Archive for May, 2012
COLOGNE, GERMANY, 3 MAY 2012 – RTW, a leading manufacturer and distributor of professional audio metering and control devices for studio recording and radio and TV broadcast applications, is pleased to announce it recently delivered three pre-production units of the new TM3 TouchMonitor to Cologne, Germany-based Wige Broadcast, prior to RTW’s official sales launch of the new product. German Broadcaster RTL, which relied on Wige Broadcast’s technical infrastructure for this year’s Formula One coverage, employed the units during the first Formula One races in Australia and Malaysia, where they passed acid tests.
The three RTW units are part of Wige Broadcast’s extensively preconfigured mobile production system, which the company flies from race to race, setting it up on site. Despite the considerable workload the equipment must handle, Tobias Vees, executive manager for technical systems and business development at Wige Broadcast, says the units operated flawlessly.
“Even after countless transports, temperature fluctuations, and continuous assembling and disassembling, the units operated smoothly,” says Vees. “In addition, our on-site users liked the extremely straightforward operating concept of the TM3, as well as the option of placing the unit horizontally or vertically, as needed.”
For the Formula One broadcasts, Wige Broadcast used the TM3 TouchMonitor as a component of the on-site edit suites. The signal inputs of the TM3 are extremely flexible and provide a number of formats, including analog (balanced and unbalanced), AES3 and S/PDIF-features that Vees appreciates. “When it comes to selecting input sources, the TM3 is extremely flexible,” he explains. “Fast integration of the devices into existing setups is simple and straightforward.
Vees notes that while the RTW TM3 TouchMonitor wasn’t the only metering system his company tried, it was the one Wige Broadcast liked the best. “We had tested various options for loudness metering for this project,” he explains. “These also included plug-ins installed right on the edit computer. It soon became obvious, however, that a dedicated hardware solution offers many benefits compared to software metering. In addition to the display quality and speed, the accuracy of the metered values plays a key role. In my opinion, no plug-in was capable of achieving the same degree of reliability and display accuracy offered by the TM3.”
A plug-in would have also required on-screen space, and is never on top when actually needed. “On the other hand,” says Vees, “an external unit always shows the relevant settings in the same place and in the highest quality, regardless of the computer’s graphics configuration.”
Moreover, Vees also reported that the hardware units enjoy much greater user acceptance. “With regards to critical parameters such as level and loudness, users want to be sure that they can rely on the readout,” he says. “At the end of the day, a dedicated unit specifically designed for that single purpose is much more trustworthy to them-in particular when it bears the RTW logo.”
“We are very glad that Wige Broadcast relies on the TM3 TouchMonitor to realize such a demanding project,” says Andreas Tweitmann, CEO, RTW. “We are convinced that the TM3 is an extremely flexible and reliable entry-level solution for loudness-metering applications.”
The RTW TM3 TouchMonitor is a solution for quick and easy use in 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 the 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: 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.)
RTW, based in Cologne (Germany), has more than 40 years of experience in designing, producing, and marketing advanced audio systems for professional users. The company focuses its business on tools for visual signal analysis and loudness metering that is in use in the leading recording studios as well as by radio and TV broadcasters worldwide. The current product portfolio includes the TouchMonitor range, a series combining highest flexibility and modularity with an intuitive user interface and touchscreen-based multichannel-analysis features, and the SurroundControl series providing a full feature set for monitoring, controlling, and routing stereo, multichannel, and surrounds signals. Both ranges share intuitive built-in surround-signal visualization thanks to the Surround Sound Analyzer, which has set new standards in the pro-audio industry. In June 2008, RTW was certified for the internationally accepted DIN EN ISO 9001:2000 quality-management standard.
For more information, visit www.rtw.de or www.facebook.com/rtw.de, or call +49 221 709130.
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Andover, MA––In recent years, Fishman has been growing at a phenomenal rate while expanding into new categories beyond the acoustic amplification products they’re know for with industry breakthroughs such as the Triple Play™ Wireless Guitar Controller, first introduced at Winter NAMM.
