Archive for May 20th, 2013

AES 135th CONVENTION POSTS DEADLINE FOR PAPERS PROPOSALS

May 29 Deadline for Abstracts

NEW YORK: AES 135th Convention Committee Papers Co-Chairs, Brett Leonard and Tae Hong Park, have announced an extension of the call to the professional audio community for technical papers proposals. The new deadline is Wednesday, May 29, 2013.

“We have already received a number of strong abstracts and completed papers,” reports Brett Leonard. “We anticipate a particularly strong turnout for this year. And, we want to make sure that our review board has as many options as possible in order to maintain the quality and diversity of our presentations. By reaching out to a wider segment of the professional and educational sectors we hope to add a number of atypical but eminently worthwhile subjects.”

“We recognize the fact that meaningful papers can originate from beyond traditional academia,” states Co-Chair Tae Hong Park. “Our goal is to develop the most stimulating, comprehensive and authoritative Papers Program possible. Points of origin are far less critical than points of fact, theory and originality.”

In addition to sharing knowledge and opening constructive dialogues on issues which impact on the professional audio community, presenting authors will have their Papers included on the CD-ROM of the full Papers / Posters Program, and, student members will be eligible for the Student Paper Award.

Authors may submit proposals in three categories:

1. Complete-manuscript peer-reviewed convention papers: www.aes.org/135th_authors
2. Abstract-precis-reviewed convention papers: www.aes.org/135th_authors
3. Synopsis-reviewed engineering briefs: www.aes.org/135th_ebriefs

Category 1 and 2 proposals must be submitted electronically to the AES 135th proposal submission site at: www.aes.org/135th_authors by May 29, 2013

Category 3 – Engineering Brief authors must supply a short synopsis by Aug. 14, 2013 followed by an electronic manuscript. These manuscripts will be freely available in the AES E-Library to AES members.

The 135th Audio Engineering Society Convention will be held Oct. 17 – 20, 2013 at New York’s Jacob Javits Convention Center.

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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Dataton gets the vote as province of Ontario gets new Premier


WATCHOUT powers ‘history in the making’ at Liberal Party Convention in Toronto

In a powerful demonstration of its ability to integrate live data into a multimedia production with both local-venue and broadcast connectivity, Dataton WATCHOUT™ multi-image display and presentation software has been deployed as a key presentation tool at the Canadian Liberal Party’s Ontario Leadership Convention in Toronto.

The WATCHOUT licences were supplied to Mediaco by Show Sage, Dataton’s Premium Partner for North America. Jim Testa, President, Show Sage, comments: “Whether it’s equipment rental, lighting and staging, technical production or fully fledged system design, Mediaco is a highly innovative and trusted partner, and it was a pleasure to support them in the creation of the Liberal Party Convention multimedia show.”

The Convention, which resulted in the nomination of Kathleen Wynne as the first openly gay female Premier in Canadian provincial history, was held in Toronto’s historic former Maple Leaf Gardens building and took place over two days in January this year.

Local event production company Mediaco was responsible for the technical system design and co-ordination of the event, including all on-site AV provision and appropriate OB feeds to Canada’s broadcast community. Mediaco has just rebranded aligning themselves to providing the fastest service and support possible.

Matt Farrell, Mediaco’s Production Manager for the Convention, takes up the story: “The Liberal Party is the sitting party in Ontario so this was no ordinary Leadership Convention – it was a congress to elect a new leader for the entire province of Ontario. As such there was an enormous amount of media attention, in addition to all the hectic negotiations you would expect from a Convention where six candidates have to be reduced down to one winner in a matter of 48 hours.”

Mediaco’s work on the project began a week ahead of the Convention’s opening, with lighting and audio systems being hung over truss in a series of eight-hour shifts. “We came into the building the day before and had to be loaded-in by 4pm for the start of rehearsals,” Farrell continues.

“We had three separate rear-projection displays, using WATCHOUT to create a single HD backdrop that could also be divided into three, depending on the requirements of the event and the timing of the votes inside the venue.

“The screens showed a mixture of pre-made images created by our in-house content team, live camera feeds of the candidates making their pitches to the Convention delegates and other key party members delivering speeches and, last but not least, the big numbers for each candidate as the votes were tallied up.”

As well as the edge-blending and scheduling capabilities of WATCHOUT, Mediaco also used the software platform’s geometry correction functionality for projection onto the center screen because of installation issues caused by the building design.

