Archive for November 8th, 2013

MultiDyne CCW 2013 Product News

MultiDyne(R) — Booth 1309

At CCW 2013, MultiDyne(R) will showcase its comprehensive range of innovative, fiber-optic-based video and audio transport solutions designed specifically for pro A/V and broadcast applications.

Key Product and Technology Demos

The BullDog Field Fiber Transport System
At CCW 2013, MultiDyne will highlight The BullDog, an innovative new field fiber transport system that packs endless functionality into a compact, rugged package. Using The BullDog, professional camera operators can significantly extend the transmission distance of camera signals, including HD-SDI video, audio, intercom, control data, GPIOs, tally, and power. In addition to transporting any camera signal over a single fiber cable, The BullDog can efficiently transport up to 8 HD-SDI signals in any direction. Designed to withstand the harsh environments of sports and ENG applications, the cost-effective and scalable system can easily be configured to support a wide range of existing and next-generation signals.

Operating on a low-weight battery pack, The BullDog gives users the option of adding MultiDyne’s JUICE power supply. Using JUICE, operators can seamlessly transmit camera signals to distances up to 300 meters, without requiring local power or batteries.

SilverBACK-4K(TM)
MultiDyne’s SilverBACK-4K(TM) is a powerful new camera-mounted fiber transport solution that supports 4K (Ultra HD) digital television. Utilizing SilverBACK-4K, users can seamlessly transmit any camera signal — including Ultra HD video, HD-SDI video, audio, intercom, control data, GPIOs, tally, and power — over a single hybrid copper and fiber cable.

The SilverBACK-4K is available in several versions including a feature-rich model with a video option for viewfinder or monitor viewing in the field as well as other low cost models. Ultra HD support can be added to any existing SilverBACK system through a simple upgrade, enabling MultiDyne customers to deliver a state-of-the-art 4K television experience cost-effectively.

MultiDyne’s award-winning SilverBACK-4K transport system features an elegant, compact case — measuring just over one inch thick — with a simple, intuitive user interface. Ideal for digital cinema, sports, ENG, DSNG, and multi-camera studio applications, SilverBACK-4K can transport SDI video up to 4K uncompressed with embedded or separate program audio. Users can achieve camera control/RCP paint functions through one of the three available data channels, and an additional back channel is available for camera sync or genlock. Several options are available for optical connectivity including STS, Neutrik(R) opticalCon, Fibreco Mini 2 expanded beam, and Lemo(R) SMPTE 304M. A JUICE power supply can be added to support camera distances up to 300 meters.

The SilverBACK-4K supports up to four channels of AES or analog program audio as well as a full-featured, single-channel intercom with talk and listen gain adjustments. Additionally, an adjustable PGM inject allows the camera operator to hear program audio mixed with intercom. To enable audio, a mic preamp is included for talent or camera-mounted audio needs, along with a talent IFB. The receiver features a standard 4-wire intercom output configuration with an optional 2-wire conversion. PGM audio is available for the talent or stage manager via a convenient headphone jack.

HD-18000 CWDM Multiplexer
MultiDyne’s HD-18000 CWDM multiplexing system enables users to transport up to 18 HD-SDI signals per single-mode fiber, making it the industry’s most powerful and economical HD-trunking solution. Portable and easy to use, the platform is perfect for transmitting multiple high-bandwidth signals in harsh operating environments and can easily support emerging 4K applications, providing users with the capability to transport up to four 4K signals with one fiber. Designed for OB, fixed facility, cross-campus network, and centralized control room applications, the system optimizes transmission anywhere signals need to be trunked — offering users a compact, cost-effective, multichannel solution for extending SDI transport.

FS-18000 Fiber-Saver Portable CWDM Remapper/Multiplexer
Visitors to MultiDyne’s booth will get a look at the FS-18000 Fiber-Saver, a CWDM remapper/multiplexer that transports up to 18 digital optical or SDI signals over a single fiber, simplifying the transport of additional signals in remote locations where there is an insufficient amount of available fibers. Using the FS-18000 Fiber-Saver, a user can input any digital optical signal, with a data rate of up to 4.25Gb/sec. All 18 signals are transmitted over one fiber. The receiver then outputs each of the 18 optical signals individually. The FS-18000 Fiber-Saver is the ideal solution for a wide range of applications, including sports broadcasting, shared control rooms, and remote studios/STLs, and has been enhanced to support 4K digital television.

