133rd AES Convention Workshops: Raising The Bar For Attendee Edification

iPhone Apps, Digital Cinema, Loudness Standards, “Up-Sampling…” & More

SAN FRANCISCO: Paramount on the ‘not to miss,’ lists of AES Convention regulars, the Workshops Program epitomize pro audio’s extraordinary diversity. Thanks to Workshops Co-Chairs David Bowles and Jeffrey McKnight, 133rd Convention attendees will benefit from a particularly robust program. “Dozens of worthwhile proposals are submitted each year,” says Committee Co-Chair Valerie Tyler. “Our Workshops Co-Chairs final picks will challenge visitors to budget their time in order to maximize their opportunities to expand their knowledge.” The 133rd AES Convention will be held in SF’s Moscone Center, Oct. 26-29.

Highlights of the 133rd AES Convention Workshop Program include ‘mini-tracks’ on Digital and 3D Cinema Sound, Loudness and on Height Channel (an AES 1st):

Cinema Sound in 3D: Chair, Christof Faller, author/co-principal IIusonic, Switzerland – Enlisting many key players currently involved with 3D cinema sound, this panel will outline their 3D Sound strategies, including impact on production and compatibility with legacy equipment, content, and signal format/coding. The workshop will include a discussion on MPEG’s efforts on 3D Sound compatible formats.

Reconsidering Standards for Cinema Sound – Alternatives to ISO 2969: Chair, Brian McCarty, Coral Seas Studios, Australia – ISO 2969 (aka, SMPTE S202), has been a cornerstone of the audio reproduction ‘B-Chain’ for many years. Like the RIAA curve, it was originally implemented to compensate for delivery defects. What are the implications for these standards and the B-Chain, as film shifts to Digital Cinema delivery, with full bandwidth soundtracks?

Post Production Audio Techniques for Digital Cinema and Ancillary Markets: Chair, Brian McCarty, head of the AES Technical Committee on Sound for Digital Cinema & TV – With the film industry’s rapid move to audio distribution in full-bandwidth, multi-channel, discrete format, post-production techniques to provide high-quality audio continue to evolve. This workshop will feature four leading sound post mixers (music, dubbing, and DVD-Audio) discussing changes being implemented.

Loudness Wars – The Wrong Drug? Presenter, Thomas Lund, HD Development Mgr. TC Electronics – Newly produced music rarely sounds good on fine speakers. Could the wrong mastering ‘drug’ have been used for decades, affecting Dynamic Range (DR) instead of Loudness Range (LRA)? Addressing the grim side effects of this question, the panel, will provide a unique perspective on the difference between DN and LRA from a technical, perceptual & practical POV.

Broadcasters Experiences In The Use of Loudness Standards: Lars Jonsson Swedish Radio – With the recent U.S. adoption of the CALM Act, Loudness Standards have reached the tipping point in audience awareness. This Workshop will bring together a group of leading international broadcasters to address the use of new EBU and ATSC standards on loudness.

Acoustics & Audio iPhone Aps: Peter Mapp, Acoustic Consultant, PMA – has designed this Workshop to survey the range of audio and acoustic measurement, calculation and related apps currently available for the iPhone, iPad and other smart phones. A member of the AES Technical Committee on Acoustics & Sound Reinforcement (TCASR), Mapp will review current apps, their uses and limitations

Mastering for Specific Music Genres: Andres Mayo Vice Chairman TC Arms – Mastering projects occasionally require an expert in a music style which has very specific parameters (dynamics, color, warmth, S/N ratio, etc.). Examples include, classical and regional music e.g. Tango, and powerful ‘bassy’ tunes created for clubs. This workshop will review those unique features, and also address mastering for vinyl and iTunes.

The Controversy over ‘Up-sampling,’ Boon or Scam? Vicki Melchior Audio DSP Tech Consultant, Boston – Many ‘high resolution’ Blu-ray, DVD releases, and HD download files are created by ‘up-sampling’ Redbook or 48kHz data. A practice that frequently draws vehement outcries of ‘fraud.’ And yet, ‘up-samplers,’ both hardware and software, are commonly marketed to consumers and professionals with the promise of boosting Redbook Sonics to near-equality with high resolution. What’s going on? A panel of top mastering engineers, DAC and DSP designers will discuss in depth.

