceiling-tiles.htm.

Ryan Larkin
Sales & Marketing
www.AcousticsFirst.com
Acoustics First Corporation

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Acoustics First Corporation supplies acoustical panels and soundproofing materials to control sound and eliminate noise in commercial, residential, government, and institutional applications worldwide. Products include the patented Art Diffusor®, sound absorbers, noise barriers, acoustical fabrics and accessories. Acoustics First® products are sold for O.E.M applications, direct, and through dealers. For more information on acoustical materials and their application, please visit www.AcousticsFirst.com or call Toll Free 1-888-765-2900 (US & Canada).

Unit Features 3G-SDI Interface, Eight-Channel Level and Loudness Instruments

LAS VEGAS, APRIL 4, 2013 — RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, is exhibiting at NAB 2013 (Booth C1844) its TM3-3G TouchMonitor. The TM3-3G seamlessly allows the TM3’s current hardware and software design to visualize, convert and replay 3G SDI signals in TV and video production and post production applications, offering a feature set unrivalled in its class. Attendees will also have the chance to win one of three TM3-3G or TM3 units that RTW will be raffling off during the show. A winner will be chosen live at the booth at 5 p.m. local time, on Monday, April 8; Tuesday, April 9 and Wednesday, April 10. Participants are encouraged to be in attendance each day to win.

The TouchMonitor TM3-3G is a compact yet versatile solution for metering, de-embedding and monitoring 3G SDI audio. It features a 4.3-inch touch screen for horizontal as well as vertical orientation, which can display any of the eight audio channels contained in a 3G-SDI stream. For that purpose, it includes a large number of graphical and numerical instruments showing single-channel and summing loudness bargraphs, PPM, true peak, SPL, loudness range (LRA), dialnorm and correlation. The TM3 offers comprehensive loudness metering in compliance with all globally relevant standards (EBU R128, ITU BS.1770-2/1771, ATSC A/85 and ARIB). It also features the Magic LRA mode, specifically designed by RTW, for intuitive visualization of the loudness range and integrated-loudness parameters.

If equipped with the corresponding software license option, the integrated de-embedder also outputs up to 16 audio channels from the 3G-SDI signal on eight AES3 two-channel ports. The output signals are independent from the visualized audio. In addition, the TM3-3G can be upgraded with a built-in monitoring controller license. This uses an on-screen fader for output-volume adjustment, a stereo output and phones out. The optional timecode license expands the feature set of the TM3-3G to allow external or SDI timecode signals to be decoded, displayed and used for additional functions.

The intuitive operating concept of the TM3 allows for quick and easy selection of presets that can be configured using RTW’s Devicer DC1 software (available for Mac OS X® and Windows®). Using custom presets, the user can easily switch between the various sources, loudness standards and instrument layouts. The configuration software allows users to freely scale and place the required instruments virtually anywhere on the screen.

ABOUT RTW
For more than 45 years, Cologne-based RTW has accompanied the steady technological progress in the professional audio industry with innovative instruments and technologies for visual audio monitoring in broadcast, production, post production and quality control. Its state-of-the-art audio and loudness metering systems have an excellent reputation throughout the world. With groundbreaking products such as the Surround Sound Analyzer, the company has been a key vendor of professional broadcast and audio metering equipment for decades.

RTW’s ranges of products currently include the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the TM7 and TM9 units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.

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

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

Video Recorders Can Now Record 12-Bit, 4:4:4 Content to Apple ProRes 4444

LAS VEGAS, APRIL 4, 2013 — For attendees in search of the latest 4:4:4 recording solutions, Sound Devices showcases its latest upgrade to PIX 240 and PIX 240i Production Video Recorders at the 2013 NAB Show (Booth C2849). This new major update, available for all PIX customers free of charge, offers Apple ProRes 4444 recording from video sources over 3G-SDI (4:4:4 RGB or YCbCr). Recording 4:4:4 offers productions superior color precision for applications in chroma-keying, color-grading and multi-generational editing.

PIX 240 and 240i users now have the ability to record into Apple ProRes 4444, which offers impressive quality with 4:4:4 sources and workflows involving alpha channel transparency. With its 12-bit, 4:4:4 capability, the PIX 240 and 240i can record 330-Mbps Apple ProRes 4444 files that are perceptually indistinguishable from the original source material. Popular cameras with 4:4:4 capable outputs include the ARRI ALEXA, Canon C500 and Sony F3.

“Sound Devices is pleased to feature this latest firmware update at NAB, as we know this is an important feature to many of our users and we foresee this capability being a hot topic at this year’s show,” says Paul Isaacs, Technical Development Manager, Sound Devices. “Bringing Apple ProRes 4444 recording over 3G-SDI to the PIX 240 and 240i offers additional color accuracy available in a 4:4:4 environment—reinforcing the PIX recorder as a master-grade production recorder suitable for the most demanding production applications.”

