Archive of the Sound for Picture Category
Six-Channel Field Production Mixer With Integrated Recorder Packs a Lot of Punch in a Portable Package
LOS ANGELES, OCTOBER 1, 2013 — George Flores, CAS, is a top sound mixer for television with 16 years of experience working on such leading shows as Southland and Ringer. He has leveraged his experience to perfect his sound cart, to which he most recently added Sound Devices’ new 664 Field Production Mixer. For Flores, who is currently working on It’s Always Sunny in Philadelphia, the 664 has all the features required to capture the show’s comedic dialogue and performances.
It’s Always Sunny in Philadelphia follows the exploits of “The Gang,” a group of friends who run Paddy’s Pub, a relatively unsuccessful Irish bar in South Philadelphia. After effectively employing the 664 as the master recorder to help capture audio for the Warner Brothers/TNT police drama Southland, Flores incorporated the 664 into his workflow for It’s Always Sunny in Philadelphia, which has similar production challenges.
“With its high volume of inputs, the 664 worked tremendously well on the set of Southland,” explains Flores. “As we ran around the city, it was able to sufficiently perform under situations where you had to run off batteries. We also like to have everything on our sound cart at all times and the 664’s light footprint enables us to do so. Its overall design, combined with its stellar performance, makes the Sound Devices 664 the logical choice for It’s Always Sunny in Philadelphia.”
While It’s Always Sunny in Philadelphia is shot like a sitcom, it also incorporates unconventional elements, requiring additional flexibility from the crew. “We shoot in practical locations and sets that aren’t always meant for shooting sitcoms. Utilizing three to four cameras, the crew often shoots individual close-ups of two people simultaneously, which can be physically challenging for the boom operators,” says Flores. “Also, while the show’s creators like to shoot structured, scripted performances, they like to keep camera angles and setups flexible enough to try new ideas on the fly. The 664 allows us to capture audio that reflects this, resulting in finely crafted comedic dialogue with some interesting curve balls.” To that end, Flores also appreciates how the portable 664 enables him to think outside of the box while keeping up with the actors. He and his crew are faced with quite a bit of maneuvering around rigging and lights and other elements during shooting in order to fully capture the characters’ personalities, while also keeping pace with their comedic timing.
“The combination of boom and lav mics wins the day for us,” he says. “We wire all the cast members and yet boom 95 percent of the show, so the preamps and Sound Devices’ CL-6 inputs for both the hardline and wireless booms have worked very well.” The CL-6 Input Expander, a companion accessory to the 664, adds six analog line-level inputs to the mixer. With the 664 connected to the CL-6, users can record all 12 input channels and four outputs, for a total of 16 tracks. “If ad-libs are part of the creative process, we have the available tracks to get them,” he adds.
Sound Devices 664 features six ultra-low-noise, high-dynamic-range 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 can be selected as AES3 or AES42 inputs for digital microphones, each with its own SRC for simplicity in system clocking. The 664’s analog output compliment includes four output buses. The L and R buses are on balanced XLR, 10-Pin and TA-3M connectors and on unbalanced TA-3M or 3.5mm connectors. Secondary output buses X1 and X2 are available on balanced TA-3M connectors. Users can route inputs and buses to four AES3 connections for eight digital outputs on the XLR and 10-pin connectors.
The 664 can record up to 10 tracks of 16- or 24-bit polyphonic or monophonic broadcast WAV files to SD and/or CompactFlash cards. All inputs and outputs are individually selectable for recording, enabling the mixer to record all 10 channels of audio. With its dual card slots, it can record content to either or both cards simultaneously, with the added ability to assign different tracks to each memory card. The 664 includes a high-precision timecode generator/reader for multi-camera and double-system sound applications.
Flores’ setup also includes the Sound Devices 744T for back up, Lectrosonics IFBs for private line booms and utilities, Comtek for public line, and a base of 10 channels of wireless, including Lectrosonics SM Transmitters, Venue Series Receiver Systems and SRb-Quadpack Receivers. Power is provided by a modified PSC LiFE Battery.