Other 133rd Convention Workshop Program Highlights Include:

*Sound Design Tools for Multichannel Audio With Height: Wieslaw Woszczyk McGill U. Center For Interdisciplinary Research In Music Media.

*Recording Music In 9.1 Height Surround: Presenter, Morten Lindberg, Engineer/Producer Lindberg, Lyd.

*3D Audio Formats (Multichannel Sound With Height) Channel or Object Based? Presenter, Bert Van Daele

*Height Channel – Adding The Vertical Dimension To Surround Sound: Chair, Paul Geluso, Teacher, Chief Recording Engineer NYU Steinhardt

Multi-Microphone Applications & Testing In Telecommunications Systems: Bob Zurek Motorola

Spatial Audio Evaluation: Sean Olive, Director, Acoustic Research Harman Intl.

What Does an Object Sound Like? Towards a Common Definition Of A Spatial Audio Object: Frank Melchior, BBC R&D

MUSHA Reloaded: Presenter, Judith Liebetrau, Fraunhofer IDMT

What Every Sound Engineer Should Know About The Voice: Eddy Brixen EBB Consultant

New Delivery Mediums & How To Get There Safely… Or, Jumping On The New Media Express: Jim Kaiser Educator, Belmont U/Engineer, MasterMix, Nashville

Forensic Authentication of Digital Audio: Jeffrey M. Smith

*The Height Channel ‘Mini-Track’ will be held at Pyramind Media & Music Production School/Studio in the Bay Area’s trendy SoMa neighborhood.
In-depth descriptions of all the 133rd AES Conventions are posted on the Preliminary Calendar of Events http://www.aes.org/events/133/calendar/calendar.cfm

Photo: 133rd AES Convention Workshop Co-Chairs Jeffrey McKnight & David Bowles

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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

Sennheiser Announces Broadcast Microphone Promotion for Customers Purchasing MKH 416 or ME66/K6 Combo

Audio specialist Sennheiser announced a new ‘election’ rebate promotion featuring its MKH 416 and ME66 shotgun microphones. Between September 1st and October 31st of 2012, customers who purchase a Sennheiser MKH 416 or ME 66/K6 microphone combo will be eligible to receive a Sennheiser HD 428 S portable, over the ear headphone free of charge.

This mail-in rebate promotion gives broadcast consumers a significant incentive to take advantage of the powerful sound, robust construction and ultra-reliable performance that Sennheiser shotgun microphones offer.

The Sennheiser MKH 416 shotgun interference tube microphone is one of Sennheiser’s most successful shotgun microphones. Its excellent directivity and compact design, high consonant articulation and feedback rejection make it an excellent choice for film, radio and television, and especially outdoor broadcast applications.

The ME 66, meanwhile, is a shotgun microphone designed for use with the K6 and K6P powering modules. It is especially suitable for reporting, film and broadcast location applications and for picking up quiet signals in noisy or acoustically live environments.

The HD 428 S are closed back, over the ear headphones that feature dynamic bass and high passive noise attenuation. They feature a crosshair design and rubber finishing on the earcups and high-output neodynium magnets for powerful stereo sound.

To learn more about the promotion, please visit http://www.sennheiserusa.com/electionrebate

Photo caption:
Sennheiser MKH 416 shotgun microphone.

Moog Music Sponsors This Weekend’s Hopscotch Music Festival

Moog Music has announced it will be sponsoring this weekend’s Hopscotch Music Festival, which showcases some of North Carolina’s finest musicians while pairing them with notable national and international artists. Slated to bring over 10,000 attendees to downtown Raleigh, Hopscotch is the second biggest new music festival in North Carolina after Moog’s own festival, Moogfest.

“Hopscotch is doing great things for music lovers in our state by bringing boundary pushing artists to North Carolina and putting local bands on a larger platform. Moog has always supported musicians that aren’t afraid to take risks and we’re honored to support festivals like Hopscotch that showcase these artists. It’s a great time to be a music fan in North Carolina with Hopscotch and Moogfest happening almost back to back on the calendar,” said Emmy Parker, Moog Sr. Marketing and Brand Manager.
 
Moog’s Hopscotch stage at the Hive @ Busy Bee Café, will feature some of North Carolina’s most experimental genre bending musicians, including: Found sound sculptor, Feltbattery; avant-garde jazz trio, The Hot at Nights; DJ’s for change, Beat Report; heart breaking fuzz-folk outfit, The Toddlers; and experimental-electro-metal duo Tomas Phillips and Craig Hilton.
 