To do this successfully, the company has had to devise new ways to shorten the R&D and time-to-market process without compromising the high standards of quality they’re known for. A major part of this initiative is Fishman’s acquisition of an Objet 3D desktop printer so that it can rapidly create fully functional and true-to-life three-dimensional prototypes and parts.
The printer uses patented PolyJet Matrix 3D printing technology which works by jetting special photopolymer materials in ultra-thin layers (16µ) layer by layer onto a build tray in a process managed by the company’s studio™ software until the part is completed. Each layer is then cured (dried) by UV light immediately after jetting, which produces models that can be handled and used immediately.
Having their own in-house desktop 3D printer allows Fishman to go through multiple design iterations in a single day so their R&D department can quickly and efficiently finish new designs without missing windows of opportunity within the guitar market sales cycle.
According to Fishman’s Director of Product Development Ian Popken, “The Objet printer has had an incredible impact on our ability to be more predictable on time to market. It’s very exciting for mechanical engineers and others involved with the product to realize their ideas a few hours later.
“The fit and finish we’re able to achieve with these resins from the Objet is just remarkable,” Popken continues. “They so closely resemble the final product that we once took them to a trade show and no one could distinguish that they were final prototypes!
“So not only do we have the amazing cosmetics and the way that it looks on the outside, but also complete inside works and functionality of the product. When it comes time to do our pilot run, it goes very smoothly because we’ve already demonstrated that we can build the product exactly the way we want to instead of waiting for every part to come off tool. We are already ahead of the game because of the printer.”
In addition to shortening the R&D and production cycle, the Objet printer has proved to be an invaluable tool for optimizing Fishman’s relationship with its customers.
As VP of OEM Sales Rob Ketch points out, “The parts we get from the Objet printer are of such good quality, we’re able to send them to customers after our shop has applied paint and graphics and they look very close to actual production parts. In the past, there would be such a long time between a drawing, stereolithography and a molded part; we would often miss a cycle for one of our customers.
“With Objet,” Ketch concludes, “they have a real example of the product, which can be very powerful in closing the sale. The Objet printer’s impact on the timeline and the impression that it makes in terms of parts and products has been really valuable to us at Fishman.”
For more information about Fishman, go to www.fishman.com.
Old Lyme, CT – May 2, 2012: Audio specialist Sennheiser announced that Alexander Schek has been promoted to vice president sales, Latin America, effective immediately. In his new position, Schek will be responsible for Sennheiser’s sales strategy across each of its business lines, as well as managing the company’s area sales managers within the Latin American region. He will report directly to Markus Warlitz, general manager, Latin America.
Schek began his career with Sennheiser in 2009 as area sales manager for Central America and the Caribbean, where he was responsible for managing Sennheiser’s business across each of its divisions. In this role, he was very successful in increasing the overall distribution of Sennheiser products across Central America. As Vice President Sales, Latin America, Schek replaces Oliver Baumann who left Sennheiser in March.
“As one of the fastest growing economies in the world, the Latin American region represents a very important part of Sennheiser’s international growth strategy,” commented Markus Warlitz. “During his tenure at Sennheiser, Alexander has achieved remarkable sales performance while also possessing drive to take our business to the next level in Latin America. I congratulate him on this well deserved promotion.”
A German citizen who grew up in Brazil and Chile, Schek has an acute understanding of the Latin American market and business culture in addition to over a decade of executive level sales experience in the Consumer Electronics and Audio Industry. He holds a degree in Marketing from the University de las Américas, Santiago de Chile. Alexander is located in Miami, FL and will travel to the Latin American region on a frequent basis.
MONTEVIDEO, URUGUAY: Vivace Music, an elegant, high-end recording studio, has debuted in the heart of Montevideo, the 1/4Switzerland1/4 of Latin America. Acoustically superb, and aesthetically unique, studio details are highlighted by rare wood elements such as doors, window trim, flooring and custom furniture built with recycled wood acquired from ancient wooden casks originally used for the leather tanning industry, (one the multiple activities of studio co-owner Luis Cesio).
