Swiss Broadcast Service Provider Furnishes Edit Suites with Latest Model from RTW’s TouchMonitor Range

ZURICH, APRIL 18, 2012 - RTW, a leading manufacturer and distributor of professional audio metering and control devices for studio recording and radio and TV broadcast applications, today announced that technology and production center (tpc) in Zurich, Switzerland, has ordered seven TM3 units from RTW’s TouchMonitor range, prior to the official introduction of the product. tpc is the first company to take delivery of the long-awaited entry-level audio meter. Decibel S.A., RTW’s Swiss distributor, supplied the TM3s to the production facility.The company will employ the units in its newly installed edit suites, which will be used primarily for sports programming. tpc ordered the six-channel version of the TM3, as it needs to monitor multiple stereo outputs in parallel.

Alfio Di Fazio, audio-project manager, tpc, ordered the RTW devices long before the actual market launch. “When the larger TM7 and TM9 TouchMonitors were first introduced, the R128 national group and I talked with Michael Kahsnitz, head of engineering at RTW, about a smaller version specifically made for video edit suites,” he says. “The TM3 seems to meet our requirements in this area perfectly.”

tpc is so pleased with the TM3 units that it is considering purchasing more units for its numerous studios, ensuring all of its audio monitoring needs are covered.
An independent subsidiary of SRG SSR, tpc oversees TV, radio, and multimedia productions and systems, and provides custom broadcasting solutions for Swiss broadcaster Schweizer Radio und Fernsehen (SRF). tpc is Switzerland’s largest and best-equipped broadcast service provider. As a general contractor, it offers all services required for producing, publishing and managing high-quality broadcast and video projects.
“tpc is a world-renowned service provider in the broadcast industry,” says Andreas Tweitmann, CEO, RTW. “We are very happy to have them as the first TM3 TouchMonitor user worldwide. RTW designed the new TM3 as a technologically sophisticated yet reasonably priced solution specifically for broadcast journalist work spaces, edit suites and small control rooms.”
The RTW TM3 TouchMonitor enables quick and easy loudness metering. It 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 Device DC1 software, which is available for Mac 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, while the TM3-6CH version also supports six-channel digital input (an upgrade option for stereo units is also available).

Data Dock for PIX-CADDY with Thunderbolt Connection

LAS VEGAS, APRIL 18, 2012 — Sound Devices, experts in portable audio and video products for field production, unveils PIX-DOCK at the 2012 NAB Show (Booth C2546). PIX-DOCK connects drives mounted in a Sound Devices PIX-CADDY to computers equipped with Thunderbolt™ high-speed I/O over a single Thunderbolt cable.<

The PIX-CADDY, which is used to connect SSD volumes to all PIX recorders, is an SSD mounting accessory that also operates as a multi-format interface to attach the SSD to a computer for file transfer and management. With the introduction of the PIX-DOCK, users can now leverage Thunderbolt’s fast transfer speeds between drives and computers. Thunderbolt offers up to 10 Gbps interconnection speeds, making the file copying of large-capacity drives fast and easy. When using fast storage drives, its high throughput allows realtime playback of multiple streams of high-data-rate video.

The PIX-DOCK provides both power and data over a single cable and is compatible with SATA drives. PIX-DOCK includes a six-foot Thunderbolt cable that connects to the PIX-CADDY using its eSATAp connection. It also offers a secure, latching connection to PIX-CADDY, and its weighted base prevents sliding on desktop surfaces.

“PIX-DOCK simplifies and speeds the transfer and management of files when using our PIX recorders,” says Jon Tatooles, managing director at Sound Devices. “By utilizing Thunderbolt, we are able provide our users with blazing fast and reliable transfers.”