Festival goers will also get a treat when DJ, Producer, and founder of Fool’s Gold records, Nick Catchdubs, hits the Moog stage. Fool’s Gold has signed and supported some of the most influential and experimental hip-hop and electronic artists of the last three years, including Moogfest alumni, Chromeo. 
 
To show its support for music fans in its home state of North Carolina, Moog will be welcoming each Hopscotch ticket holder at Wrist Band City in Downtown Raleigh’s Sheraton Hotel with giveaways, a daily raffle of their handcrafted effects pedals and the chance to play Moog’s iconic analog synthesizers.

RTW ADDS PRODUCT VIDEOS TO ITS WEBSITE

Demos Enhance User Experience, Further Educating Visitors on the Company’s Offerings

AMSTERDAM, SEPTEMBER 6, 2012 – RTW (IBC Stand 8.E76), a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, has incorporated video demonstrations of its entire product line to its website. The videos, available in both English and Chinese, were filmed during various trade shows during the year and offer visitors an up close look at the products in action.

“In addition to our commitment to producing innovative solutions for today’s broadcast technology needs, we are also firm believers in education,” says Mahmoud Chatah, director of sales and marketing, RTW. “Our website is a reflection of this commitment and it is why we decided to incorporate video demonstrations of each of products. Each video lives alongside each product’s specs, images and technical information, that way when a customer or potential customer visits our site, they receive a 360 degree view of our products.”

RTW’s current roster of products includes its groundbreaking TouchMonitor line of next generation loudness-compliant professional audio signal meters that consists of the TM3, TM7 and TM9 units. The TM3, the latest model, includes features of the larger TM7 and TM9 TouchMonitor versions, and is controlled using a touch-sensitive display. With its budget-friendly base price, a 4.3-inch touch screen and stylish exterior allowing for horizontal and vertical placement, the TM3 is a highly appealing, compact solution for editorial offices, edit suites and small control rooms.

In addition, RTW’s SurroundControl and SurroundMonitor series both continue to be popular solutions for today’s broadcast needs, implementing all major loudness standards, including EBU R128, ITU-R BS.1770-2/1771, ATSC A/85 and ARIB. RTW’s Loudness Range (LRA) instrument features the MagicLRA mode, a simple and intuitive view displaying integrated loudness and loudness variances within short time periods.

All of these product lines will be available for demos at the RTW booth, during the upcoming IBC 2012 show that kicks off on Friday, September 7, 2012 in Amsterdam.

SSL Features “Live-Recorder” At IBC 2012

New SSL “Live-Recorder” Systems Deliver Up to 128 Channels of Ultra-reliable Live, Location or Broadcast Recording

AMSTERDAM – Solid State Logic is pleased to feature its Live-Recorder system at IBC 2012 (Stand 8.D83). Live-Recorder is designed for situations where a robust and reliable high-channel-count Recorder/Player is required in a live performance environment. It is ideal for live music recording from front of house consoles at live shows, in broadcast production studios and location recording vehicles.

Live-Recorder is also an excellent solution for live performance playback of studio recorded multi-tracks. Unlike any other solution, Live-Recorder exports/imports directly to/from Pro Tools™ .ptf, Apple™ XML and Steinberg™ XML project formats. System connectivity is via standard optical MADI so can connect over long distances directly to any MADI equipped Digital Mixing Consoles, Venue Audio Distribution infrastructure (Riedel, Optocore etc) or Routers. Live-Recorder systems can capture up to 128 Channels @ 24bit/48kHz or 64 Channels @ 24bit/96kHz.

“Live-Recorder presents significant cost-saving opportunities when compared to hard disk recorders or other DAW recorder systems,” says Niall Feldman, Director of New Products for SSL. “Live-Recorder excels when it comes to high channel count recording. It’s 4 SSD bay RAID configuration and Pro Tools format export and import capability offer exactly the workflow we know our customers need. The system offers exceptional power and flexibility in this budget-conscious era.”