Designed to accommodate the full spectrum of Latin, jazz, pop, rock and world music production, Vivace establishes a new standard of high-quality audio production for South America. The 1000 sq. ft. complex features a 450 sq. ft. live room outfitted with variable acoustics and shared by two comfortable control rooms, each with it’s own Iso Booth. Control Room A is equipped with an SSL AWS948 – 48 channel console, Pro Tools HD – 48 channels, Stereo ATC SCM 150A Surround and Genelec 8050 /7070 monitors. Control B features Command 8 Control surface, Pro Tools HD. and Surround JBL LSR6325 monitoring. The studio also offers a substantial collection of outboard gear including preamps and compressors (API, AVALON, Manley, Empirical Labs, Neve, Teletronics, etc), and numerous vintage mics and instruments.
“The acoustic qualities and isolation developed by WSDG enable us to work at any sound level without concern for extraneous noise entering the studio or leaking out to our neighbors,” explain Studio co-founder/partners Cesar Lamschtein and Louis Cesio. WSDG Latin director Sergio Molho, developed a turn-key design and build program which engaged local talent for technical and specialty item finishes, and, an experienced studio construction crew to insure critical isolation. Grammy-winning engineer/WSDG Brasil partner/GM, Renato Cipriano, coordinated final tuning and certification of the ATC monitoring systems.
Photo 1. Vivace Music Control A
Photo 2. Vivace Music Live Room
Photos by Silvia Campos Ulloa
Walters-Storyk Design Group has designed over 3000 media production facilities in the U.S., Europe, the Far East and Latin America. WSDG credits range from the original Jimi Hendrix Electric Lady Studio in Greenwich Village to NYC’s Jazz At Lincoln Center performance complex, broadcast facilities for The Food Network, CBS and WNET, over twenty teaching studios for The Art Institutes around the US, and corporate clients such as Hoffman La Roche. Recent credits include Jungle City, NY’s major new destination studio; private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk, Beth Walters, and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG is a seven-time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design, including 2012 for Jungle City. WSDG maintains offices in NY, SF, Miami, Argentina, Brazil, Bejing, Germany, Mexico City, Spain and Switzerland.
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Grammy Award-Winning Classical Cellist Uses the DPA 4061 and DPA 4088 Microphones for All Performances on the Silk Road Ensemble Tour
Yo-Yo Ma’s Audio Engineer Jody Elff relies on DPA Microphones’ 4088 cardioid headset and 4061 omnidirectional miniature microphones for the Silk Road Ensemble tour. more
Peavey IPR 1600 DSP & IPR 3000 DSP Power Amplifiers Feature Built-In Waves MAXXBASS Processing & More
Peavey® proudly announces the availability of the revolutionary IPR™ 1600 DSP and IPR 3000 DSP power amplifiers. Loaded with an exclusive digital signal processing suite, IPR DSP Series amps are innovative, high-powered live production tools for both front-of-house and monitors.
The IPR 1600 DSP and IPR 3000 DSP power amplifiers combine user-friendly loudspeaker management with the award-winning, lightweight power and performance of the original Peavey IPR power amplifiers. The onboard digital signal processing system includes preset banks for popular loudspeaker types and configurations, as well as Waves® MaxxBass® psycho-acoustic processing for the first time in any power amplifier. more
The first UK rental company to purchase Martin Audio’s MLA (Multi-cellular Loudspeaker Array), RG Jones Sound Engineering was also the first to debut the scaled-down version of this breakthrough technology with the brand new MLA Compact.
“I couldn’t wait to get my hands on the new system,” admits the experienced Simon Honywill, who seized the opportunity to mix Chris Rea’s sound through the MLA Compact on the closing dates of the recent European and UK tour.
Honywill, largely responsible for driving RG Jones’ investment in the MLA platform, instigated a seamless PA switch, ably assisted by system engineer Mark Edwards in time for the last two tour dates—at the Pavilions in his home town of Plymouth, and HMV Apollo Hammersmith, where the system had been formally launched a few months ago.