To keep his essential gear close by while It’s Always Sunny in Philadelphia is in production, Flores places it in a baby stroller. This unconventional and yet thriving idea is a perfect example of the ever-evolving cart and audio gear set-ups often found on today’s productions. The stroller idea came from the previous sound mixer on Southland, Harrison “Duke” Marsh. “Due to the fast pace, multiple location moves and extreme nature of Southland specifically, a lightweight and mobile sound package was needed for the demands of daily production—right down to the very vehicle in which they were placed,” notes Flores.
“It may be unconventional to be moving around the set with a baby stroller, but it is another tool in the equipment arsenal, giving one the ability to work efficiently and allowing you to focus on the more important task of attaining the best audio,” he says. “When we placed the 664 and radio equipment in the stroller during our Southland shoots, it was part of the quest for getting high-quality audio and the 664 was an integral part of that. No longer did I have to be yards away and question my wireless range or have to worry about short battery life on my recorder. Proximity and power efficiency were two less things to worry about.”
According to Flores, the 664’s ability to retain a lighter footprint without sacrificing quality is invaluable. “Technology moves at a rapid pace, and you have to be ready to embrace it. The 664 is a killer piece of equipment, with enough inputs/tracks to really do a well-rounded job. If you don’t have the power behind the punch—that being the preamps—it’s going to be a difficult task to get location audio. The 664 does a very good job with its input gain stage on both the physical knobs and CL-6 menu functions to ensure cues and line transitions are smooth. The 664 proves its worth as a master recorder as well, and will continue to be a vital part of my setup,” he concludes.
Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.
Big Mick, Front of House sound engineer for the US heavy metal band Metallica, is using DPA’s d:vote™ 4099 Instrument Microphones to capture the sound of drummer Lars Ulrich’s cymbals and toms.
“After 30 years with Metallica – and 15 years miking Lars’ drums with another brand of microphone – I was finally persuaded to test DPA microphones by Morten Uldbæk, who is the Danish distributor for Midas consoles,” Big Mick says. “I have to admit I had never considered DPA as the right kind of microphone for live rock music, but after giving them a try I was really impressed with their brightness and crispness.”
The final impetus to switch to DPA came from the studio engineers who were working on the soundtrack for Metallica’s 3D film Through the Never, which will have its first public screening at the Christopher B. Smith Rafael Film Center in San Rafael, California on Tuesday, September 17th.
“The recording guys were not happy with our old mics because they didn’t deliver the audio they wanted across the full frequency range,” Big Mick says. “Obviously for a surround sound, 3D movie it was important that the audio was perfect so I suggested the DPA d:vote 4099 Instrument Microphones and, after carrying out A/B testing, they were very happy for us to switch to them.”
Big Mick adds that as well as delivering brighter, crisper audio, the DPA d:vote 4099 microphones were much clearer in the higher frequency ranges. As a result he no longer needs to use an exciter across the cymbal and toms sub group on his Midas live sound console.
“Technology does move on and I’m always looking for better solutions,” Big Mick says. “Now that I have discovered DPA I am looking forward to trying out a few other models and already have my eye on the d:dicate™ 2011 recording microphones as I’m told they are great for drums as well.”
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information on DPA Microphones, please visit www.dpamicrophones.com
Toronto, Canada (September 2013) – IsoAcoustics, Inc., manufacturer of award-winning patented acoustic isolation stands for speakers and musical instrument amplifiers, is now shipping the new ISO-L8R200SUB Stands, which is are specifically designed for subwoofers in both the professional, project and home studio environments.
The IsoAcoustics ISO-L8R200SUB is designed to work with all types of subwoofers in delivering more punch and articulate sound. Like all the IsoAcoustics models, the ISO-L8R200SUB is designed to clean up acoustic issues with the subwoofer, allowing it to literally float on axis, while reducing the low frequencies from being driven into the supporting surface. The ISO-L8R200SUB reduces structural vibrations, cleans up bass smear and other acoustic issues.