The Live-Recorder system consists of a fully configured & soak tested 1U PC fitted with a 128 channel SSL MADI Audio Interface and with Soundscape V6.2 Recorder/Player software installed. Each system is supplied with a disk image making returning to a fresh system after each project simple and streamlined. The Live-Recorder PC is an extremely high quality 1U unit with 4 x front loading RAID bays pre fitted with SSD drives. The Live-Recorder system is connected to a FOH or Broadcast Production Console (directly or via a Router) using 2 x 64 channel Optical MADI connections. Live-Recorder supports MTC and MMC via MIDI over Ethernet for external system transport control and can sync via MADI or Word Clock (via BNC). Video Sync can be supported via low cost 3rd party hardware. The software also features advanced crash recovery routines which will retrieve incomplete audio recordings on reboot after a host system catastrophic failure such as sudden power loss.

Key Features
• Live and Broadcast Production DAW Recorder / Player
• Exports directly to ProTools® (8 & 9), Cubase/Nuendo, Final Cut and Samplitude/Sequoia
• Combination of DAW Recorder/Player software, MADI audio interface and host PC
• Connects directly to any optical MADI equipped device; Console, Router, etc
• 128 channel (2 x 64 ch I/O) optical MADI connectivity
• 128Ch@24bit/48kHz or 64Ch@24bit/96kHz recording
• Supports MTC and MMC Sync/Remote via MIDI interfaces or MIDI over Ethernet
• Unique crash recovery features
• Ultra stable software with exemplary SSL recording quality
• Live-Recorder MX4 includes versatile DSP powered software mixer & processing
• Add SSL Alpha-Link converters to Live-Recorder MX4 for local I/O & confidence monitoring
• Live-Recorder 128 option for environments where routing & monitoring is controlled upstream by a console or router.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

DPA Microphones Displays Range of Broadcast Microphone Solutions at IBC 2012

Company Also Raffles off brand new d:facto Vocal Microphone to Attendees

AMSTERDAM, SEPTEMBER 6, 2012 – DPA Microphones is highlighting its international reputation for distortion-free sound and ergonomic design at IBC 2012 (Stand 8.D70) by showing a range of high-quality microphones that are ideally suited to broadcast applications. Among the products on show will be DPA’s expanded d:fine™ headset microphones series, which recently won Live Design’s Sound Product of the Year Award, and the new d:facto™ handheld vocal mic, which debuted earlier this year.

IBC visitors will have the opportunity to win a ground-breaking d:facto vocal microphone. They must simply stop by the DPA stand and have their badge scanned. One lucky visitor will be chosen at random, and the winner will be announced and contacted after the show.

“With so many television programs now being delivered in High Definition and 5.1 surround sound, demand for high quality microphones for broadcast use has never been greater,” says Christian Poulsen, CEO of DPA Microphones. “DPA is internationally acclaimed for delivering the pristine sound quality that program makers and viewers desire. Our range includes microphones for a wide variety of broadcast applications, and we are confident that they are the best broadcast microphones on the market today in terms of both sound quality and design.”

Offering impressive gain before feedback and very stable construction, DPA’s unobtrusive d:fine headset microphones are easy to fit on any person, providing presenters and guests with a discreet microphone solution that can’t be seen on the face. The d:fine range is renowned for its audio accuracy and its ability to deliver natural voice intelligibility and consistent audio performance at all SPLs. The d:fine capsules are so small that they are virtually invisible, leaving presenters free to focus on their performance, safe in the knowledge that these hand-built microphones will deliver high-quality, distortion-free sound.

d:fine is available in both directional and omnidirectional options, in single or dual-ear designs and with long or short booms. Designed to fit comfortably, they adjust to accommodate any ear size and head shape, and can be mounted on either the left or right side of the head. Available in black, beige, brown and lime green, each solution performs spectacularly in either cabled or wireless settings and can accommodate a range of accessories including windscreens, power supplies and adapters or cables with fixed connectors (MicroDot, three-pin Lemo, TA4F mini XLR, Mini-jack).

DPA Microphones d:facto handheld vocal mic bridges the gap between live stage performances and studio recordings. Already put through its paces on several TV shows, including Voice of Denmark, a standard format TV show broadcast in several countries, the d:facto offers an exceptionally natural sound, high separation from nearby sound sources and extreme sound level handling. This microphone is ideal for live music broadcasting as it combines a supercardioid pattern with superb definition to give high separation and true sound color on stage. Similar to all DPA mics, d:facto features superior gain before feedback, while the inbuilt three-step pop protection grid effectively removes unwanted noise.