WATCHOUT’s timeline-based show management tools also allowed direct integration with pre-programmed sound effects and cues that were fed into the on-site audio desk.

The complete audio and video feed was then made available to a broadcast connection that was used live by local stations and in highlights packages by national networks.

Throughout the two-day Convention, Mediaco staff had to adapt the content of their main display to accommodate the shifting political landscape of the event – as Chris Cameron, Technical Director at Mediaco, relates:

“There were a lot of last-minute changes to the presentation which we were able to accommodate into the WATCHOUT timeline because the software is just so easy to use. Once on-site we used the platform’s ability to take data from a live input capture card. This allowed us to broadcast up-to-date voter statistics throughout the frenzy of delegates transferring their vote from one candidate to another as each round of voting was completed.”

Fredrik Svahnberg, Marketing Director, Dataton, concludes: “People tend to associate WATCHOUT with artistic content, and rightly so. But in this particular application we see the power of our platform to act as a communications tool as political history is being made – to the benefit not just of the local audience but to the millions watching broadcast channels at home.”

www.dataton.com
www.ShowSage.com

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25G Hybrid Line of Digital Matrix Switchers from Lightware U.S.A. Now Shipping

Lightware U.S.A., the US distributor for Budapest-based Lightware Visual Engineering, is now shipping the 25G Hybrid Technology, a revolutionary line of digital matrix switchers, which work in tandem with Lightware’s Modular Extender (MODEX) family of external signal extenders. The 25G Hybrid Matrix will be showcased in the Lightware booth at InfoComm13, June 8-14 at the Orange County Convention Center in Orlando booth # 4180.

Designed to deliver exceptionally high-resolution image quality and 24/7 reliability, 25G Hybrid technology sets a new standard in the pro AV industry. More than just a switcher, the 25G Hybrid is a complete source that manages and distributes all digital and analog signals over a single CAT5 cable or fiber via specially-developed input/output cards combined with audio add-ons. As a comprehensive line of digital matrix switchers, transmitters and receivers, 25G Hybrid combines switching with a powerful suite of diagnostic tools for the digital age, delivering a superior user experience.

Since the 25G Hybrid accepts multiple formats it enables users to deploy a single, space-saving frame instead of separate routers and switchers for various formats.

At the heart of the new line is super-fast 25 gigabit per second data-rate switching, which allows transportation of next-generation video signals like HDMI 1.4 and DisplayPort1.2. The future-proof platform is ready for all video and audio standards, including 4K and stereo 3D formats.

Multilayer switching design allows independent routing of each signal type (breakaway switching) for all layers. This feature provides switching and extending of all signal layers separately, or in a breakaway format, to be recombined at output to a single connection.

Each video port can be equipped with a separate audio input and output (audio return channel) connector forming a 320×320 S/PDIF crosspoint switch. It manages stereo and multichannel audio as well as high-bit rate formats like Dolby TrueHD and DTS-HD Master Audio. Multichannel-to-stereo down mixing can be provided as an option.

Other 25G Hybrid features include Ethernet 10/100 connection in all input and output ports for local devices and remote extensions, USB KVM connectivity, and IR/CEC/RS-232 control signal support.

About Lightware U.S.A.

Lightware U.S.A. is the US distributor of professional AV products manufactured by Lightware Visual Engineering in Budapest, Hungary. For more information on these products, visit www.lightwareUSA.com.

Kinky Boots Has Broadway On Its Feet With DiGiCo

With songs by rocker girl Cyndi Lauper and story by celebrated actor/playwright, Harvey Fierstein, Kinky Boots has Broadway on its proverbial feet. Based on the 2005 British flick about a struggling shoe factory that reinvigorates business by making fetish footwear for drag queens, the show opened to rave reviews—and a TONY award nom on the horizon. In keeping with many award-winning shows on the ‘Great White Way,’ sound designer John Shivers opted for a DiGiCo SD7T to handle the production, after becoming familiar with the system on his previous productions for Bonnie & Clyde, Sister Act and The Lion King overseas. The SD7′s powerful system and diminutive size made it a perfect fit for the new show.

“A few years ago, I saw a brief demo at Masque Sound when the SD7 first became available,” he recollected. “Seeing the feature set and the redundant engine and power supply all onboard got me interested. When designing The Lion King for Singapore in 2010, part of my negotiation involved suggesting that we swap out the Cadacs with SD7s in New York and London for both creative and financial reasons. Before I knew it, I’d gotten an email telling me to move forward. Within 6 weeks of that conversation we were implementing the SD7s on the New York show and a month after that we were doing the same in London. I’ve been using SD7s pretty much on every show since.”