4K-4000 Fiber-Optic Transport System
Also on display at CCW 2013 will be MultiDyne’s 4K-4000 fiber-optic transport system. Designed to address the tremendous data requirements involved with delivering 4K digital television, the 4K-4000 enables users to transport a 4K signal over one single-mode fiber. The cost-effective unit is portable or rack-mountable, offering users a high degree of flexibility. There is also a card version for the openGear(R) platform with SNMP and redundant power.

SilverBACK-II(TM) With JUICE Camera-Mounted Fiber Transport Solution
MultiDyne’s signature SilverBACK-II(TM) with JUICE is the cost-effective, camera-mounted fiber transport solution capable of transmitting any camera signal, including HD-SDI video, audio, control data, GPIOs, tally, and power over a single hybrid fiber and copper cable without relying on local power or batteries. Featuring an elegant, compact case measuring just over one inch thick, the SilverBACK-II with JUICE eliminates operator fatigue in the field by providing users with a lightweight, remote powering system that can be seamlessly integrated onto any camera. Ideally suited for news, sports, ENG, DSNG, OB, and multi-camera studio applications, the SilverBACK-II with JUICE can transport SDI video up to 3G HD-SDI uncompressed with embedded or separate program audio. A return video option also supports up to 3G HD-SDI video for viewfinder or monitor viewing, providing a high-quality viewing experience for users in the field. In addition, the unit enables operators to achieve camera control/RCP paint functions through one of the three available data channels. An additional back channel is available for camera sync or genlock. Several options are available for optical connectivity including STS, Neutrik(R) opticalCon, Fibreco Mini MX expanded beam, and Lemo(R) SMPTE 304M.

SMPTE-HUT Hybrid Universal Transceiver
MultiDyne will highlight its SMPTE-HUT universal camera transceiver at CCW 2013. Designed to increase the transmission distances of HD cameras that can be distance-limited by hybrid copper/fiber cabling, this high-performance transport system is ideal for remote broadcasting, sports, shared control rooms, campus facilities, arenas, and stadium applications. The SMPTE-HUT cost-effectively enables full camera operation in even the most rugged broadcasting environments, extending transmission ranges up to 10km on just two single-mode fibers.

Company Overview:

For more than 30 years, MultiDyne(R) has been a leading provider of innovative video and fiber-optic-based transport systems for the broadcast, cable, satellite, production, digital cinema, pro A/V, corporate, retail, surveillance, teleconferencing, judicial arraignment, transportation, government, military, and healthcare markets. MultiDyne’s fiber-optic transport systems for video, SDI, 3G HD, DVB/ASI, VGA, DVI, HDMI, audio, AES, Ethernet, data, CATV, as well as the company’s other broadcast accessories are used worldwide by such industry leaders as ABC, CBS, NBC, CNN, RAI, BBC, and the U.S. Department of Transportation. MultiDyne provides a seven-year warranty on its core product line. For more information, call MultiDyne at 1-877-MULTIDYNE or 1-516-671-7278, visit the company’s website at www.multidyne.com, or send an email to sales@multidyne.com.

IMAGE DOWNLOADS

MultiDyne(R) The BullDog
www.202comms.com/MultiDyne/Bulldog.zip

MultiDyne(R) SilverBACK-4K(TM)
www.202comms.com/MultiDyne/CJA_9713.zip

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Qube Cinema True 4K 3D(tm) System to Power Laser Light Engines’ Laser Projection Demos

XP-I Server and Xi Integrated Media Blocks to Deliver Content to Laser and Xenon 4K Projectors


Burbank, Calif.: Nov. 8, 2013… Qube Cinema will provide its True 4K 3D(tm) system to help power a series of laser projection demonstrations being shown by Laser Light Engines (LLE) the week of November 11 in Burbank. The Qube Cinema XP-I server and dual Xi integrated media blocks (IMBs) will deliver 3D 4K content to the latest laser projection technology from LLE. Industry attendees will see how laser-illuminated cinema projection, run from a single server to dual IMBs, will improve 2D and 3D exhibition.


