For the fourth year in a row, Riedel Communications is soaring as the official global supplier of the Red Bull Air Race World Series. Riedel, the leading manufacturer of intercom systems and one of the world‘s biggest rental services for wireless and wired communications solutions, is at the forefront of the event providing the entire communications solutions, integrating both wireless and wired digital intercom systems. Additionally, Riedel is supplying the wireless video links for the race planes‘ onboard cameras enabling stunning pictures to be delivered from the pilots‘ perspectives.

The Red Bull Air Race World Series is a competition based on speed, precision and skill that pits the world‘s most talented pilots up against one another. The race requires a dynamic discipline of flying, called “air racing” where the objective is to navigate a challenging course in the sky, in the fastest possible time. Flying against the clock, each pilot has to execute tight turns through a slalom course consisting of specially designed pylons, known as “Air Gates.“ They compete in knockout rounds with the two fastest pilots going head to head in the final. The first World Series kicked off in 2005, taking place in seven venues across the world with 10 internationally acclaimed pilots competing. This year, 13 pilots have taken to the skies in 10 races worldwide from April 6th to November 4th. Over 300,000 spectators are expected to flock to Perth’s beautiful Swan River in Australia to witness the Qualifying Round on November 3rd and the 2007 World Series‘ Finals on November 4th.

“To ensure mission-critical communications, we designed a system that leveraged the best of both wired and wireless communications,” explained Thomas Riedel, managing director of Riedel Communications. “We are enabling the communications of over 650 people involved with each Red Bull Air Race. Everyone from the pilot to security and referees are utilizing our state-of-the-art system.”

All audio signal distribution throughout the races have been engineered with an Artist 128 network consisting of three nodes connected via a dual redundant fiber ring. The three frames are located in the Air Race control tower, the TV compound and the organization compound. At a day-time open air event like this, the special 8-digit LED display keys of the Artist 1000 series allows clear labeling of destinations and excellent readability under all lighting conditions including direct sunlight for all 70 RCP-1028E/O panels. In addition, the Artist 1000 panels provide broadcast quality audio and individual listen level control for each talk key. Four PMX-2008s, designed for panel distribution and transport of audio signals, are providing a cost-effective solution to minimize setup time with eight BNCs to connect to the matrix panels using a fiber link. Over four miles of fiber is being utilized to serve as the race‘s audio and video backbone.

The Matrix intercom system is seamlessly integrated with Riedel‘s Digital Trunked Radio installation (TETRA). TETRA combines the advantages of analog trunked radio with those of digital mobile radio, resulting in optimal frequency usage, the highest transmission quality for speech and data, maximum security against eavesdropping, as well as flexible networking and connection management. Additionally, digital trunked radio offers full duplex communication, GPS-positioning and connection to the public telephone network or company telephone systems. Over 450 Motorola MTH800‘s are being utilized to assist in the production of the races. Additional walkie-talkie radio systems are connected to the wired communication systems through 20 of Riedel‘s universal radio interface RiFace.

Spectacular views of the Red Bull Air Races come directly from the cockpits with 28 wireless video links. On-board cameras capture live footage from the pilot‘s perspective, but it‘s Riedel that ensures the secure signal transmission for video and audio. A special engineered six-channel diversity receiver combining technologies of various manufacturers guarantees the secure signal transmission of audio and video event during the most extreme flight maneuvers. Four ground cameras are also being utilized as well as two Cineplex high definition cameras in helicopters.

Riedel is also providing the most appropriate IT infrastructure for the races, including Internet access, VoIP telephone, network infrastructure with servers and firewalls and a media center for journalists. Optical fiber cables are important mediums for signal transport and communication used throughout the race. Riedel has installed the complete fiber network for all locations of the event. Audio, video and data communications are being distributed throughout the fiber network. Each race uses both the location itself and the airport, which is typically miles away; Riedel is providing a digital wireless data connection between both locations with extreme high bandwith. This link transports HD camera signals, audio, video, VoIP, radio, intercom and Internet connections.

Riedel Communications has been developing and delivering radio and intercom solutions for large-scale events for 20 years. “Thanks to our wide range of experiences we are able to provide communications solutions which meet any demands of large-scale event organizers,” said Riedel. “Apart from quality and know-how we are also accomplished in terms of quantity. As one of the largest rental companies for radio and intercom technology world-wide we also have the necessary inventory to equip events of this size.” Riedel delivered six containers with approximately 11 tons of communication equipment to the Red Bull Air Race World Series.

About Riedel
Riedel – one of the major suppliers of communications equipment to the 2006 Olympic Winter Games in Torino – designs, manufactures and distributes the most sophisticated intercom and radio technology for customers worldwide in the broadcast, pro-audio, event, sports and theatre industries. The products reflect today‘s leading-edge technologies that expand conventional concepts into tomorrow‘s applications. The Riedel group of companies also includes a European based large rental operation that provides radio, intercom services, event accreditation & ticketing systems as well as fiber-based audio and video transmission systems. The Company was founded in 1987 and today employs over 150 people located within 7 locations in Europe, Asia and North America.