The PIX 220, PIX 240 and PIX 260 record directly to QuickTime using Apple’s ProRes or Avid’s DNxHD codecs. Since PIX recorders use ProRes and DNxHD, files recorded in the field can be used directly in post production, making the workflow simple and fast. The PIX 240 and PIX 260 add even more flexibility, with their time code, sync generator, and simultaneous SDI and HDMI outputs. All PIX recorders bring the company’s award-winning audio expertise and performance to their video products.

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. The thirteen-year old 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.

New Single “Headlong Flight” On April 19th

Legendary rock band Rush has unveiled details of its highly anticipated, new album, “Clockwork Angels, which was mastered at Bernie Grundman Mastering. This is the renowned trio’s first new collection of original material in over five years and their first studio release via Anthem/Roadrunner records. “Clockwork Angels,” the band’s 20th studio album, will be released on June 12th.

The recording of “Clockwork Angels” began in April 2010 with Grammy Award-winning producer Nick Raskulinecz (Foo Fighters, Deftones) – who also collaborated with the band on their last studio album, 2007′s “Snakes & Arrows.” Rush co-produced both records. The first two songs, “Caravan” and “BU2B,” were completed during that first session at Nashville’s Blackbird studios and performed nightly during the wildly successful Time Machine Tour, which ran from June 2010 to June 2011.

Work on “Clockwork Angels” resumed in the fall of 2011 at Revolution Recording in Toronto after the tour’s finale, with additional strings (arranged by David Campbell) recorded at Hollywood’s Ocean Way Recording earlier this year. Lyrically, “Clockwork Angels” chronicles a young man’s quest across a lavish and colorful world of steampunk and alchemy as he attempts to follow his dreams. The story features lost cities, pirates, anarchists, an exotic carnival, and a rigid Watchmaker who imposes precision on every aspect of daily life. The novelization of “Clockwork Angels” is being written by science fiction writer Kevin J. Anderson in collaboration with Rush drummer and lyricist Neil Peart.

Rush will herald the release of “Clockwork Angels” with a new single “Headlong Flight” landing at rock radio on April 19th. Details of a full-scale North American tour to support the new album will be announced shortly.

For more information, visit: http://www.rush.com
For more information about Bernie Grundman Mastering, visit:
http://www.bgmastering.com

All the Capabilities of the Tempest2400 BaseStation in a Compact and Portable Package

LAS VEGAS, APRIL 18, 2012 ? Clear-Com, a global leader in critical voice communication systems, today announces the Tempest2400 MasterBelt digital wireless intercom at the 2012 NAB Show (Booth C8008). Ideal for mobile productions, the Tempest2400 MasterBelt offers all the advanced features, reliability and robustness of the Tempest2400 rack-mount BaseStation, including the new version 3.0 features, in a compact, portable and easy-to-deploy package that can be conveniently worn on the hip.

The Tempest2400 MasterBelt provides mobile broadcasters the ability to coordinate and communicate hands-free within the form of a Tempest2400 BeltStation. The MasterBelt can be paired with any standard Tempest2400 CP-222 two-channel BeltStation to create a full-featured two-channel system in the 2.4 GHz band. The MasterBelt itself also functions as a BeltStation allowing up to six full-duplex wireless users to be in communications.

Designed to be comfortable, rugged and robust, the MasterBelt Station and all Tempest BeltStations can operate in harsh weather conditions and are protected by a durable, weather-resistant ABS co-polymer blend with a high performance polyurethane overmold. The MasterBelt is provided with a rechargeable Li-Polymer battery capable of up to eight hours of operation or can be powered by three Standard AA Alkaline batteries as backup, providing four hours of operations.

“The Tempest2400 system has proven itself as the “go-to” communications solution for remote productions operating interference-free even when other wireless devices are in the same vicinity,” says Craig Frederickson, Clear-Com wireless product manager. “The MasterBelt is the latest development in the Tempest2400 line, giving broadcasters an even more flexible alternative for mobile productions, such as reality TV, sports sideline communications or ENG, where a stationary BaseStation is not desirable, feasible or optimal.”