“We did internal demos with Qube Cinema’s True 4K 3D system last year and it was superb,” said Bill Beck, founder and executive VP of business development for LLE. “We’re delighted to have Qube providing the technology to showcase our latest laser illumination technology.”


Four separate side-by-side sessions will show 2D content on both white and silver screens. The demonstrations will include split-screen, butterfly comparisons of laser vs. Xenon illumination. In addition, there will be three sessions showing both Hollywood theatrical content and images especially chosen from the giant screen film library and projected in 3D onto a silver screen at full 4K resolution. These will also show laser vs. Xenon comparisons.


“This is where the Qube Cinema True 4K 3D system really shines,” explained Beck. “95% of the audience will never have seen 3D content at this resolution before. It’s great that Qube has developed this technology that supports advanced and future high resolution 3D requirements.”


NEC Display Solutions will provide two NC 3240S 4K DLP Cinema(r) projectors. One will be lit by a standard Xenon lamp. The other will use the LLE laser engine to demonstrate off-board illumination, despeckling performance and to compare the quality of images for different content.


Images from the two projectors will be synchronized by the Qube server and embedded IMBs. The synced Xi IMBs are a benefit because they allow for this multiple projector playback.


“Qube Cinema remains the only manufacturer capable of delivering dual-projector 4K 3D,” said Eric Bergez, director of sales and marketing for Qube Cinema. “Along with our ability to playback from a single DCP, the Qube True 4K 3D system provides the power to playback large format DCPs at bitrates four times greater than the standard DCI spec. The system also supports high frame rates of 120 fps per eye on all our dual-projector configurations. We’re thrilled to be a part of Laser Light Engine’s demos.”


To register to attend one or more of these sessions, please visit http://www.laserlightengines.com/rsvp.php

ArsenalFX Provides Visual Effects for Three Celebrity-Directed Short Films Featured within the Canon/Ron Howard “Project Imagination” Film Festival; ArsenalFX works with Eva Longoria, Jamie Foxx and Biz Stone

Santa Monica, CA, November 11, 2013 – ArsenalFX, a leading Visual Effects Post Production studio, recently produced visual effects featured within three celebrity-directed short films. These films, which were directed by Eva Longoria, Jamie Foxx, and Twitter co-founder Biz Stone, have just been presented as part of the 2013 Canon/Ron Howard “Project Imagination” Film Festival, both in New York and Los Angeles. ArsenalFX’s Creative Director Lauren Mayer-Beug was the VFX On-Set Supervisor during physical production of all three films.
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This is the second year in a row for which ArsenalFX has provided visual effects support to this project, which is presented by Ron Howard and Canon. This year, the company contributed VFX to Eva Longoria’s film “Out of the Blue,” Jamie Foxx’s film, “And She Was My Eve,” and Stone’s film, “Evermore.” ArsenalFX produced approximately 80 VFX shots for each of the three films. The company also provided the graphics, titles, and credits for each film as well.
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ABOUT “OUT OF THE BLUE:”
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Eva Longoria’s action short film “Out of the Blue” gave the actress a chance to live out her dream of being a stuntwoman. The film tells the story of a tough, sexy woman fighting her way through a series of unique physical challenges, in her efforts to stop a mad man. The female character’s mission takes a surprising turn that leaves the audience wondering if it was all just a game. For a behind the scenes look, please visit:

http://screen.yahoo.com/video/playlist/projectimagination-eva-longoria-out-of-the-blue/eva-longoria-film-behind-scenes-174040000.html

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For “Out of the Blue,” ArsenalFX was involved in a great deal of harness and rig removal presented within the film’s fight scenes. This work also included rebuilding Longoria’s face for a few shots in which rig wires crossed over her actual face during physical production. ArsenalFX also created digital knives in 3D, and composited them into the film’s various knife-fight scenes.
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ABOUT “AND SHE WAS MY EVE:”
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Jamie Foxx describes his short film, “And She Was My Eve,” as “Frankenstein Meets Love Jones.” Actor Tyrin Turner (“Menace II Society,” Janet Jackson’s “Rhythm Nation” music video) stars in the short film, which tells the story of a man, scarred early in life by unrequited love, who works to attain the perfect mate. In the end, he gets more than he bargained for. The film co-stars Nichole Galicia. Jamie Foxx also composed the music for the film, and made cameo appearances as “The Eye Keeper.”
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For a behind the scenes look, see:

http://screen.yahoo.com/video/playlist/projectimagination-jaime-foxx-and-she-was-my-eve/