–Asbury Audio And Matching APB-DynaSonics Spectra Consoles Ensure High Quality Sound For WHY-Chapin Awards Dinner at New York‘s Lighthouse at Chelsea Piers–

New York, NY– WHY (World Hunger Year) recently held their annual WHY-Chapin Awards Dinner at New York‘s Lighthouse at Chelsea Piers. WHY, founded in 1975 by singer activist Harry Chapin and current executive director Bill Ayres, is a leading advocate for innovative, community-based solutions to hunger and poverty. WHY challenges society to confront these problems by advancing models that create self-reliance, economic justice, and equal access to nutritious and affordable food.

Jason Dermer, a WHY Hungerthon Supervisor, Harry Chapin Foundation Board member, and owner of Asbury Audio, provided technical support for the event. The annual WHY-Chapin Awards Dinner heralds the achievements of people whose everyday work represents the best anti-poverty efforts promoted by WHY. This year‘s event also honored Jackson Browne and Jon Landau Management for their work towards similar goals through the years.

With a bill that featured three-time Grammy Award winner and WHY board member Tom Chapin as the evening‘s host, as well as other A-list performers, the challenge for front of house engineer Dermer and systems/monitor engineer Bennett Prescott was typical of a corporate event in a ballroom venue. As Dermer recounts, “You end up with very little time to figure out where to set up FOH while keeping everyone happy. We went in at eight AM and had the PA and lighting in the air by quarter after ten, but we couldn‘t set up FOH until a half hour before the three PM sound check due to the changing needs of table setup and hospitality.”

Equipped with APB-DynaSonics Spectra Ti 48 consoles for FOH and monitors, Dermer and Prescott were off to a good start. As Dermer puts it, “The consoles worked perfectly. I‘ve been using the Spectra at my house gig in the Stone Pony for a little over a year and it‘s phenomenal. The sound quality, the feature set is everything you could possibly need in an analog console that is used primarily for mid-scale concert production.”

Dermer continued, “When I was looking to upgrade my console, I found that my market was not quite ready for digital, and I had to find an analog solution that offered superb quality in the under $30,000 price range. I had heard all of the great comments APB had been getting on Prosoundweb, and since they‘re a local company located just a few miles north of me, I called them up and arranged for a demo. Ultimately, I was blown away that a console in this range could have great sound, as good if not better than consoles costing twice as much, while still offering the feature set to deal with even the most critical engineers.”

Concluding, Dermer adds, “On this job, the Spectra consoles gave us everything we needed. We were dealing with artists and engineers who are used to carrying their own consoles and full production from some of the largest providers in the world, and we were able to come in with consoles from a small manufacturer that met every need for the entire show. There were no hitches or hiccups, everything went off really smoothly.”

As to the production itself, Prescott explains, “Everyone was extremely pleased. The PA setup itself wasn’t that complicated. We had two hangs of line arrays and four delay zones–to the left and right of the stage because of the U-shaped audience area. Then we ran a delay out to the bar area, which is separated from the audience area by glass. The room was also of L shaped, as well, so we used another delay speaker to fill in there.”

The actual speaker complement included eight flown EONA ADRaudio L 2821 HH line array modules; four EONA ADRaudio U 103 HH trap full-range boxes for delays and fill; six EONA ADRaudio M 1225 HH monitors, 5 on deck and one cue (for Prescott at monitors), and two EONA ADRaudio ATA 618C HH cardioid subwoofers, stacked stage right. Also part of the system was two Dolby Lake Processors with tablet for all speaker control (one 4×12 and one 8×8); several J48 Radial Direct Injectors and a mix of Audix, Sennheiser and Neumann microphones. BSS equalizers, DBX and Drawmer compressors, Drawmer gates, and TC Electronics effects were used for outboard processing.

Prescott is also enthusiastic in his evaluation of the Spectra consoles‘ performance at the benefit. “What‘s really remarkable is that, with matching Spectra Ti 48s for both FOH and Monitors, the show was as easy to work at monitors as I imagine it was at FOH. I purchased my Spectra Ti primarily for FOH, but I‘ve mixed monitors on it a couple of times and it‘s a very smooth there as well…the flexibility is exceptional.”

Madison, WI–One of several musical events sponsored by Southern Comfort across the country, the SoCo Music Experience in Madison was a seamless blend of rock festival and corporate branding that made perfect sense in terms of context and style.