““IsoAcoustics is continually developing acoustic isolation products which bring out the very best in any sound system,” says IsoAcoustics Founder Dave Morrison. “We are thrilled to introduce the new ISO-L8R200Sub stands for subwoofers, giving professionals and all music lovers the ability to bring out the very best in their subwoofers.”
Measuring 7.8” wide by 10” deep and 5” high, the ISO-L8R200 Sub is designed to accommodate most subwoofers, and can be used as a single unit, or combined with additional units for larger subwoofers.
They are available at retailers throughout the U.S., Canada and many other countries worldwide.
The IsoAcoustics ISO- L8R200SUB stand has a MSRP of $64.99 U.S.
About IsoAcoustics Inc.
IsoAcoustics stands provide superior acoustic isolation and enhance the sound clarity of virtually all speakers and amplification systems, including monitors for the professional studio and sound reinforcement, home theatre systems, musical instrument amplifiers, subwoofers and large monitors. AlI IsoAcoustics stands are built with a unique, patented isolation technology that allows speakers to float in free space while maintaining all movement on-axis, resulting in authentic, clear uncolored sound. The patented approach was developed by IsoAcoustics Founder Dave Morrison, who was involved in design and construction of radio and television studios at the Canadian Broadcasting Corporation for 20 years. Morrison was an integral member of the design team that built the CBC’s Broadcasting Center of over 1.72 million square feet, with recording studios for drama, music, and chamber ensembles, special effects, radio and television shows.
For more information, visit www.isoacoustics.com.
The IsoAcoustics L8R-200SUB Acoustic Isolation Stand for Subwoofers
San Jose, CA – September 2013…
** Photo: Randy Shattuck with the Countryman B6 microphone **
Slated to air on PBS in 2014, Riverkids: The Found Children of Cambodia tells the story of three vulnerable children who live in the slums of Phnom Penh where they are at risk every day of child trafficking. The film documents how and why child trafficking occurs in Cambodia and, by extension, throughout the world. Produced by Riverkids Documentary, Inc., this film reveals the true nature of child trafficking: a con-game played by people who profit from the exploitation of children. All films–but particularly documentaries–need clear, natural audio with a high level of speech intelligibility, which is why B6 Omnidirectional Lavalier microphones from Menlo Park, CA-based Countryman Associates were the choice to bring this important story to life. more
Broadcast audio specialists Red TX played a pivotal role in the production of MORRISSEY 25: LIVE FROM HOLLYWOOD HIGH, recorded at Hollywood High, a legacy concert film that celebrates 25 years of this enigmatic performer’s solo career.
Filmed live at the Hollywood High School in Los Angeles in March 2013, this intimate gig provided the material for the first authorised Morrissey film to be released in nine years. Red TX worked closely with Nineteen Fifteen and Eagle Rock Productions, the producers for Eagle Rock Entertainment, to ensure a great soundtrack. As well as liaising closely with the US recording crew, the company was also responsible for mixing the concert – a task that took place back in the UK on board Red TX’s main Outside Broadcast vehicle, Red One, with director Tim Summerhayes at the controls.
Nineteen Fifteen producer Vicki Betihavas says: “I have worked with Tim and the Red TX team for many years and they are my first choice for all my music projects, in particular live shows. On this occasion we had entirely local support for the filming, with only the producer, director and DOP coming in from the UK. However, Red TX knew the audio crew in Los Angeles so I knew we were in safe hands as Tim and the US team coordinated what we needed. Tim also mixed the Theatrical, TV and DVD versions for us and the sound was great – as always.”