Shivers says the console offers a lot of flexibility, especially with the new “T” software, which he says brings features and functionality specific to our needs on theatrical productions as well as a solid sounding foundation in a very compact package.

“The SD7T software has added these very beneficial features thanks to [award-winning sound designer] Andrew Bruce’s involvement in the development. Having onboard compression, gating and delay—along with the programmability and recallability of those parameters on every channel—opens up possibilities that you just can’t have with an analog console. It’s definitely been an upgrade for us from that standpoint. A positive byproduct has definitely been the size of the console, which allows you to get into smaller spaces and require less seats and has served as a large financial windfall for producers. For me, from a purely creative and design standpoint, it’s about the capabilities of the console. I’m not one to follow the crowd necessarily, but the SD7 has become a standard of our industry and the reason everybody’s using them seems clear. It has proven itself to be a very capable and reliable console.”

“The SD7 with the ‘T’ software option has indeed proven to be a very good investment for Masque Sound,” says Masque’s Scott Kalata. “It has near-universal client acceptance, unlimited flexibility and its small footprint make it the ideal choice for today’s theatrical sound designer.”

The show’s Associate Sound Designer & Production Sound Engineer David Patridge has mixed on virtually every make and model DiGiCo has offered since the D5 in his two decades on Broadway. He, too, raves about the increased functionality that the Theatre Software offers.

“This is the number one reason for using SD7 in my opinion,” he offers. “We really appreciate all of the work that DiGiCo has undertaken, in tandem with Andrew Bruce, in developing a purpose-built version of the SD7 software for the theatrical market. DiGiCo has been very responsive in listening to end-users and new features are added and perfected constantly along with the elimination of oddities and bugs.

“I could fill pages on all of the features and how we use them. Specifically, the Auto Update is a great feature on its own but when it is employed as part of the theatre software it is really powerful and allows the desk to remain automated to a much larger degree than other types of desks. Typically, when using a recallable desk, you would need to dumb-down many of the features in order to avoid constantly recalling entirely new settings each time a scene is recalled. With the theatre software, you can expect the desk to operate in a ‘manual’ way but with full and selectable recall ability from moment to moment. On other productions such as The Lion King, we have enjoyed using the Gain Tracking ability of the desk in a creative new way. There is no other desk that I know of where you can assign headamps to a redundant set of control channels dedicated to band monitoring and then have the digital trim of those redundant channels track changes to the headamp. DiGiCo has really stepped up by providing a console that provides us with the greatest creative freedom when doing theatrical sound designs.”

“We use the onboard processing extensively for band reverbs and dynamics, which really cuts down on the real estate at the FOH position. The only outboard gear we’re using is a couple of Avalon Tube Compressors for our lead vocalists to fatten up their vocals. We also have a TC6000 System and Eventide H3000 for Vocal Effects/Reverbs etc. We are not using Waves yet, but I am interested in doing this in the future.”

The show’s system inputs total 116 analog and 6 AES, in addition to 60 analog outputs and 14 AES outputs. The production uses a pair of DiGiCo SD Racks along with the local I/O and MADI for the QLab playback system. They took advantage of the onboard MADI Split on the SD Rack in order to provide audio to a Yamaha PM5D monitor console. “The new racks offer a host of features positioning them well for use where audio is being split to a number of places like OB trucks etc., without needing to tap into the topology of the SD7 audio engines.”

By its very nature, Patridge explains, the SD7T solves many of the issues that crop up when dealing with a theatrical piece. “The cuelist structure, MIDI implementation, onboard input and output dynamics, the desk footprint and the Auto Update features not to mention the desk’s excellent sonic characteristics make choosing an SD7T a no-brainer. And in terms of flexibility and ease of use, I would say that DiGiCo is at the top of the ladder. There is no other digital desk that offers the same degree of theatrical features. The desk is also designed in such a way that it is very simple and intuitive to explain it to a new operator. Sonically I would say that that DiGiCo is on par with the top of the marketplace. Often the weakest link in any sound design is things like the content, mic positions or the room architecture. I don’t get the sense that any of the available top-of-the-line digital consoles add much of a sonic signature, although certainly you get what you pay for. We have been very pleased with the results that we get from DiGiCo desks.”