While the system performed admirably in Plymouth, Honywill and Edwards, along with Martin Audio’s R&D Director, Jason Baird, repurposed the system for the larger Hammersmith show where Simon Honywill described the impact as “unbelievable”.
He reported that the vocal clarity had been incredible, even at high levels, and the separation of the drums and cymbals, even in excess of 106dBA had to be heard to be believed. “The drum sound was massive,” he said, “very dynamic and very exciting.
“When you wind the system up, it just gets louder, but nothing changes in the character of the sound, which is beautiful.”
While the optimization at Hammersmith was nothing unusual, with the balcony being notched out in the software to remove unwanted reflections, Simon Honywill explained: “Mark and Jason worked on the EQ curve and played with the sub alignment so that the system was everything I had hoped it would be.”
“In Plymouth we used a broadside array of 12 DSX subs in four cardioid cells under the stage apron, but this isn’t possible in Hammersmith so we went for a left/right cardioid stack of six subs a side and tweaked the crossover between the subs and the MLA Compact to get a really rich, smooth low end with real punch.”
Deploying a ground stack of four Martin Audio W8LM Mini Arrays under the two main PA hangs of 12 MLA Compact enclosures, they were able to draw down the image at the front while substantially decreasing the physical profile of the stacked system.
“In the past the ground stacks have looked a little imposing with the subs and W8LC, but the ability of the system to generate seamless coverage from wherever you tell it to start and finish allowed us to get the energy we wanted into both downstairs and upstairs––the groundstacks are just to keep the sonic image down on stage for those at the front,” says Honywill.
“The system produced a fantastic impact but the overriding feeling from the production team was that the compactness of the package also offered huge benefits.” And this spelled good news for production manager, Pat Baker.
Rea’s tour inventory is traditionally geared to fit one truck, which places enormous pressure on the truck pack. “Every night it is stacked to the roof with all the equipment,” Honywill explains “But the appeal of a self-powered system, without separate processing and amplification, was pretty exciting.”
Having piloted Chris Rea shows for the last 15 years, Simon Honywill has historically used Martin Audio systems to reinforce the artist’s sound––generally 16 x W8LC Compact Line Arrays per side and 16 WLX subs; but for the ensemble of six musicians (including second guitar, two keyboards and drums) this time around, they knew they had considerably raised the sonic bar. Simon’s overall verdict? “MLA is vastly superior to anything on the market and this system provides a great neutral platform to mix on.
“Although RG Jones has bought the big system, which was a no-brainer considering the profile of the company’s expanding client base, the MLA Compact has to be a serious proposition. It’s brilliantly conceived and brilliantly delivered—a completely revolutionary product and other manufacturers should be asking themselves how they are going to counter that.”
Meanwhile, RG Jones’ full-sized, and multiple award-winning MLA will make its debut on the Sainsbury’s UK 2012 School Games Closing Ceremony at London Olympic Park’s Basketball Arena on May 9.
Pic: Chris Rea onstage, with the MLA Compact
For more about Martin Audio, please click to www.martin-audio.com.
About MLA™ (Multi-cellular Loudspeaker Array)
The result of many years of intensive R&D, MLA’s methodology replaces trial-and-error array design with intelligent numerical optimization of the array’s output based on a highly accurate acoustic model. The multi-cellular format has six individual cells in each enclosure, each with its own DSP and amplification.
With up to 24 enclosures, each MLA array has up to 144 cells — too great a number to optimize manually, or by ear. Instead, Martin Audio’s proprietary Display2™ system design software automatically calculates FIR DSP filters for each cell and a redundant-ring audio network (U-NET™) downloads the settings into each array enclosure. Martin Audio’s VU-NET™ software provides real-time control and monitoring of the system.
MLA delivers a frequency response and SPL consistency never before achievable; a very high system output (140dB peak, per cabinet @1m); Automatic optimization of the array, both physically (splay angles) and electronically (DSP); Computer control and monitoring of the entire system, and total control of sound system balance for engineers and sound technicians.