Situated at Willow Island, an outdoor festival ground with ponds and grassy expanses on the grounds of Madison‘s Alliant Energy Center, the show featured a high-energy alternative rock lineup that included Flaming Lips, Cold War Kids, Cowboy Mouth, Sick Puppies and Goat Motor. Festival attendees had to be 21 to get in, no surprise considering the sponsor.

Technotrix, a multifaceted production company out of Bourbonnais, Illinois who had already done staging and lighting for the SCMX event in Atlanta, was hired to handle full production and lighting for Madison.

Asked about the challenges at SoCo, company account manager Kevin Kiefer explains, “Festival jobs aren‘t that difficult for us because we do them all of the time. What‘s different about these ‘corporate festivals‘ is that we bring someone like Southern Comfort a system you‘d use for a medium-sized rock music show, but the main focus becomes the branding and promotion of a particular corporate brand, something we do well.”

“There are corporate production companies who have gear for doing speeches, but not a rock show,” Kiefer continues. “And there are festival guys who have the equipment for a rock show, but don‘t know how to focus on the branding and corporate entity.”

“Technotrix provides equipment for a lot of festivals, so we came up with this combination platter for companies like Nike, Netflix or Southern Comfort to put the corporate brand into the rock environment and make them look good.”

In this case, Kevin and crew supplied a 45 by 45 foot concert roof system by Xtreme Structures for the lighting and audio. To ensure maximum coverage for an area roughly 200 by 250 feet, they used Martin Audio throughout: 12 W8LC enclosures hung left and right of the stage with 18 ground-stacked WSX subs, four WT2‘s for front fill, and LE12JB monitors on stage. In addition to Martin Audio amplifiers, the system consisted of Yamaha PM5DRH FOH and Monitor consoles and XTA processing. The lighting system featured Martin MAC700 profiles.

Commenting on the setup, Kevin explains, “basically, we set up the sound and lighting the day before. Load in and sound check started at 8 in the morning, and the gates opened about four in the afternoon. The only odd thing was getting through the sound checks for all five bands.”

“As it turned out, I was very happy with the sound and so was our client, Mowalla Productions who told us that Southern Comfort was pleased as well. In fact, they‘ve asked us back to do another event in St. Louis. The person we were working with from Mowalla hadn‘t used Martin Audio before, but he ended up being a fan. So we‘ll probably do more of these shows next year, which is best end result we could have hoped for.”

Madison, WI–One of several musical events sponsored by Southern Comfort across the country, the SoCo Music Experience in Madison was a seamless blend of rock festival and corporate branding that made perfect sense in terms of context and style.

Situated at Willow Island, an outdoor festival ground with ponds and grassy expanses on the grounds of Madison‘s Alliant Energy Center, the show featured a high-energy alternative rock lineup that included Flaming Lips, Cold War Kids, Cowboy Mouth, Sick Puppies and Goat Motor. Festival attendees had to be 21 to get in, no surprise considering the sponsor.

Technotrix, a multifaceted production company out of Bourbonnais, Illinois who had already done staging and lighting for the SCMX event in Atlanta, was hired to handle full production and lighting for Madison.

Asked about the challenges at SoCo, company account manager Kevin Kiefer explains, “Festival jobs aren‘t that difficult for us because we do them all of the time. What‘s different about these ‘corporate festivals‘ is that we bring someone like Southern Comfort a system you‘d use for a medium-sized rock music show, but the main focus becomes the branding and promotion of a particular corporate brand, something we do well.”

“There are corporate production companies who have gear for doing speeches, but not a rock show,” Kiefer continues. “And there are festival guys who have the equipment for a rock show, but don‘t know how to focus on the branding and corporate entity.”

“Technotrix provides equipment for a lot of festivals, so we came up with this combination platter for companies like Nike, Netflix or Southern Comfort to put the corporate brand into the rock environment and make them look good.”

In this case, Kevin and crew supplied a 45 by 45 foot concert roof system by Xtreme Structures for the lighting and audio. To ensure maximum coverage for an area roughly 200 by 250 feet, they used Martin Audio throughout: 12 W8LC enclosures hung left and right of the stage with 18 ground-stacked WSX subs, four WT2‘s for front fill, and LE12JB monitors on stage. In addition to Martin Audio amplifiers, the system consisted of Yamaha PM5DRH FOH and Monitor consoles and XTA processing. The lighting system featured Martin MAC700 profiles.

Commenting on the setup, Kevin explains, “basically, we set up the sound and lighting the day before. Load in and sound check started at 8 in the morning, and the gates opened about four in the afternoon. The only odd thing was getting through the sound checks for all five bands.”

“As it turned out, I was very happy with the sound and so was our client, Mowalla Productions who told us that Southern Comfort was pleased as well. In fact, they‘ve asked us back to do another event in St. Louis. The person we were working with from Mowalla hadn‘t used Martin Audio before, but he ended up being a fan. So we‘ll probably do more of these shows next year, which is best end result we could have hoped for.”