Pacific Television Center Simplifies its Productions with FOR-A’s UFM-30FRC Frame Rate Converter

Cypress, CA – FOR-A Corporation of America announces that Pacific Television Center (PacTV), a leading provider of global transmission and live broadcast production services, is relying on its UFM-30FRC HD/SD frame rate converter for the company’s operations. PacTV owns three UFM-30FRC units and has been using its up/down/cross converting capabilities for wide-ranging format conversions to transmit feeds around the world.

As PacTV constantly works with incoming feeds via satellite and their proprietary global fiber network, the UFM-30FRC’s built-in frame synchronizer is an important tool for the service provider. This feature clears up any drops in incoming signals that have the potential to cause issues in signal conversion and distribution. Both the frame sync and ‘any format in/out’ functions of the UFM-30FRC minimize the need for additional processing gear and simplify PacTV’s conversions of various standards. Another feature of the UFM-30FRC that makes production simpler for PacTV operators is the Web graphical user interface (GUI), which affords them quick, easy setup and control from any of their three facilities.

“The UFM-30FRC offers motion compensation that rivals that of top-of-the-line converters while being very affordable,” said Jakob Nielsen, PacTV’s Projects Coordinator. “PacTV is a longtime user of FOR-A’s products. In addition to the UFM-30FRC, we also rely on other FOR-A solutions, such as their video switchers, playback systems and other frame rate converter units. We have always found their quality, delivery, and technical support to be exceptional. The bottom line is that FOR-A enables us to better support our broadcast clients.”

PacTV has utilized FOR-A’s UFM-30FRC for numerous international sports broadcasts, including boxing, tennis, golf, wrestling, racecar driving, and martial arts events, as well as live news productions. The UFM-30FRC is part of FOR-A’s UFM Modular product series and can be installed into a FOR-A UFM universal frame.

About FOR-A

FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A’s product line, call 714-894-3311 or visit our web site at www.for-a.com.

Adorama Introduces the Flashpoint 180 Monolight and Battery Kit

The professional all-in-one lighting kit now available at the special price of $199.95 for a limited time only

New York, NY – May 20, 2013Adorama, one of the world’s largest photography, imaging, video and electronics retailers, and a leading destination for iPhone photo specialty accessories, is now selling the new Flashpoint 180 Monolight Kit. The Flashpoint 180 Monolight is compact and ideal for on-location shooting. Lightweight and versatile, the complete lighting kit comes pre-loaded with all the accessories needed to achieve the perfect lighting for any shoot, including a case to carry it all. Two readily available NP-F960 batteries power the light, providing up to 700 flashes at a full 180w/s and giving photographers ultimate control for all of their lighting needs. The Bowens-compatible mount enables the use of advanced light modifiers, such as beauty dishes, while the Flashpoint Bowens Speed Ring Adapter allows the use of soft boxes and other lighting accessories to help deliver flawless results.

The Flashpoint 180 Monolight Kit Ships With:
• Flashpoint 180 Monolight with reflector and handle
• Batteries and charger
• Small umbrella
• Cords
• Carrying bag

Visit the Adorama Learning Center to learn more about monolights, explore the meaning of watt-seconds, and find out how the right light can transform a photograph.

Special Pricing and Availability
The Flashpoint 180 Monolight Kit is available now for 199.95 USD (regularly 249.95 USD) and ships for free (7-10 day delivery) when ordered online at www.adorama.com. The kit is also available at the Adorama superstore located at 42 West 18th Street New York, NY 10011.

Flashpoint is Adorama’s in-house brand, featuring high-quality photo and video accessories and gear, such as the Flashpoint 180 Monolight Kit, at price points lower than competing name brands such as Profoto and Smith Victor.

ABOUT ADORAMA

ADORAMA: More Than a Camera Store

Adorama is more than a camera store – it’s one of the world’s largest photography, imaging and electronics retailers. Serving customers for more than 30 years, Adorama has grown from its flagship NYC store to include the leading online destination for photography, imaging and consumer electronics. Adorama’s vast product offerings encompass home entertainment, mobile computing, and professional video and audio, while its services include an in-house photo lab, AdoramaPix, pro equipment rental at Adorama Rental Company and the award-winning Adorama Learning Center, which offers free education for photographers in video channels such as the popular AdoramaTV.