MLA is fully integrated, with Class D amplification, DSP and U-NET digital audio network built into each enclosure. MLA complete systems are ready-to-use, with MLA, MLD and MLX enclosures, flying hardware, software, cabling and training all supplied. Everything needed is included. All ancillary items — from tablet PC and Merlin™ controller to network interconnects and mains distro — are also included in the complete system package. This ensures full compatibility worldwide, down to cabling and accessories.
Additional features include 90° x 7.5° dispersion; a compact size (1136mm wide x 372mm high x 675mm deep), one-box-fits-all (festivals to theaters) application range and a global voltage, power factor corrected power supply.
MLA’s compact size and very high output allows it to be shipped using smaller trucks, offering considerable savings and reduced carbon footprint. The system also includes the MLX powered, flyable subwoofer capable of an unprecedented measured peak output of 150dB @ 1m; MLD downfill cabinet, and Merlin 4-in/10-out system controller and network hub. Audio input is via analog, AES3 or U-NET.
By adopting these principles and system components MLA is optimized for every member of the audience — from a 2,000 capacity theater, to a 20,000-seat arena, to a 100,000-person festival site. It will deliver the engineer’s exact mix to every seat (up to over 150 meters) with precision, exceptional power and clarity.
About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.
Sennheiser to Host Recording Sound Academy (RSA) Webinar this Thursday on Recording Acoustic Instruments and Modern Compression Tactics
Old Lyme, Conn. – May 1, 2012 – Audio specialist Sennheiser announced that it will host an exclusive webinar this Thursday, May 3rd as part of its ongoing online Recording Sound Academy program. The webinar will focus on “Recording Acoustic Instruments and Modern Compression Tactics” and will be hosted by Grammy Award winning producer / engineer Karl Richardson.
Karl Richardson has recorded and produced nineteen number one records and has nine Grammy Award nominations. He has won Grammys for “Producer of the Year” and “Album of the Year” and his credits include artists such as Lynyrd Skynyrd, Eric Clapton and Grand Funk Railroad.
This webinar is open to RSA members. Membership costs just $129 (promotional discounts available through Sennheiser authorized retailers) and includes all live and archived webinars, access to blogs, tutuorial videos, CuBase 5LE mixing software, plus raw tracks that the member create a final mix and upload to receive a personal review by one of the RSA’s award winning engineers. The best submitted mix will win a Neumann U 87 Ai microphone ($4200 value).
Recording acoustic instruments and modern compression tactics, hosted by Karl Richardson, Grammy-winning producer/engineer (Lynyrd Skynyrd, Eric Clapton)
Thursday, May 3rd at 3:30 p.m. EDT
Attendees will learn:
How to use compression in a modern context
Tips on recording live acoustic instruments such as acoustic guitar
How to decide what to bring to the front of the mix and how to highlight important passages within a song
To register for this Online RSA, or learn about other upcoming webinars that will be taking place, please visit http://www.sennheiserusa.com/RSA.
Sennheiser: Supporting Aspiring Producers/Engineers
The Online Recording Sound Academy borrows instructional elements from Sennheiser’s highly successful on-site Recording Sound Academy seminars, such as valuable tips and instruction on microphone selection and placement, recording and mixing techniques. The RSA webinars — which run through October — feature instruction by accomplished producers and engineers on a variety of recording topics, and also feature a thorough Q&A session with the instructor. Following is a summary of upcoming dates and topics:
· May 3: Modern Compression Tactics
Hosted by Karl Richardson, nine-time Grammy-award-winning producer
· June 11: Recording Vocals
Hosted by Tom Young, Grammy award-winning engineer
· July 17: Mixing
Hosted by Tim Palmer, Grammy-nominated producer/mixer
· August 13: Re-Mixing, Beats and Percussive Rhythms
Hosted by: Cool & Dre, production/songwriting team
· September 12: Reverb, Spectral Energy and Human Positional Perception
Hosted by: Greg Lukens, engineer and founder of Audio Fabricators
· October 25: Engineer’s Roundtable: Award-winning Engineers Discuss
Recording Tips, Tricks and Trends
Moderated by: Al Schmitt, 21-time Grammy-winning producer/engineer