Tim Summerhayes adds: “I was really happy to be involved in this project. We arranged to have the concert recorded by Guy Charbonneau and his son Ian who run Le Mobile in Los Angeles. I’ve known Guy for years and was entirely confident that he would do a great job. The multitrack arrived back in the UK as a disc drive of .WAV files. I mixed it over a period of five days and it was a very straightforward task since the recording had been so well done. The band was excellent and, because it was a small venue, the sound was really honest.”
The film opens with tributes from fans who talk about their unwavering devotion to Morrissey. They also discuss the unique appeal of the unusual venue, which offered a striking contrast to the sold out arena concert at the Staples Center where Morrissey had played the previous night. Tickets for the concert in the 1,800-seater school auditorium were sold out in 12 seconds and this now legendary concert became Morrissey’s penultimate performance on his US Tour.
The project was completed in July in time for the film’s Global Theatrical release. Distributed by More 2 Screen (UK) and SpectiCast (North America) on behalf of Eagle Rock Entertainment, the film is still being shown in various territories and regions, particularly in the US where it is playing encore performances in many cities. The DVD/Blu-ray version will be released on October 21st 2013.
About Red TX:
Red TX provides a comprehensive concert recording and broadcast service to the music and television industries. The company has state-of-the-art mobile recording facilities and can handle projects of any size or complexity. As well as recording audio for broadcast, the company also records live music events for subsequent release on CD or DVD. It is headed by Ian Dyckhoff and Tim Summerhayes, both of whom have extensive experience in delivering high-quality audio for broadcast. www.red-tx.com
Andrew and Mike Nehra Join Kevin Augunas at Former Sound City
Pictured at Fairfax Recordings, formerly Sound City, are (L-R) Vintage King founders Mike and Andrew Nehra, Pensado's Place producer and co-host Herb Trawick, VK Director of Partner Marketing/PR Shevy Shovlin, series host Dave Pensado, and Fairfax Recordings owner and producer/engineer Kevin Augunas. Photo by David Goggin.
Vintage King Audio and the popular video series Pensado’s Place shot a new episode on location at Fairfax Recordings, the former Sound City studio memorialized in Dave Grohl’s recent documentary film. Joining Pensado and co-host Herb Trawick were Vintage King founders Andrew and Mike Nehra with Fairfax founder Kevin Augunas.
“It doesn’t get any better than this,” commented Dave Pensado, host of the series. “This studio was immortalized in the Sound City documentary and essentially these rooms remain unchanged, thanks to the hard work done by Kevin Augunas, a superstar producer and engineer in his own right.”
“It’s an honor to share the studio with Dave’s audience,” added Augunus, “I love their enthusiasm for what we’ve done here at Fairfax.”
“Having Mike and Andrew included in the episode is very special to them,” remarked VK’s Shevy Shovlin. “Their history as recording artists and then recording gear collectors fit in perfectly with the theme of this episode looking at the history of the studio and the legacy of sonic excellence associated with the legendary rooms, the equipment, and a tradition that is so valuable in today’s music world.”
Check out the special edition of Pensado’s Place:
ABOUT PENSADO’S PLACE
Top mixing engineer Dave Pensado (Beyonce, Christina Aguilera, Kelly Clarkson, Mariah Carey, Elton John, Michael Jackson, and more) talks all things music and audio in his weekly show, Pensado’s Place. Pensado gives insights into his career and teaches how to get that “platinum record” sound in the mix. The show includes interviews with top music industry artists,engineers, producers, mixers, and record executives, as well as in depth tutorials in engineering and mixing.
ABOUT FAIRFAX RECORDINGS
Fairfax Recordings is an independent label and recording studio, founded by accomplished producer, engineer and mixer Kevin Augunas. He has worked with a broad array of exceptional talent, ranging from the Black Keys, Cold War Kids, Last Bison, Edward Sharpe and the Magnetic Zeros and Jon Brion, to Grammy nominees The Lumineers. The recording studio occupies the space that formerly housed the legendary Sound City. The label was established in 2006, releasing the critically acclaimed and best-selling debut album by Edward Sharpe and the Magnetic Zeroes in conjunction with Vagrant Records. Fairfax has gone on to issue records by Tribes, J Roddy Walston and the Business, Florence and the Machine, and The Naked and Famous, and most notably Gotye, co-releasing the 2013 Grammy Awards Alternative Album of the Year ‘Making Mirrors’, with Universal-Republic Records.