DPA is also showing its lightweight range of miniature microphones that are popular with broadcasters because they deliver excellent speech reproduction and can achieve quality pick up even when they are not directly aimed at the sound source. The company rounds out its line-up with its best-selling and versatile Reference Standard range of microphones that exhibit total transparency in any recording situation and are capable of picking up incredible detail and depth of sound.

ABOUT DPA:
DPA Microphones A/S is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.

For more information about DPA Microphones, please visit IBC Stand 8.D70. If you are unable to attend the show, please refer to the company’s website – www.dpamicrophones.com.

SOUND DEVICES INTRODUCES NEW 664 PRODUCTION MIXER AT IBC 2012

New Flagship Mixer Features an Unprecedented Amount of I/O Connectivity and Recording Flexibility

AMSTERDAM, SEPTEMBER 6, 2012 – Sound Devices, experts in audio and video products for field production, unveils the 664 Production Mixer, the newest addition to its best-selling line of field and production mixers, at IBC 2012 (Stand 8.D74). The new flagship in Sound Devices’ line of portable production mixers, the 664 builds upon the powerful features of the 552 Production Mixer and offers expanded input/output connectivity and recording capabilities, along with greater flexibility and ease-of-use. Its six input channels have dedicated controls for trim, fader, pan and PFL. The inputs and four output buses are all recordable, for a total of 10 tracks of recording.

Sound Devices’ 664 contains six ultra-low noise, high-dynamic range transformer-less preamps that accept mic- or line-level signals and include analog peak limiters, high-pass filters, input trim control and direct outputs on every channel. Featuring full analog audio paths for high-performance audio and superb power efficiency, the 664 also has numerous digital capabilities. Inputs 1 and 6 are unique in that they can be selected as AES3 or AES42 inputs for digital microphones, each with its own SRC for simplicity in system clocking.

The analog output compliment includes four output buses. The L and R buses are on balanced XLR, 10-Pin, TA-3M connectors, or unbalanced on TA-3M or 3.5mm connectors. Auxiliary output buses X1 and X2 are available on balanced TA-3M connectors. Inputs and buses can be routed to four AES3 connections for eight digital outputs on the XLR and 10-pin connectors.

The 664 can record up to 10 tracks, 16- or 24-bit broadcast WAV files to SD and/or CompactFlash cards. All six inputs and its four outputs are individually selectable for recording, enabling the mixer to record all 10 channels of audio. With its dual card slots, content can be recorded to either or both cards simultaneously, with the added ability to assign individual tracks to each memory card.

Sound Devices also introduces a companion accessory, the CL-6 Expander. The CL-6 is specifically designed to add six analog line-level inputs to the 664 Production Mixer. With the CL-6 attached, the direct output connectors are available as recordable inputs, controlled by faders located on the CL-6 front panel. The CL-6 also offers additional LED output metering and duplicate-recording transport controls. With the 664 Production Mixer connected to the CL-6 Expander, users can now record up to 12 input channels and four outputs, for a total of 16 tracks.

The 664 features an abundance of connectivity options in addition to the main audio I/O, catering to the complex productions that are becoming more common today. It has expanded return-monitoring capabilities, with three separate camera returns as well as a dedicated private line communications connection. The 664, like the 552, has a built-in slate microphone and tone oscillator, and includes a dedicated input for an external slate mike. The internal or external slate mike can be routed to either outputs or to the dedicated comm output. The 664 can easily build a private line communication with a comm return input, separate from camera returns.

“Our customers are looking for more inputs, connectivity, flexibility and power in the field,” says Jon Tatooles, managing director, Sound Devices. “We have taken the strengths and knowledge gained from our existing mixer line and continue to evolve the technology to meet the growing needs of sound mixers. The 664 is how we see the future of high-performance field mixers; they need to have recording capabilities in order to be a fully functional tool in the field.”

Sound Devices’ 664 features an intuitive LCD menu that enables users to simply adjust input settings and offers the capability to see how an input is routed and connected when its settings are altered. The LCD display also enables users to quickly activate the individual tracks that are to be recorded. The Sound Devices 664 features dedicated front panel controls for gain, trim and faders, as well as full-size XLR connectors. The mixer is powered by five AA batteries or external DC power.