Additional features available in this latest v3.0 firmware update include time-code and recording status displays on the SDI and HDMI outputs, up to 500 ms of audio delay to compensate for multi-device picture delay, and selectable 4:4:4 or 4:2:2 video output independent from the source material.

Users can connect PIX 240 and 240i to cameras with HD-SDI, 3G-SDI, or HDMI and record directly to QuickTime using a range of different Apple ProRes or Avid DNxHD codecs, including Apple ProRes 4444. Since PIX recorders use ProRes and DNxHD, files recorded in the field can be used directly in post production, making for simpler, faster workflows.

The PIX 240i’s high-performance five-inch, IPS-based LCD display is an accurate field monitor, providing users with immediate confirmation of framing, exposure, focus, audio metering and setup menu selections. It offers excellent color accuracy and contrast, great off-axis visibility and accurate motion tracking.

The built-in hardware scaler and frame rate converter allows PIX to output and record material at different resolutions and frame rates than supported by the camera. Conversion between HD and SD, with and without anamorphic conversion, is available.

The audio circuitry of the PIX recorders is based on Sound Devices’ award-winning 7-Series digital audio recorders. The low-noise (-128 dBu EIN), high-headroom, high-bandwidth inputs are mic/line switchable and include limiters, high-pass filters and phantom power.

The HDMI-only PIX 220 and PIX 220i video recorders also gain new features available in the new version 3.0 update, including Apple ProRes 4444 recording, time-code and recording status displays on HDMI outputs, and up to 500 ms of audio delay to compensate for multi-device picture delay.

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

Sponsors – Tracks – Workshops – Papers

ROME: Sponsors, Presenters and attendees are preparing for the first Audio Engineering Convention to be held in the Eternal City. Scheduled for May 4 -7 at Rome’s Fontana di Trevi Conference Centre, the 134th AES Convention will maximize the scenic and social advantages of one of the world’s most beloved cities. “We have coordinated a full program of distinguished speakers, timely tracks, and stimulating special events designed to provide information, inspiration in an incomparable setting,” states Convention Chairman Umberto Zanghieri. “Established audio pros and students preparing for next-generation jobs, will benefit immeasurably from this convention experience.

“In addition to an extraordinary technical and educational program, the Convention will feature special displays by over a dozen prominent Sponsors,” Zanghieri emphasizes. “We are pleased to welcome, Audio Precision, Audiomatica Srl, B&C Speakers, bdSound, CharterOak, Crane Song Ltd., EKO Music Group spa, Fairlight Europe, Klippel GmbH, LAMBDA srl, Microtech Gefell GmbH, RCF spa, Trinnov Audio and ZP Engineering srl, and we thank them for their support.”

Over 140 Papers Sessions, Workshops, Tutorials, Engineering Briefs, Student and Career Development events have been developed for the Convention. Preliminary lists of presentation titles are posted at http://www.aes.org/events/134/ click on the “Visitors” button for details. The Convention will also host Standards Committee and Technical Council Meetings. A variety of social events have been coordinated to support enhanced one-to-one connectivity throughout the four-day event.

The 134th AES Convention technical program is highlighted by Five Convention Tracks developed to provide timely, comprehensive perspectives on Live Sound, Loudness Issues, Recording Techniques, Spatial Sound and, Sound For Pictures and TV.

Papers Co-Chairs Veronique Larcher and Angelo Farina and their review committee evaluated over a hundred submissions in search of the most compelling presentations. Subjects encompass such issues as: Improving Listening Ability Using E-Learning Methods and Evaluation of Acoustic Features for Music Emotion Recognition. Click on Papers for comprehensive details.

Workshop and Tutorials Programs, will provide attendees with invaluable information on topics ranging from 3-D Audio Automotive Applications; Multichannel Immersive Audio Formats for 3-D Cinema and Home Theater; and, Creative Distortion? You Are in the Over-Driver’s Seat. Click on Workshops and Tutorials for preliminary program details.

A formal preliminary program will be posted at www.aes.org soon.

“Every AES Convention offers a unique opportunity for acquiring real-world insights from recognized leaders in professional audio,” Zanghieri remarked. “The benefits of interacting with product developers, researchers, educators, students and peers are pillars of AES events. The fact that Rome is our host city makes this Convention even more compelling,” he concludes.

For details on Convention Tracks visit: http://www.aes.org/events/134/program/

The deadline for Advance Registration is April 19, 2013 and you can register here: http://www.aes.org/events/134/registration/

Many unique and wonderful hotels are situated near the Trevi Conference Center as are unforgettable Roman ruins. Accommodations are available at special AES rates in a few selected hotels. Prices listed are good until April 5th. For information on reservations click here: http://www.aes.org/events/134/visitors/hotels/

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Photo: The 134th AES Convention will be held in Rome, Italy – May 4-7, 2013

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org