ABOUT VINTAGE KING AUDIO
Vintage King Audio is a global leader in professional audio sales, studio consulting, and comprehensive gear servicing. No matter the scope of a client’s needs or goals, from selecting a new microphone to designing a studio from the ground up, Vintage King distinguishes itself with standard-setting customer service, which begins with the company’s knowledgeable, industry-experienced staff. Far surpassing the basic functions of an audio dealer, however, Vintage King Audio values its long-standing partnerships with manufacturers and stays connected with the professional audio community through hosting frequent events, panel discussions, and product launches. For more information, visit http://www.vintageking.com/about-us
Treat Your Voice to the Next Iteration of Nectar in October 2013
iZotope Inc., Cambridge, MA (September 18, 2013) – iZotope Inc., a leading audio technology company, has announced the next version of iZotope’s award-winning vocal processing technology, Nectar. Coming in October 2013, Nectar 2 will bring the best of digital innovation and analog character into a complete set of tools specifically for voice.
“We were excited to revisit what made Nectar so ideal as a vocal processing plug-in,” says Brett Bunting, Product Manager for iZotope Inc. “We’ve spent a lot of development time incorporating new ideas designed with our users in mind. Nectar 2 users won’t believe how quickly they’ll be able to recreate classic vocal sounds or invent brand new ones.”
With Nectar 2, add character to tracks with modeled plate reverb, harmonic saturation, and new creative effects. Stay in tune, remove distracting breaths without the need for audio editing, transform a single vocal take into a harmonized ensemble, and much more.
- Add harmonies to vocal tracks with the new Harmonizer. Play with intelligent automatic settings or define your own with a MIDI controller.
- Add space and character to vocals with the EMT 140-modeled Plate Reverb module, featuring a unique saturation control to emulate the original plate’s preamp.
- Finesse vocal takes quickly with the new Pitch Editor and Breath Control plug-ins.
- Explore seven new creative effects in the new FX module.
- Dive in with a streamlined Overview panel for simple adjustments and added metering for visual feedback.
- Choose from 150+ new presets in styles that range from classic to modern.
Customers who purchased Nectar after August 1, 2013 will receive a free upgrade to Nectar 2 upon release. Special upgrade pricing will be available for all previous Nectar and Nectar Elements customers upon release.
Sign up to hear when Nectar 2 becomes available: www.izotope.com/nectar2.
Nectar 2 can be used as plug-ins in your favorite host. Supported plug-in formats include 64-bit AAX (Pro Tools 11), RTAS/AudioSuite (Pro Tools 7.4-10), VST, VST 3, and Audio Unit.
About iZotope, Inc.
iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. For more information on iZotope products, please visit www.izotope.com.
Minnetonka Audio develops custom AudioTools Server software connector for Telestream Vantage
MINNETONKA, MN — Minnetonka Audio Software, Inc. (MASI), a leader in production software for motion picture, broadcast surround sound and consumer electronics applications, announces today they have integrated a new service for Telestream’s Vantage platform, AudioTools Connector for Vantage. Telestream’s AudioTools Connector for Vantage links Telestream Vantage with AudioTools Server (ATS), supporting fundamental loudness control workflows or custom workflows that utilize all of ATS’ potential. An optional service for Vantage, AudioTools Connector for Vantage will be available through Telestream’s international network of resellers and system integrators later this year.
MASI’s AudioTools Server is a universal automation platform for audio processing that addresses enterprise requirements for scalability, adaptability, interoperability and redundancy. Its agility, versatility and fidelity–first approach has made AudioTools Server the reference audio automation platform for loudness control worldwide.