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For “And She Was My Eve,” ArsenalFX provided a great deal of green screen removal of a mannequin’s legs, as well as adding backgrounds and signs/scenery in a green screen car driving and crashing scene. Human eyes were shot practically on set, and then comped in by ArsenalFX to appear within the film’s creepy “Eyekeeper Room” sequence. ArsenalFX also provided cleanup, titles, and credits for “And She Was My Eve.”
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ABOUT “EVERMORE:”
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Biz Stone’s short film “Evermore” was inspired by Edgar Allan Poe’s famous poem, “The Raven.” The film presents the tale of a single mother who buries herself in work, and a grandfather who hides in his own little world. The imaginative machinations of an eight year old girl may mean salvation for this family darkened by loss. For a behind the scenes look, please visit:

http://screen.yahoo.com/video/playlist/projectimagination-biz-stone-evermore/

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For “Evermore,” ArsenalFX produced CG birds and reeds for a variety of miniature environment scenes. The company also provided cleanup, titles, and graphics for this short film as well.
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ABOUT THE 2013 CANON/RON HOWARD “PROJECT IMAGINATION” FILM FESTIVAL:
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Filmmakers both famous and unknown contributed 10 films to the 2013 Canon/Ron Howard “Project Imagination” Film Festival, which was held during the past weeks in New York City and in Los Angeles. Stars and amateur directors produced these short films, which were inspired by consumer-submitted photos taken with Canon cameras. For more information, please see: https://www.longliveimagination.com/
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ABOUT ARSENALFX:
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Founded in Santa Monica, CA, in 2008 by Mark Leiss, with Terry Silberman serving as Partner, and Ashley Hydrick as Executive Producer, Arsenal FX is an artist-driven, Visual Effects Post Production studio set within a boutique environment. The company specializes in commercial finishing. ArsenalFX enjoys a stellar reputation and a diverse global client base, spanning the industries of advertising, motion pictures, and television.
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ArsenalFX’s sister company is ArsenalFX Color, founded in 2012 by Mark Leiss and Larry Field. In just a short time, that company has earned a strong reputation in Hollywood for providing the horsepower and top gear that major TV studios expect, within a personalized, comfortable, boutique-style environment. ArsenalFX Color specializes in television finishing. The sister companies often collaborate on various projects, as each has the ability to utilize the services of the other.
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ArsenalFX considers its greatest strength the talent of its award-winning artists and technicians, whose collective years of experience, along with a shared hunger for new challenges, has resulted in an uncompromising standard of excellence. Under Ashley Hydrick’s supervision, the ArsenalFX team has the
expertise and technology to provide state-of-the-art visual effects for any commercial, TV show, or feature film, regardless of its size or location, anywhere in the world.
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Since its founding, ArsenalFX has contributed visual effects to many hundreds of commercial spots on behalf of such major clients as Sony, Coca-Cola, Dr. Pepper, Nike, Redbull, BMW, Bud Light, Hyundai, Audi, Lexus, Chevrolet, Mazda, McDonalds, State Farm, U.S. Cellular, and dozens more.
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ArsenalFX and ArsenalFX Color are located in Santa Monica, CA. ArsenalFX phone: 310/453-5400. ArsenalFX Color phone: 310/453-5444. The company website is: www.arsenalfx.tv
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Win a FREE Complete Composers Collection 2!

“Like” EASTWEST Sounds on Facebook to enter

Hollywood, CA (November 8, 2013) – EastWest is offering the chance to win a free Complete Composers Collection 2 through November 17. To enter, simply “like” EASTWEST on Facebook and answer one question on the entry form for a chance to win aComplete Composers Collection 2 with your choice of 7 licenses from the 20 options on the included hard drive.

