RTW SELLS 100 TOUCHMONITOR TM3 UNITS TO COLOGNE BROADCASTING CENTER

From left to right: Martin Leuenberg - Sales Manager RTW Mahmoud Chatah - Head of Marketing and Sales RTW Oliver Schmitz - CEO Schmitronic Jürgen Mölders - Head of Postproduction CBC

RTL Deutschland Group’s CBC Relies on RTW Loudness-Metering Systems

AMSTERDAM, SEPTEMBER 7, 2012 – RTW (IBC Stand 8.E76), a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, is pleased to announce the recent sale of 100 TouchMonitor TM3 units to Cologne Broadcasting Center (CBC), a television production and broadcasting company with offices in Cologne, Munich and Berlin. CBC purchased the TM3s to help meet the German government’s upcoming loudness requirements for TV shows. Schmitronic, a Cologne-based expert provider of professional audio components, supplied the units, which CBC has already begun to install.

CBC initially planned to purchase approximately 80 TouchMonitor TM3 units, but after further studying its requirements, increased that number to a total of 100 units. According to Jürgen Mölders, head of post production at CBC, who manages nearly 70 post-production suites, when it came to purchasing new loudness meters, CBC, already a longtime user of RTW equipment, felt RTW was the obvious choice. “When we tested a prototype version of the TM3, we were quite taken by its simple and intuitive operation,” he says. “We typically use the TM3 units in editing suites. As the monitoring device is a separate hardware unit, the main screen is reserved for the primary edit applications at any time.”

Since the TM3 installation at CBC spans several stages, Mölders insisted on having the first shipment delivered late in May. “Internally, we already transitioned our production to the new loudness-metering systems in June,” he explains. “This means that our editing suites already comply with EBU R128, but for the time being, we’ve adapted the levels in Final Cut Pro to our previous standards, which are still applicable. Thus, we were well prepared for when German regulators began to enforce loudness regulations for all major TV stations at the IFA in Berlin on August 31.”

Jochen Wellnitz, senior sound engineer at CBC, says he and his team are very happy with the experience they’ve had during their first few weeks with the TouchMonitor TM3. “Operating the device locally using the touch screen is simple and quick,” he says. “When browsing presets, the graphical preview feature is truly handy.”

According to Mölders, in order to avoid operating errors, his team decided to use a single preset that the editor cannot change or modify at the workplace. “This ensures that the metering is based on the same specifications at all our editing suites,” he notes. “On the other hand, there are other workplaces such as post-production suites or special-purpose systems where multiple presets are available to our creative team.”

Andreas Tweitmann, CEO of RTW, says his company is thrilled with the sale. “CBC’s acquisition of the 100 TouchMonitor TM3 units reaffirms the company’s faith in RTW’s loudness monitoring systems. We are very happy about that. We are convinced that the latest member of our extremely successful TouchMonitor series will meet and surpass all expectations in practical use.”

The RTW TouchMonitor TM3 enables quick and easy loudness metering. The system comprises a display unit featuring a 4.3-inch touch screen for horizontal or vertical use and a separate interface box. The easy-to-learn operating concept allows for fast selection of presets that are configured using RTW’s Devicer DC1 software, which is available for Macintosh and Windows. In addition to PPM and true-peak instruments, the TM3 offers comprehensive loudness metering in compliance with all globally relevant standards, including EBU R128, ITU BS.1770-2/1771, ATSC A/85 and ARIB. Instruments include single-channel and summing bar graphs, loudness range and numerical displays. The TM3 stereo version handles analog and digital audio; in addition, the TM3-6CH version also supports six-channel digital input. An upgrade option for stereo units is available.

Clear-Com Introduces Eclipse HX at IBC 2012

Company Revamps Powerful Matrix Intercom Range to Deliver Ultra-Fast Software Performance, Intuitive Management and Higher Capacity for System Expansion

AMSTERDAM, SEPTEMBER 7, 2012 ? Clear-Com®, a global leader in critical voice communication systems, today unveils the Eclipse HX Digital Matrix Systems and Eclipse HX (EHX) Configuration Software at IBC 2012 (Stand 10.D29a). The distinct set of powerful matrix intercoms offers faster performance, simplified operations and administration and higher system capacity.

The Eclipse HX systems, comprising the Eclipse HX-Omega, Eclipse HX-Median and Eclipse HX-PiCo, as well as the EHX software, are based on the original, powerful and comprehensive Eclipse digital matrix platform. All retain the legacy platform’s unique integration capabilities. Additionally, Clear-Com’s V-Series panels, frame cards and interfaces are compatible with the new Eclipse HX range, providing a seamless logical upgrade path for existing Eclipse customers. What sets Eclipse HX apart from the original Eclipse line are improvements in the software architecture, user interface and system capacity.

“We are very pleased to introduce the new Eclipse HX systems and EHX software at IBC,” says Peter Stallard, Senior Product Manager, Eclipse, Clear-Com. “In broadcast facilities where matrix intercom systems and resources are often shared across multiple studios, having fast and highly intuitive systems is critical when scarce engineering resources are needed to execute system-wide changes reliably, in real-time and with minimal impact on system users. Also, the Eclipse HX systems have the ability to make changes on the fly, which is especially important in OB vans and other live operations.”

The Clear-Com Eclipse is the only intercom on the market with a highly advanced range of user key panels, frame cards, interface modules, seamless wireless integration and intelligent IP intercom connectivity. The new Eclipse HX systems and EHX configuration software offer:

Improved system performance and resource utilization for executing EHX software configuration changes in real time.
• Clear-Com has designed the EHX software for faster processing of configuration and routing cards. This optimizes system performance and speed.

An intuitive user interface and easier setup operations for a better, simplified user experience.
• New “Matrix Ports and Cards” screen for a more efficient setup process.
• New “Resource Chart” to display utilization level of system resources.
• Improved user-panel setup for easy drag-and-drop operation.
• Easier-to-use single-frame operation for an individual user.
• Easier-to-read fonts and vertical-font displays on V-Series key panels.
• User rights features for identifying user types and providing system access control to protect against inadvertent changes.
• Color tallies as indicators for IFB and telephone-assigned keys.
• New “Online Help” feature provides context-sensitive help within software.

Space saving and expanded system capacity.
• Eclipse HX-Omega and Eclipse HX-Median matrix port density has increased to more than 448 ports per 6RU frame, the highest density intercom matrices on the market.
• PiCo-Link provides intelligent audio linking between co-located Eclipse HX-PiCos to resources in just 2RU.
• System features split-mode operation for E-Que cards, making them more efficient when users want to use both E1/T1 trunks and FreeSpeak.
• MADI channels can be used for intelligent trunking.
• Logic Maestro and client-server mode have been bundled with the EHX Software.

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 Analogue and 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.

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

###

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.

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