The 664 includes a high-precision Ambient-based time-code generator/reader for multi-camera and double-system sound applications. All common production time-code rates and modes are supported. The 664, like all Sound Devices products, is designed to withstand the physical and environmental extremes of field production. Its top and bottom chassis panels are made from molded, metalized carbon fiber for superior durability and weight reduction. The chassis panels are also gasketed for water resistance.

Solid State Logic Appoints Dominic Jacobson as Area Sales Manager

OXFORD, UK – Solid State Logic is pleased to announce that Dominic Jacobson has been appointed Area Sales Manager serving different zones, such as South Europe, North Africa or India. Jacobson has an extensive background in sales of high-end gear to film post production companies, broadcasters and musicians/composers. He speaks both French and Spanish fluently and has worked extensively in India, Russia, the Middle East and Southern Europe.

“At SSL we pay close attention to our customers, so industry expertise and personal commitment are a must have for anyone joining the SSL team,” says Philippe Guerinet, director of international sales for SSL. “Dominic is greatly respected in many countries around the world because of his vast skill level and enthusiasm. He brings with him an excellent track record in equipment sales and hands-on studio experience, so he understands the needs of a creative studio environment from both sides of the glass. We are indeed excited to welcome him on board.”

Jacobson’s work experience includes Reuters, the international news agency, as a satellite coordinator; Thomson Netg, a company specializing in integrated corporate learning solutions, as a software localization engineer; Sony as a pre-sales/support technician for audio and video media products; and four years as a sales manager at Avid and Euphonix, selling professional mixing consoles.

Jacobson is also involved with music production and content creation including work with Charlie Watts and leading session drummer, Jim Keltner, as well as award-winning artists such as multi-platinum Japanese R&B singer, Misia, as well as Ursula Rucker and the group Tom and Joyce. He has performed remix and production work for major labels such as Sony, Mercury and Virgin, as well as for smaller labels such as Talkin’ Loud, Yellow Productions and K7. In addition, Jacobson is a successful composer, having penned the title music for the London Live show on the UK’s Channel 4, which is now in its eighth season, as well as composing content for advertisements and virals for Nike, Ford, Proctor & Gamble and LG.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

SSL Showcases V5 Software for C100 HDS Digital Broadcast Console at IBC 2012

Upgrade Introduces Dual Operator Functionality

AMSTERDAM – Solid State Logic, the world’s leading manufacturer of advanced analogue and digital audio consoles, will showcase V5 software for the C100 HDS Digital Broadcast Console at the IBC 2012 (Stand 8.D83). The new software is primarily focused on the implementation of Dual Operator Mode. Developed in response to feedback from a wide range of SSL clients, this upgrade is particularly relevant to mobile installations when two operators are necessary to work on complex productions, but where space and weight are at a premium.

“The SSL engineering team has developed the V5 software enhancement for the C100 to meet the needs of productions requiring two mix engineers at the same time,” says Piers Plaskitt, CEO of SSL, Inc. “With V5, for example, our the C100 can be installed in a space and weight conscious OB van to easily handle a live international sporting event presented in different languages. This application would require different simultaneous mixes handled by two operators. We believe the V5 software upgrade will significantly impact the dual-operator segment of the market.”

SSL’s Dual Operator Mode provides two operators the ability to have independent physical controls and access to shared audio assets, through a single console processing engine, Routing and I/O configuration. The system allows for an unlimited number of consecutive eight-channel fader bays to be assigned to a 2nd operator. These bays can be located at either end of a C100 console or separated and installed in a remote location such as a production gallery. The 2nd operator bays can be specified with a dedicated Master Tile to provide access to EQ, dynamics, aux sends and various routing functions, or specified without a Master Tile for simple fader-only operation.

Dual Operator Mode splits the C100 PFL system to provide independent PFL control for each operator with monitoring via headphones, or the main or mini monitor outputs. If both operators access the PFL system simultaneously and route to the monitor outputs, the PFL system delivers a sum of all selected channels. V5 also introduces a new momentary ‘non-latching’ PFL mode to facilitate shared use of monitor outputs.