The Complete Composers Collection 2 is perfect for music, film, TV, and game composers. 20 award-winning virtual instruments that cover virtually every musical genre, including:

- The Hollywood Gold series with Strings, Brass and Woodwinds
- The Dark Side
- Ministry of Rock 2
- Spaces
- uantum Leap Solo Violin

Each of these virtual instruments is a veritable masterpiece with truly authentic sounds. With Complete Composers Collection 2, any musician has access to the instruments and articulations used by some of the most successful composers in the world. The massive library comes on a 1TB pocket-size “Plug n’ Play” external hard drive. All samples are installed for quick and easy access. Every instrument included is powered by EASTWEST’s PLAY 4 software, and is now fully compatible with ProTools 11 supporting AAX, plus most other popular hosts (see compatibility chart).

For complete details and to enter visit http://www.soundsonline.com/CCC2-Giveaway

About EASTWEST

EASTWEST (www. soundsonline.com) has been dedicated to perpetual innovation and uncompromising quality of Sample Libraries and Virtual Instruments for 25 years, setting the industry standard as the most critically acclaimed soundware developer. More about EASTWEST at soundsonline.com and soundsonline-europe.com, on F

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iZotope Releases Audio Repair with RX 3: Tools, Tips and Techniques

Online Guide Details Strategies for Overcoming Common Audio Repair Problems

Cambridge, MA – November 5, 2013 – iZotope Inc., a leading audio technology company, announced the release of its new digital guide entitled Audio Repair with RX 3: Tools, Tips, and Techniques. The reference guide, available free of charge in the iTunes store and through iZotope’s website, provides invaluable information for audio editors repairing or restoring audio.

Audio Repair with RX 3 outlines the most common types of audio problems in recordings and covers the fundamental concepts of audio repair, while providing helpful tips from professionals for salvaging previously unusable audio. Geared toward helping users approach audio restoration based on their specific goals, readers can navigate through a wealth of tips and techniques from professionals including Emmy award-winning sound mixer Bill Jackson, Pro Tools Expert deputy editor Mike Thornton, and others.

For RX 3 users, audio repair techniques using iZotope’s new RX 3 audio restoration software are also included as subtopics throughout the guide.

Key Features:
Through the 100+ pages of the guide, readers are provided with valuable information on how to:

- Identify the basics of audio repair and restoration, and understand the tools of the trade.
- Learn the use of a spectrogram to identify audio problems.
- Expand efficiency in denoising, including reducing broadband noise, hum and tonal noise, and dialog denoising.
- Removing intermittent noises and gaps, clicks and pops, clipping, and reverb.
- Learn techniques of efficiently exporting and delivering audio.
- Discover tips from award-winning industry leaders, including timesaving advice and guidance through specific modules and plug-ins.

For more information about “Audio Repair with RX 3”, visit www.izotope.com.
For more information about iZotope RX 3, visit http://www.izotope.com/rx.

Pricing and Links to Download
Audio Repair with RX 3: Tools, Tips and Techniques, is free of charge, and is accessible through PDF by clicking here.
The eBook version can be downloaded via iTunes for iPhone and iPad by clicking here.
Users can also download follow-along audio examples here from the iZotope website.

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. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX®.
For more information on iZotope products, please visit www.izotope.com.

Media Contact

Music Marcom
Martina McConnon
e: martina@musicmarcom.com
v: 610-577-4982

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Eric Smith, Founder and President of Auralex® Acoustics, Continues to Share His Knowledge Through Lectures and Speaking Engagements Nationwide

— Ongoing series of events sees Smith traveling to schools and conferences to educate students, faculty and industry veterans alike —

INDIANAPOLIS, IN, November 7, 2013 – Eric Smith, Founder and President of Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments, is continuing to share his knowledge far and wide, as he has been a featured guest lecturer at a number of colleges and universities across the country. A highly-sought-after speaker, Smith has recently had the opportunity to speak to faculty and students at Musician’s Institute in Los Angeles and the Conservatory of Recording Arts & Sciences in Gilbert, AZ with more such engagements planned indefinitely.

Smith, throughout his career, has been a strong advocate of education, and he has guest-lectured at high schools and colleges throughout the country on the subjects of acoustics, broadcasting and entrepreneurship. Smith brings a wealth of personal experience, technical knowledge and a sense of humor to all of his presentations, which focus on basic acoustic theories, sound control issues and solutions, product design strategies, the challenges of a start-up company and what it takes to be successful in business.