AudioTools Server’s intelligent, nonlinear workflow controller is driven by a powerful XML scripting language specifically tailored to control audio workflows. The AudioTools Connector for Vantage allows ATS to be easily controlled from Vantage, supplying essential loudness control along with custom audio processing. Predefined, custom workflows can be as complex and specific as required. AudioTools Connector for Vantage offers two ways of operating ATS directly from within Vantage Workflow Designer; a simple user interface selects Loudness Adjustment Types, and enters target requirements for various loudness parameters; or the user can call any predefined AudioTools Server workflow directly from AudioTools Server.
John Schur, President of Minnetonka Audio, points out that ATS is more than just loudness management. “We are very pleased that Telestream has recognized our best of breed AudioTools Server, and has partnered with Minnetonka Audio to augment their world class Vantage video transcoding and workflow solution,” Schur said. “ATS excels at complex, sophisticated audio processing and now, Vantage users can gain access to our audio expertise through a tightly integrated interface.”
Markus Hintz, Director of Global Sales and Business Development, emphasizes that Minnetonka Audio’s narrow focus on audio is a powerful benefit to Telestream customers. “By combining Vantage with AudioTools Server, the benchmark in transcoding and video automation coupled to the most versatile audio processing platform available, best in class processing for audio and video are now both possible.” Hintz added that, “…AudioTools Server customers already use ATS alongside Vantage. The introduction of AudioTools Connector for Vantage provides an even better way to orchestrate workflows across both platforms.”
Telestream’s AudioTools Connector for Vantage
About Minnetonka Audio Software
An award–winning solutions provider for motion picture, video, broadcast, game, and optical disc production, Minnetonka Audio Software creates essential technology for the world’s top media professionals. Its revolutionary AudioTools Server is the file–based software alternative to hardware program optimizers, bringing expert audio automation to existing media production infrastructures. The AudioTools Server, SurCode, and discWelder product lines support the full array of audio codecs, file types, and standards for CD, DVD, BD, broadcast, and digital television. The company is the leading provider of professional OEM audio solutions as well as file–based QC and loudness control. Spanning more than two decades of operation, the Minnetonka, Minnesota–based company has a subsidiary in Germany and an international network of distributors and channel partners who share its commitment to quality and service. More information is available at www.minnetonkaaudio.com.
AudioTools Server, AudioTools Connector for Vantage and the Minnetonka Audio Software logo are trademarks of Minnetonka Audio Software, Incorporated. All other company and product names are trademarks of their respective owners.
NEW AudioTools Server 3.0
At IBC, Minnetonka Audio will show the latest version of its flagship product, AudioTools Server (ATS) 3.0. ATS 3 is loaded with major enhancements including improved workflow processing, support for additional codecs and container formats, augmented load balancing and failover for multisystem environments, easier oversight for administrators and much more. ATS 3 is an enterprise software system for file-based workflows, designed to automate even the most sophisticated audio tasks.
Via SOAP and XML, AudioTools Server seamlessly integrates audio expertise into existing video infrastructure, and interoperates with Amberfin, Aveco, Avid, Civolution, Ericsson, IBM, Sony and Telestream among others. The system is also a complete solution for managing and processing Dolby® E, Dolby Digital, Dolby Digital Plus, and linear PCM content, as well as the audio essence within transport streams, MXF and QuickTime® containers.
Version 3 of our benchmark audio automation server offers a new processing feature, AudioTools Movie Adaption, providing intelligent, adaptive prep of HDR (High Dynamic Range) theatrical audio mixes for broadcast and emerging platforms. Also new is the VLC or Voice Level Consistency measurement feature, which determines if dialog levels across a program are uniform. VLC predicts potential on–air problems when intercut with other content. Supported file types have also been expanded, including LXF and GXF containers, plus a wider variety of audio essence formats for transport streams.