Adorama is listed as Forbes.com’s “Best of the Web” and in the Internet Retailers Top 100, and is the official Photo and Electronics Retailer of the NY Giants.

Visit ADORAMA at www.adorama.com.

Press Contact:
Anya Oskolkova
Zazil Media Group
(e) anya@zazilmediagroup.com
(p) 617.817.6559
(skype) anya.oskolkova

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Flashpoint 180 Monolight Kit


Audio-Technica U.S. Unveils Systems Integration Resource Center (SIRC) Web Site

— Dedicated password-protected web site includes A-T product information and other resources specifically intended for consultants, contractors and system integrators —

STOW, OH, May 15, 2013 — Audio-Technica U.S., a leader in transducer technology for over 50 years, is unveiling its new Systems Integration Resource Center (SIRC) web site at http://sirc.audio-technica.com. Intended for consultants, contractors and system integrators, this password-protected web site offers Audio-Technica product information, price lists, spec comparisons and other resources. Once authorized by Audio-Technica, the consultant, contractor or system integrator creates his or her own user profile and receives 24/7 access to a host of A-T resources.

Visitors to the site will have access to dedicated product pages by Microphone Type, Microphone Line, Wireless Systems, Headphones, Accessories and Other Products, along with a search function. Resources and tools include Current A-T Prices, A-T Mic Comparison (with categories including Boundary, Gooseneck, Hanging, Headworn, Lavalier, etc.), “The Alternator” Competitive Product Comparison, Project Literature Search and a “Contact A-T” tab. The far right column of the main page is a “My Favorites” list, which is customizable for each visitor and can be used for current or future jobs.

“The consultant, contractor and system integrator market is very important to A-T,” stated David Marsh, Audio-Technica U.S. Director of Sales & Marketing, Installed Sound. “With this new dedicated website, we are continuing our quest to give our customers all the resources they need to become familiar with our product line and to find the right tool for the job. In the field, there is not always time for extensive research, and with this site, we are simplifying the process for our valued customers. Also, using the My Favorites section of the site creates a shortcut for spec’ing mics and accessories for consultants, contractors and system integrators who are doing similar jobs to ones they have done in the past. It’s a great resource.”

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Audio-Technica Mics Chosen for the 16th Consecutive Year at the Rock and Roll Hall of Fame Induction Ceremony

— Audio-Technica continues to be the microphone of choice at the 2013 Rock and Roll Hall of Fame induction ceremony —

STOW, OH, May 15, 2013 — For the 16th year in a row, a broad range of Audio-Technica microphones was selected to outfit the Rock and Roll Hall of Fame induction ceremony. A-T supplied over 50 mics to capture the music for the 28th annual induction ceremony, which took place at the Nokia Theatre in Los Angeles, California, on April 18, 2013. Inductees included Rush (longtime A-T supporters), Heart, Albert King, Randy Newman, Public Enemy and Donna Summer. Non-performing honorees included Lou Adler and Quincy Jones. The show will be broadcast on HBO, Saturday, May 18, 2013.

Eight channels of Audio-Technica’s acclaimed Artist Elite® 5000 Series UHF Wireless System were used with AEW-T3300 handheld microphones/transmitters for frontline vocals throughout the evening, notably on the evening’s finale by Chris Cornell, John Fogerty, Dave Grohl and Ann Wilson.

The Rush performance had a particularly strong Audio-Technica presence, with Rush bassist and longtime Audio-Technica user Geddy Lee performing with an A-T Artist Elite® AE6100 Hypercardioid Dynamic Handheld Microphone, and the band’s guitarist Alex Lifeson using his Audio-Technica 5000 Series wireless systems setup on guitar. The band was mixed by FOH and monitor engineers Brad Madix and Brent Carpenter, both avid A-T supporters.

The backline mic complement of A-T wired microphones included AE2500 Dual-element Instrument Microphone; AE3000 Cardioid Condenser Instrument Microphone; ATM450 Cardioid Condenser Instrument Microphone; AT4050ST Stereo Condenser Microphone; AT4080 Phantom-Powered Bidirectional Ribbon Microphone; AE5400 Cardioid Condenser Handheld Microphone; and AT4054 Handheld Cardioid Condenser Microphone.