Barry Rudolph, Instructor at Musician’s Institute, recalled the response to Smith’s presentation there: “What a fantastic and generous lecture Auralex President Eric Smith recently gave to the audio engineering students here at Musicians Institute in Hollywood. Our new Studio F was filled to capacity throughout the afternoon with a continuous stream of students enjoying his insightful and practical suggestions for improving the sound of their own project/home studios using various Auralex acoustic treatment products. Eric’s anecdotal yet analytical tutorial style explains with clarity, precision and humor. The students loved it!”

Smith was also a featured panelist at the recent PotLuckCon 2013 Audio Conference. Eric participated in a panel discussion along with studio designers/acousticians Mark Genfan and Carl Tatz and noted journalist/music technology specialist Mitch Gallagher. The topic of the well-attended panel discussion was “Practical Acoustics Workshop,” and the panel was moderated by Alex Maiolo.

“This series of events has been very fruitful,” stated Eric Smith. “I love getting the opportunity to promote good sound and good listening environments to current and future engineers and members of the audio community. When I see tomorrow’s audio professionals asking great questions and paying close attention, I know that the industry is in great hands. I am lucky that I can make an impact on these minds in the process, and I look forward to participating at more of these events in the near future.”

For more information, please visit www.auralex.com.

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Focusrite’s RedNet System Helps Georgia Southern University’s Ambitious Electronic Ensemble Music Program Push the Boundaries of Music Recording and Composition

Eight RedNet 1 units offer precision 24-bit A-D and D-A conversion and I/O for bringing in analog audio signals from the program’s studio and delivering them digitally to any part of the campus’ network

Los Angeles, CA, November 7, 2013 – RedNet, Focusrite’s flagship range of Ethernet-networked audio interfaces, based around the Dante Ethernet protocol, can take music and recording to places it might never have gone. That’s what’s taking place at Georgia Southern University, where the school’s music technology department is moving forward with an innovative curriculum. The program utilizes eight RedNet 1 devices, which offer eight channels of line-level analog I/O with Focusrite’s precision 24-bit A-D and D-A conversion, to connect acoustical and electronic performances from the school’s electronic ensemble. This allows students to manipulate the audio in real time, creating entirely new compositions in the process.

For instance, as John Thompson, the school’s Associate Professor, Music Technology, explains, a performance by a clarinet in one of any number of venues across the campus, including a performing arts center or a black-box theater, can be routed via RedNet onto the school’s local-area network and back to the program’s recording studio. In the process, students can access that signal and apply a huge array of processing to it, using the original performance as a trigger for other types of sound generation, creating an entirely new work. All of this is made possible by RedNet’s near-zero latency and highly flexible routing capabilities. And the entire campus can be the recordings’ canvas, thanks to the RedNet’s routing capability.

“We’re routing everything through a Cisco switch, and using RedNet we’ve been able to create a very complex routing infrastructure with very little cabling,” explains Thompson. “That ability to access the network, combined with the extremely low latency, is what makes this work. In addition to the interesting potential of networked audio in musical performance, we get the bonus of excellent converters in the RedNet 1s. The audio quality is outstanding with a crisp and focused image.”

The RedNet devices, which were purchased through Sales Associate Jim Swain at Sweetwater, are central to Thompson and Georgia Southern University’s unique and ambitious program achieving its goals. The University’s hallmark is “a culture of engagement that bridges theory with practice,” the school’s website explains, and that’s exactly what the Music Technology’s program’s adventurous agenda does.

“RedNet really takes us to places few educational or musical programs can go,” says Thompson. “It changes the mindset. Instead of letting us just find new ways of doing old things, RedNet lets us discover new ways of doing entirely new things. That’s really an accomplishment.”

RedNet is Focusrite’s range of modular Ethernet-networked audio interfaces that harnesses the power of Audinate’s tried and tested Dante digital audio networking system to bring studio quality sound to any modern audio application. Fundamentally, RedNet is an extremely scalable, near zero latency audio distribution system that can be used to expand I/O channel count, interface digital components, and/or bridge between Pro Tools|HD or MADI and the Dante audio network. RedNet 1 connects to your network with a single Ethernet cable.

For more information on the full RedNet range of Ethernet-networked audio interfaces, please visit www.focusrite.com/rednet.