NEW SurCode for Dolby Digital Plus Technology Preview
SurCode for Dolby® Digital Plus creates fully compliant Dolby® Digital Plus™ E-AC-3 files from multichannel WAV or AIFF sources. As a Dolby-certified product, the encoded audio files are compatible with all Dolby Digital-branded decoders, in either software or hardware versions. SurCode for Dolby Digital Plus also provides encoding and decoding of legacy Dolby Digital AC-3 files. Cross–platform plug–in and native versions enable auditioning, encoding, and decoding/confidence monitoring, making it easy to produce 5.1, 6.1 and 7.1 assets in real time for digital distribution. For repurposing existing 5.1 stems, SurCode for Dolby Digital Plus also upmixes from 5.1 to 6.1 and 7.1 formats. SurCode for Dolby Digital Plus will be available as a single, cross-platform installer for native, RTAS, AAX, and VST formats.
Photo Link: Sneak Peak At The New SurCode for Dolby Digital Plus
NEW SurCode for Dolby® Pro Logic II Version 3
At NAB 2013, MASI previewed the groundbreaking new version of their well–known SurCode encoder/decoder for the Dolby® Pro Logic format. IBC witnesses the formal release of the product. Pro Logic is the world’s most widely used surround format, and SurCode for Dolby Pro Logic II offers complete, Dolby-certified Dolby Pro Logic II encoding and Pro Logic II, Pro Logic IIx, and Pro Logic IIz decoding of up to eight channels of audio.
Cross–platform plug–in and native versions enable auditioning, encoding, and decoding of audio, making it easy to produce surround-encoded stereo assets in real time for analog and digital distribution. SurCode for Dolby Pro Logic II v3 is available as a single, cross-platform installer for native, RTAS, AAX, and VST formats. Version 3 is a no–charge upgrade for owners of the current iLok version.
The product’s monitoring and loudness measurement tools and built-in encoding/decoding features enable mixes to be optimized for all playback situations, regardless of whether the LtRt is decoded into surround or remains in stereo mode as delivered. In fact, SurCode for Dolby Pro Logic II is the first product of its kind to integrate Minnetonka Audio’s industry-standard loudness measurement technology from its benchmark AudioTools Server family. Real-time loudness metrics are displayed, ensuring that all are loudness compliant.
Photo Link: The All New SurCode for Dolby Pro Logic II
NEW AudioTools Connector for Vantage
The new AudioTools Connector for Vantage supports fundamental loudness control workflows or custom, custom, predefined workflows that utilize all of ATS’ potential. Custom loudness control workflows can be as complex and specific as required. AudioTools Connector for Vantage allows Telestream’s Vantage customers to drive AudioTools Server profiles from within the Vantage workflow designer.
By combining Vantage with AudioTools Server, a benchmark in transcoding and video automation coupled to the most versatile audio processing platform available, best in class processing for audio and video can be realized.
Photo Link: Telestream’s New AudioTools Connector for Vantage
NEW SurCode for Dolby® Dolby E for Avid AAX & Adobe Premiere Pro CC and Adobe Audition CC
Dolby E is the industry standard for transporting multichannel digital audio, and SurCode for Dolby® E is the industry standard for file-based, faster than real time processing of Dolby E. SurCode for Dolby E is now available as a single, cross-platform installer for Avid’s RTAS and AAX formats, along with VST and native. This version is a no–charge upgrade for existing owners.
For Adobe Premiere Pro CC and Adobe Audition CC, audio professionals can now tap the Dolby–certified reliability of SurCode for Dolby E Decoder VST. Working within the Windows Creative Cloud environment, SurCode for Dolby E Decoder brings full metadata support and simplified workflow, decoding user’s audio in sync with the timeline. It’s as simple as instantiating SurCode for Dolby E Decoder and selecting a Dolby E file. In a single pass, decode all 8 channels of a Dolby E stream.