The technical staff for the induction ceremony was made up of professional audio industry veterans. Remote recording specialists M3 (Music Mix Mobile), the company responsible for both recording the program and mixing the show for broadcast, used its Eclipse remote truck with John Harris as Audio Coordinator and Jay Vicari as Music Mixer, mixing the event’s audio onsite and assigning all the inputs and microphones for the event. Joel Singer served as Audio Truck Engineer-in-Charge and as Assistant Music Mixer. The P.A. was provided by New York-based Firehouse Productions. Ron Reaves served as Front-of-House Mixer, and Mike Parker Monitor Mixer.

Jay Vicari stated, “I have relied on A-T mics and wireless systems over the years for so many live broadcasts because of their reliability and consistent sonic signature. No matter what genre of music the artist is performing, there is an Audio-Technica solution that allows me to capture the performance as it is meant to be heard.”

For more information, please visit www.audio-technica.com.

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Industry Sponsors Support Recording Industry Golf Tournament (RIGT)

— Annual charity event to be held at Malibu Country Club —

Los Angeles CA, May 15, 2013 — The 2013 Recording Industry Golf Tournament (RIGT), which will be held Monday, June 24, 2013, at Malibu Country Club, is attracting an impressive roster of sponsors representing leaders in every corner of the industry.

Sponsors named thus far include GC Pro, Sterling Audio, Dave Collins Mastering, Design FX Audio, Lurssen Mastering, PreSonus, Record Plant, SAE Los Angeles, Shure, Sound Design Corporation, TransAudio Group, Vintage King Audio and Westlake Recording Studios, with more to be announced.

The event has been organized by seasoned event producer Karen Dunn of KMD Productions and will benefit the music program at A Place Called Home, a dynamic community center and safe haven in South Central Los Angeles where underserved youth 8-21 years old are empowered to take ownership of the quality and direction of their lives through programs in education, arts, and well-being. Recording veterans Ed Cherney and Al Schmitt will serve as Co-Honorary Chairs for the afternoon’s festivities.

“A Place Called Home is a wonderful cause to support,” says Karen Dunn, “We are so grateful to our growing list of sponsors who are helping make this fun event happen, and A Place Called Home will benefit greatly from those who have chosen to take part in a sponsorship.”

Ed Cherney added, “I’m always happy to play golf but especially happy to play when we can not only have fun, but also directly benefit somebody personally. The money we raise will go directly to the music program at A Place Called Home. To be able to make a real difference in a person’s life is what we should all aspire to.”

Online registry for players and sponsors is available at http://2013recordingindustrygolftournament.eventbrite.com/. For more information about the tournament, visit http://recordingindustrygolftournament.webs.com/ or call Karen Dunn at 925-708-0307.

About A Place Called Home
A Place Called Home (www.apch.org) is a dynamic community center and safe haven in South Central Los Angeles where underserved youth 8-21 years old are empowered to take ownership of the quality and direction of their lives through programs in education, arts, and well-being. APCH provides support and opportunities that increase the likelihood that young people will stay in school, go on to higher education and viable jobs, and make a meaningful difference in their communities and the world. Music and recording are key components of the organization’s program offering, and the APCH youth band performs and records on a regular basis.

About KMD Productions
Based in the San Francisco Bay Area, KMD Productions offers full-service event production across the US for businesses and individuals, providing a range of services needed to make events an overwhelming success. KMD Productions can handle all the details of your fundraiser, corporate function or trade show event. Whether you’re looking to launch a new product, get better brand recognition or raise money for your worthwhile charity, KMD Productions has the resources and experience to help you achieve your goals.

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WSDG Reveals Outreach To India

New Affiliation With Pivotal Bollywood Film/Audio Rep

NEW YORK: Sergio Molho, Walters-Storyk Design Group Director of New Business Development, reports that company co-principals Beth Walters and John Storyk returned from a recent visit to India with a pioneering relationship with leading Pro audio/film industry solution provider/recording engineer, Aditya Modi. Following a series of client meetings and two lectures on design and acoustics at Yash Raj Studios in Mumbai, Walters and Storyk finalized an agreement with Modi Digital for exclusive representation of WSDG throughout India.

“Aditya Modi is a 2nd generation audio/video/film industry professional,” Molho says. “Since 2007 he has managed Modi Digital, a successful technology sales/installation firm founded by his father, Vijay Modi – 40 years ago. In addition to his extensive business experience, Modi is an award-winning, creative audio engineer. Our agreement will see him working with us to introduce WSDG’s acoustic and architectural design capabilities to India’s thriving production community. We are extremely fortunate to be working with him,” Molho adds.