About RedNet 1:
RedNet 1 offers eight channels of line-level analog in and out, with Focusrite’s precision 24-bit A-D and D-A conversion for superb audio performance, and 119-dB dynamic range at sample rates up to 192 kHz. The rear panel includes standard DB25 connectors for analogue patchbay or breakout cable interfacing. RedNet 2 adds 16 analog channels in and out to your RedNet network and can be located anywhere you can run an Ethernet cable. Featuring Focusrite’s precision 24-bit A-D and D-A conversion for superb audio performance, it delivers 119-dB dynamic range at sample rates up to 192-kHz. The rear panel includes standard DB25 connectors for analog patchbay or breakout cable interfacing.

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Audio Engineering Society Welcomes New President Dr. Sean Olive

— Noted audio researcher, educator and recording engineer/producer assumes role of President,
taking over from Frank Wells —

— Olive’s expertise and experience will help frame and strengthen the direction of AES leading into the 137th Convention in Los Angeles and beyond —

New York, NY, November 6, 2013 — Following closely on the heels of the 135th Audio Engineering Society (AES) Convention, held Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City, which was hailed as one of the AES’s biggest successes in recent memory, the AES welcomes Dr. Sean Olive as its new President, taking over from outgoing President Frank Wells. Currently serving as Director, Acoustic Research, HARMAN International, Olive is based in Northridge, California, placing him in an ideal location to guide the AES into the 137th Convention, which will take place in Los Angeles in the fall of 2014.

Olive’s experience is wide-ranging; his education includes a B. Mus. from University of Toronto, a M. Mus. in sound recording from McGill University and a PhD in sound reproduction from McGill. He served as an audio research scientist for the National Research Council of Canada for several years, before joining the HARMAN team in 1993. He has stayed active in academia, teaching classes at UCLA on occasion, and has been involved in various aspects of the AES’s technical committees and research initiatives. He displays an unwavering passion for audio and the AES organization, and his unique perspective as a musician, educator, recording engineer/producer, audio researcher and consumer places him in an ideal position to guide the course of the society through the next year and help plot that course for coming years.

One set of goals embraced by Olive is to continue diversifying the scope of the AES and its membership. As he points out, “The recording industry has been at times resistant to change, and we are still feeling the effects of the failure to fully embrace digital technology. The ways that consumers are experiencing music are evolving at a rapid rate, with audio as a mobile experience now being much more common than a living room with a hi-fi system. Headphone sales are through the roof, and the AES has a chance to help improve the consistency and quality of the mobile experience. As our membership continues to move toward this world, along with the worlds of film, sound contracting, live sound, automotive audio and gaming, we need to further explore these avenues in order to better serve our members. There is also huge room for AES member expansion into the so-called ‘BRIC’ countries – Brazil, Russia, India and China – and we plan to increase our outreach in those regions. The AES has a tremendous leadership role and a strong membership base, and I look forward to leveraging these assets to assist in the ongoing transition to the AES of the 21st century.”

For further information on the Audio Engineering Society and upcoming events, please visit http://www.aes.org/.

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Clay Paky Joins Black Sabbath’s Reunion Tour

Photo: Sarah Mallos

Heavy metal icon Black Sabbath continues its Reunion Tour in Latin America, Europe and the UK with a large complement of Clay Paky Sharpy and Sharpy Wash lights.

The tour celebrates the band’s reunion last year and supports their album “13,” the first with Ozzy Osbourne since 1978.

“Sharpys are the ultimate eye candy,” declares Michael Keller, lighting programmer for Baz Halpin, the tour’s lighting designer. “They create such a visual display that they combat most videowalls. They’re one of the few instruments that can cut right past them.”

Halpin is utilizing 42 Sharpys on the Reunion Tour with two pods of 4x4s and ten fixtures on the ground, says Keller. “They’re very sturdy and rugged and have never had a failure. They’re bulletproof lights with very powerful lamps. The prism is great and the gobos are amazing. Anything you want to do with them is never an issue.”

Forty Sharpy Wash lights were deployed in Australia as fill for a video shoot, he notes, and “they were awesome as well.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, comments, “Mr Halpin and Mr. Keller have been Clay Paky users for a while and we’re thrilled about how they’re being used for this show. We look forward to working with them again in the future.”

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