Photo Link: The New SurCode for Dolby E AAX
An award-winning solutions provider for motion picture, video, broadcast, game, and optical disc production, Minnetonka Audio Software creates essential technology for the world’s top media professionals. Its revolutionary AudioTools Server is the file-based software alternative to hardware program optimizers, bringing expert audio automation to existing media production infrastructures. Their AudioTools Server, SurCode, and discWelder product lines support the full array of audio codecs, file types and standards for CD, DVD, Blu-ray™, broadcast, and digital television. The company is a leading provider of OEM audio solutions as well as file-based QC and loudness control. Spanning more than two decades of operation, the Minnetonka, MN-based company has a subsidiary in Germany and an international network of distributors and channel partners who share its commitment to quality and service. More information is available at www.minnetonkaaudio.com.
AMSTERDAM AND MINNETONKA, Minn. — Minnetonka Audio Software, Inc. (MASI) today announced it will provide technology demonstrations at IBC 2013 of its Dolby-certified pro coder, SurCode for Dolby Digital Plus Encoder for Adobe® Creative Cloud™. The SurCode Dolby Digital Plus Encoder is designed to be tightly integrated into the Adobe Media Encoder CC, available in Adobe Creative Cloud. A trial version of the Dolby-certified pro coder, SurCode for Dolby Digital Plus Encoder, will be integrated into Media Encoder CC and support both stereo and more surround formats.
The tech presentation at IBC showcases seamless access to the full set of Dolby’s professional encoder options. From within Adobe Premiere® Pro CC and Adobe Audition® CC – both available in Creative Cloud – 5.1 Dolby Digital and 5.1 Dolby Digital Plus streams can be encoded directly within a user’s surround mixing environment, multiplexed and added to a DVD or BD authoring project.
“For today’s audiences, 5.1 is not enough. Dolby Digital Plus adds up to eight main channels to support increasingly popular 7.1 playback,” said Jayson Tomlin, Minnetonka Audio’s VP of Business Operations. “Those extra channels mean more precise placement and localization on playback.”
Thanks to significant gains in coding efficiency, all this extra capacity is carried as fully discreet, individual channels with no matrixing, so imaging is solid and repeatable across a variety of speaker configurations and playback conditions. That extra efficiency also translates into either lower data rates with quality equivalent to Dolby Digital, or superior fidelity at the same rate or file size as your legacy content. The trial version of SurCode for Dolby Digital Plus Encoder for Adobe Creative Cloud will provide full functionality for 14 days before activation is required.
About Creative Cloud
Learn more about new features coming to Adobe Premiere Pro CC, Adobe After Effects® CC and other video tools in Adobe Creative Cloud at www.adobe.com/go/ibc2013. Adobe Creative Cloud is a membership-based service that provides users with unlimited access to download and install flagship Adobe Creative desktop applications, game developer tools and integration with the Adobe Touch Apps. With Creative Cloud membership, users also have access to publishing services to deliver apps and websites, cloud storage and the ability to sync to any device, and new products and exclusive updates as soon as they’re released. Individual, education, team, government and enterprise membership plans are available for Adobe Creative Cloud.
About Minnetonka Audio Software
An award–winning solutions provider for motion picture, video, broadcast, game, and optical disc production, Minnetonka Audio Software creates essential technology for the world’s top media professionals. Its revolutionary AudioTools Server is the file–based software alternative to hardware program optimizers, bringing expert audio automation to existing media production infrastructures. The AudioTools™ Server, SurCode, and discWelder product lines support the full array of audio codecs, file types, and standards for CD, DVD, BD, broadcast, and digital television. The company is the leading provider of professional OEM audio solutions as well as file–based QC and loudness control. Spanning more than two decades of operation, the Minnetonka, Minnesota–based company has a subsidiary in Germany and an international network of distributors and channel partners who share its commitment to quality and service. More information is available at www.minnetonkaaudio.com.
SurCode for Dolby Digital Plus Encoder for Adobe® Creative Cloud and the Minnetonka Audio Software logo are trademarks of Minnetonka Audio Software, Incorporated. All other company and product names are trademarks of their respective owners.
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