Tempest2400 operates in 80MHz of spectrum in the 2.4GHz ISM frequency band. Tempest wireless systems will not interfere with traditional wireless microphone, IFB or in-ear monitor systems that operate in the UHF TV band. Because of Frequency Hopping Spread Spectrum (FHSS) technology, the Tempest system does not compete with signals from other 2.4 GHz wireless devices, minimizing frequency coordination and enabling flawless performance. Further, with state-of-the-art Redundant Data Transmit (2xTX), which sends each packet of audio data twice on different frequencies, the system ensures uninterrupted audio communications.

Similar to all Tempest systems the Tempest MasterBelt offers three modes of operations: Normal, Shared and Split. Because the MasterBelt can also function as a BeltStation, up to six full-duplex wireless users can be in communication in Normal mode. In Shared mode, an unlimited number of wireless users can listen while five have PTT capability. In Split mode, four wireless users are full-duplex talk while an unlimited number may listen. The ‘fifth user slot’ is an unlimited single-channel shared between the users with momentary talk buttons only.

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 Analog & 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.

About HME
HM Electronics, Inc. is a diverse group of companies providing solutions that enhance productivity and customer service in markets including restaurants, sports and professional audio. Founded in 1971, we sell, service and support products in 89 countries worldwide, via company-owned offices in the U.S., Canada, Europe, and China, and an extensive network of HME-authorized distributors, dealers and service agents. Every day quick service restaurants take over 24 million orders using HME systems. With the recent acquisition of Clear-Com, HME is the world’s leading provider of professional intercom systems. To learn more, visit www.hme.com.

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Old Lyme, Conn. – April 17, 2012– With the new firmware version 1.7.0, audio specialist Sennheiser [NAB booth C2632] is now providing a media control protocol for its 2000, evolution wireless ew 500 G3 and evolution wireless ew 300 G3 series. This new open protocol enables rack-mount devices of the series to communicate directly with media control units in an Ethernet network (UDP/IP) and to be integrated into larger audio/video control systems. The units can then be remote-controlled and monitored directly from a central control panel, such as those supplied by Crestron and AMX. Individual solutions from system providers or control via an Apple iPad/iPhone or a mixing console are equally possible.

“The new firmware enables microphone receivers and monitoring transmitters from the 2000, ew 300 G3 and ew 500 G3 series to be remote-controlled and monitored,” explained Robb Blumenreder, channel manager for professional systems at Sennheiser’s U.S. headquarters. The user can display the channel banks of the rack-mount receivers and transmitters, remotely set a suitable frequency and also assign names. The receivers and transmitters can be muted via the control panel and give warning signals if, for example, the signal strength is too low or if the devices are threatening to over-amplify. “Put simply: this interface can be used to give all essential commands and to set up the system,” Blumenreder said.

For the receivers of the ew 300 G3, ew 500 G3 and 2000 series, the squelch, equalizer and audio signal strength can be displayed, as well as the RF field strength for each receiver unit within the device, the active antenna, pilot tone on/off and the battery status for the associated handheld or bodypack transmitters.

For the monitoring transmitters of the ew 300 IEM G3 and 2000 IEM series, the sensitivity, equalizer and mono/stereo setting can be displayed and adjusted. In addition, the transmitter indicates the audio signal level.

“Of course, even when integrated into a media control system, the rack-mount receivers and transmitters can still be operated and programmed directly at the units themselves,” Blumenreder explained. “The devices will then process the current control signal in each case.”

The new firmware version for the receivers and transmitters as well as the complete documentation for the media control protocol can be downloaded free of charge from the Sennheiser website: www.sennheiserusa.com/mediacontrolprotocol.