Each operator will also have independent access to user layers to facilitate selection of individual channels to be laid out in each operator’s area and individual channels that are a shared resource, allowing simultaneous control from both operator areas. A fully redundant C100 system will see both Operator areas as a single console, delivering seamless redundancy for both users. For streamlined project recall for an entire Dual Operator system, all settings for both operators are also saved within a single project.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

DPA Microphones 4017B Shotgun Microphone is on the Mark for National Geographic’s Border Wars

Sound Mixer Bob Tiwana Relied on the Mic, Connected to a Sound Devices 788T, to Record Season 7

LOS ANGELES, SEPTEMBER 4, 2012 – When Sound Mixer Bob Tiwana sought a new boom microphone to record the seventh season of National Geographic’s Border Wars, he turned to DPA Microphones’ 4017B Shotgun Microphone. Already familiar with the quality of the DPA brand, Tiwana connected the microphone to his Sound Devices 788T digital audio recorder to record and profile U.S. Customs and Border Protection agents as they patrol the nation’s southern ports of entry from the air and on boats and horseback.

Tiwana records on location in the hot, humid weather of Texas, Arizona and southern California. Having never used the 4017B in the field, he took a chance that the microphone would work as well in the elements as it does in the studio.

“I already knew the DPA 4017B would sound great because I’ve heard it before and have used it in more controlled environments,” says Tiwana. “For Border Wars, I went out on a limb and took it out in the field to see how well it does. I was a little apprehensive because it’s not an expendable piece of equipment, but I didn’t baby the microphone. After the first couple of days, I came back with stunning results. It worked very well in the field and in all the situations I put it through.”

Designed for a broad range of applications, the phantom-powered DPA 4017B is ideal for broadcast, ENG and film booming, among many other uses. The highly directional supercardioid pickup pattern of the DPA 4017B, obtained using a supercardioid design with an interference tube that provides excellent off-axis rejection, is extremely accurate. It also offers a great amount of clarity.

The size of the DPA 4017B makes it exceptionally convenient for field use. This is essential for Tiwana and his team, who regularly experience physically grueling and sometimes dangerous field conditions and must keep their gear to a minimum. On any given day, the team might need to hide in the brush or along water banks or run through cactus-laden fields. Like the agents that the show follows, Tiwana’s team also faces life-threatening situations, such as gunfights with cartels. To keep safe, everyone must wear heavy Kevlar vests and be able to move on a moment’s notice.

The combination of the DPA 4017B with Sound Devices’ 788T provides Tiwana with a portable, high-quality recording setup. “The mic-pre on the mixer and the impedance on the DPA are well matched,” he continues. “I didn’t have to use a lot of gain to get my desired results from the boom. I plugged it right into the XLR input, applied phantom power—which the 788T does in a lovely way—and used the 10k boost and high-pass filter to avoid handling noise in case I was running or it was windy.”

With the latest 788T software upgrade, Tiwana is also able to create sound logs at the end of each day. This enabled him to provide reports to the production team of time codes and the duration of each take, as well as notes and track assignments.

“I’ve been working with Sound Devices since their first recorder, the 744T,” concludes Tiwana. “When they introduced the 788T, I made a point of adding it to my arsenal. I bring both units with me in the field. As for the DPA 4017B, this is the first time I’ve used it in this type of setting, and I’m really impressed that it took everything I gave it on the show. It was very grueling in south Texas, with 95- to 100-degree temperatures and humidity at 75 to 80 percent every day. The microphone performed flawlessly. I’ve had others that haven’t performed as well in the humidity. I’m really impressed with the DPA mic, and if they call on me again next year to record this show, I’m bringing it with me.”

Bob Tiwana is a multitalented production professional who has been involved in audio for nearly 30 years. A seasoned vet in live performance, studio and on-location recording, his experience runs the gamut from television and film to post production. His long list of credits includes work for Avatar, Moneyball, Grey’s Anatomy, House and the 2012 ESPY Awards. He has also worked on commercials for several large companies, including Sony, Bank of America and the Chicago White Sox. More information about about Tiwana can be found at: www.trackwizzard.com.

Border Wars
is an American documentary television series that airs on the National Geographic Channel. The program follows agents of the U.S. Customs and Border Protection (CBP), Immigration and Customs Enforcement (ICE) and other divisions of the Department of Homeland Security as they investigate and apprehend illegal aliens, drug smugglers and other criminals violating U.S. immigration and customs laws. Season 7 will begin airing this fall.

ABOUT DPA:
DPA Microphones A/S is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

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