“We were deeply impressed with Modi’s artistic talents, his integrity and his social graces,” Beth Walters remarked. “He worked and studied in the U.S. for a number of years, his knowledge of and connectivity with India’s huge film and audio production community is unsurpassed. We have an abiding respect for Bollywood, and we are convinced that WSDG can be of great service this pivotal industry.”

After earning a Recording Arts Degree from Full Sail University in 2001, Aditya Modi moved to LA to work as a DJ. Returning to Mumbai after graduation, he became a successful recording engineer and businessman. In 2001 Academy Award-winning Bollywood composer A.R. Rahman (Slumdog Millionaire) enlisted Modi to manage his production/post production operations, and to serve as creative producer for his live and theatrical shows. Beyond his on-going relationship with Rahman, Modi established two personal recording, mastering & mixing facilities in Mumbai. In addition to writing for technical publications, he also hosts seminars for Music/Audio educational institutions.

“I have been aware of the Walters-Storyk Design Group from the earliest days of my career,” Modi remarked. “John Storyk’s work is highlighted by world-class credits that range from Electric Lady in 1968 to NY’s newest super studio Jungle City. I know WSDG’s international team will make a huge impact on Bollywood’s technical capabilities. And, I am honored to be representing such a distinguished firm.”

“We established an immediate rapport with Modi, and we relate to his entrepreneurial spirit,” John Storyk adds. “He is a true player in the Bollywood community. We are already beginning design work on our first project in India and,” he concludes, “We look forward to a long and warm working and personal relationship with Modi.”

Photo: Aditya Modi is representing the Walters-Storyk Design Group in India

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The 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, the KKL Luzern Concert Hall in Switzerland, 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, 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, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City and Mumbai.

New Affiliation With Pivotal Bollywood Film/Audio Rep

NEW YORK: Sergio Molho, Walters-Storyk Design Group Director of New Business Development, reports that company co-principals Beth Walters and John Storyk returned from a recent visit to India with a pioneering relationship with leading Pro audio/film industry solution provider/recording engineer, Aditya Modi. Following a series of client meetings and two lectures on design and acoustics at Yash Raj Studios in Mumbai, Walters and Storyk finalized an agreement with Modi Digital for exclusive representation of WSDG throughout India.

“Aditya Modi is a 2nd generation audio/video/film industry professional,” Molho says. “Since 2007 he has managed Modi Digital, a successful technology sales/installation firm founded by his father, Vijay Modi – 40 years ago. In addition to his extensive business experience, Modi is an award-winning, creative audio engineer. Our agreement will see him working with us to introduce WSDG’s acoustic and architectural design capabilities to India’s thriving production community. We are extremely fortunate to be working with him,” Molho adds.

“We were deeply impressed with Modi’s artistic talents, his integrity and his social graces,” Beth Walters remarked. “He worked and studied in the U.S. for a number of years, his knowledge of and connectivity with India’s huge film and audio production community is unsurpassed. We have an abiding respect for Bollywood, and we are convinced that WSDG can be of great service this pivotal industry.”

After earning a Recording Arts Degree from Full Sail University in 2001, Aditya Modi moved to LA to work as a DJ. Returning to Mumbai after graduation, he became a successful recording engineer and businessman. In 2001 Academy Award-winning Bollywood composer A.R. Rahman (Slumdog Millionaire) enlisted Modi to manage his production/post production operations, and to serve as creative producer for his live and theatrical shows. Beyond his on-going relationship with Rahman, Modi established two personal recording, mastering & mixing facilities in Mumbai. In addition to writing for technical publications, he also hosts seminars for Music/Audio educational institutions.

“I have been aware of the Walters-Storyk Design Group from the earliest days of my career,” Modi remarked. “John Storyk’s work is highlighted by world-class credits that range from Electric Lady in 1968 to NY’s newest super studio Jungle City. I know WSDG’s international team will make a huge impact on Bollywood’s technical capabilities. And, I am honored to be representing such a distinguished firm.”

“We established an immediate rapport with Modi, and we relate to his entrepreneurial spirit,” John Storyk adds. “He is a true player in the Bollywood community. We are already beginning design work on our first project in India and,” he concludes, “We look forward to a long and warm working and personal relationship with Modi.”

Photo: Aditya Modi is representing the Walters-Storyk Design Group in India

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The 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, the KKL Luzern Concert Hall in Switzerland, 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, 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, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City and Mumbai.

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