*iPad and iPod are registered trademarks of Apple Inc. in the USA and other countries

Image Caption:
Screenshot1+2.jpg: Microphone receivers and monitoring transmitters from Sennheiser’s 2000, ew 500 G3 and ew 300 G3 series can now communicate directly with media control units via an open protocol

Devices Supported

EM 300 G3 wireless microphone receiver
EM 500 G3 wireless microphone receiver
SR 300 IEM G3 monitoring transmitter
EM 2000 wireless microphone receiver
EM 2050 twin wireless microphone receiver
SR 2000 IEM monitoring transmitter
SR 2050 IEM twin monitoring transmitter

TouchScreen Audio Meter an Innovative Teaching Tool for Film Students

LOS ANGELES, APRIL 17, 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 the recent installation of its TM7 TouchMonitor at the prestigious John Williams Scoring Stage at the University of California (USC) School of Cinematic Arts. The 7-inch touch-sensitive audio monitor has become an integral part of the school’s undergraduate and graduate programs, specifically for students learning about film scoring, mixing and audio post production. The innovative touchscreen capability provides a more flexible, comfortable experience for the students, most of who are accustomed to using the same touch technology on their personal electronic devices.

After spending some time with the TM7 at last year’s NAB Show, USC’s Chief Audio Engineer Buddy Halligan knew right away that it would be part of the school’s recent redesign of the John Williams Scoring Stage. Halligan, already familiar with RTW from the positive experience he’d had with the company’s SurroundMonitor 10800X PLUS—there are five units installed in the dub stages at the School of Cinematic Arts—purchased the TM7 soon after.

“I suspected the TM7 would also be another high-quality meter,” says Halligan. “I played with it at NAB, fell in love and bought it. It’s so intuitive, the design is beautiful and it’s nice that we will be able to keep adding to it with new upgrades and software packages as our needs change. It makes for a solid investment for our school.”

The TouchMonitor’s LRA (Loudness Range) instrument, a descriptor specified in ITU-R BS.1770, which combines the two most critical loudness-metering parameters, is used extensively in USC School of Cinematic Arts’ graduate-level advanced sound, sound production and post-production film classes. In the sound production classes, for example, the students show their dailies, receive rough cuts, final cuts and then produce the final mix. The TM7’s LRA has proven to be an integral teaching tool as the students take their content through each stage of the filmmaking process. It is also used in the scoring classes in a similar way.

Halligan also likes the customization and flexibility the TM7 provides. For the faculty, it is helpful to be able to set up different pre-sets in order to cover all required topics in class. Plus, since all of the readings can be viewed simultaneously and projected onto a larger screen, all of the students can have a clear visual of what they are listening for.

“The VGA output is a great feature,” adds Halligan. “It allows us to project the meters in the classrooms so that the entire class gets a really close look at what is going on with the various parameters and meters. They can easily see the phase relationship, RTA, the overall level peaks, dialogue, normalization—everything they need to understand the bigger picture.”

The TM7 and TM9 TouchMonitor versions, featuring 7- and 9-inch touch-sensitive displays, respectively, provide unparalleled flexibility and modularity, combined with intuitive control. The software visualizes multiple sources simultaneously. It supports displaying the same signal on multiple instruments in parallel, each with dedicated defaults with both horizontal and vertical operation. The system visualizes up to 16 analog and/or digital sources at the same time. The TM9 is even capable of providing a view of up to 32 digital channels when the 3G SDI option is implemented.

“We are honored that a school with such a stellar reputation as that of the USC School of Cinematic Arts chose RTW’s state-of-the-art products for its students,” says Andreas Tweitmann, CEO, RTW. “These students are the future of the film industry and we are sure that the TouchMonitor is the perfect tool for meeting today and tomorrow’s challenges in audio metering. It is a wonderful opportunity for them to be using the same tools in the classroom that they will find in many production studios around the world.”

JESSUP, MARYLAND – APRIL 2012: Famed producer, mixer and engineer Joe Chiccarelli is slated to appear for API (Automated Processes Inc.) at a special API JDK Day event. The special showing will feature a Q&A with Chiccarelli as well as a demonstration of his recording and mixing techniques using an API 1608.

“We are so thrilled to have Joe available to appear at this event,” said Larry Droppa, API president. “Getting Joe to explain his recording and mixing techniques in an intimate forum like this is a very rare occurrence, and API is honored to have Joe doing the demo on a 1608. He has been a fan of API gear for many years and has the ability to get the equipment to bring out the best part of an artist’s performance.”

Chiccarelli rose to industry fame as an engineer and producer more…

LAS VEGAS, APRIL 16, 2012 – DPA Microphones is pleased to announce the unveiling of its new d:vote range of instrument microphones at the 2012 NAB show (Booth C3436). DPA’s d:vote is perfect for broadcast settings that require mics that are high-quality, discrete and effortless to change. Building on the success of the highly acclaimed 4099 instrument clip mic series, d:vote has enhanced the shock mount to provide even better absorption.

The proliferation of reality-based programming where live musical performances dominate, makes the d:vote a mic that is much needed. Talk and Late Night shows increasingly feature more live music, where musical artists need to set up quickly and have unobtrusive mics. Television programs such as the Tonight Show with Jay Leno continue to rely on DPA instrument microphones. Also, with so many television viewers watching in HDTV with 5.1 sound, only high-quality mics from a company like DPA can deliver the kind of pristine sound that they desire.

In addition to the shock absorption upgrades, the new d:vote instrument microphones now feature a cable available in heavy duty 2.2 mm (0.087 in) and 1.55 mm (0.061 in) diameter versions, which can now be detached from the end of the gooseneck. Further flexibility is available through an extension unit for the gooseneck supplied with the mic, which lengthens its neck by 50 percent.

“After a long introduction, the 4099s have more than tripled in sales over the last two years and the curve is only going up,” says DPA CEO, Christian Poulsen. “When upgrading our mics to the d:vote, we have listened to what our users want, and the new improvements make it even more durable and less sensitive to noise. The new extension unit brings maximum value to demanding applications, achieving just the right sound from the instrument.”

The d:vote condenser mics feature supercardioid polar patterns for highly uniform off-axis frequency response and superior gain-before-feedback. Capable of handling high sound pressure levels, these microphones live up to DPA’s pedigree of breathtaking clarity and richness.

Despite its tiny, discreet size and lightweight design, d:vote is rugged and stable, while the versatile and extendable gooseneck provides stable positioning. The mics can easily be unclipped and repositioned or moved to another instrument with only one hand. d:vote’s microphone mounting system is designed to be extremely gentle, never marring the finish of an instrument.

The MicroDot connector and more than 35 DPA adapters ensure compatibility with just about any wireless system, and the product can also be used as a standard 48V phantom powered microphone via its supplied XLR connector.

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.

New Version of Industrywide Favorite for Word Clocking Solutions

Brainstorm Electronics, the world leader in time code and clocking solutions, is introducing at NAB 2012 the new DCD-12 Word Clock Distributor.

Brainstorm’s new single domain DCD-12 Word Clock Distributor/Generator is an excellent companion for the popular DCD-8 and includes the same exceptional jitter rejection. The DCD-12 can run as a master generator on internal crystal or locked to an external reference such as WC, Video Sync (HD & SD), AES31, S/PDIF, 10 MHz (GPS or Rubidium clock). The rate of the reference (input) is “learned” by the DCD-12 automatically while the output rate can be identical or set independently. Ethernet is included to monitor and set parameters and update firmware.

About Brainstorm
Brainstorm products deliver complete solutions for all sync requirements in the post- production, recording and broadcast environments. Designed for operations ranging from audio recording studios to large post-production houses and major broadcast facilities or remotes, Brainstorm offers the most comprehensive package for all clocking needs, providing versatility in the widest range of applications.

Experience the new Brainstorm DCD-12 at NAB in Las Vegas,
April 16 – 19, Booth #C-3740

For a free VIP NAB pass and more info about Brainstorm, visit distributor plus24:
http://www.plus24.net or phone 323.845.1171