BVE 2013 will bring opportunities for broadcast and media professionals to learn from and be inspired by leading experts in production, post and content delivery. The event, which attracted nearly 16,000 visitors in 2012, takes place at ExCel in London from 26-28 February 2013 and will include a healthy audio contingent.
The new venue has enabled the organisers to add two seminar theatres, a conference and additional networking opportunities. ‘With our move to ExCel, we are able to branch out further than ever before, adding a Cinematography and Lighting Demo Theatre and a Connected @ BVE Theatre to our regular theatre line up,’ said Anita Pal, event director, i2i Events. ‘We will also replicate the Skills Zone and Bar Meet-Up events that have raised a great deal of interest at BVE North, as well as working with various partners on fringe events leading up to and during BVE 2013.’
The Future of Media Summit, also new for BVE 2013, is an invitation-only strategic conference examining the future of the traditional broadcasting model and strategies for monetising content in the multiplatform world, as well as issues such as fostering the new generation of creative, payment models and licencing.
Theatres returning include the Production Theatre and PostProduction Theatre, 3D/4K Cinema, The Audio Room and Broadcast Meets IT. In addition there will be seminar strands on the Cloud, Brands as Broadcasters and Live Event Broadcasting. More than 200 exhibitors have already signed up.
Register for free entry at www.bvexpo.co.uk
Prolight + Sound will next be held in Frankfurt on 10-13 April and admission tickets can already be purchased on the event website. Online tickets are personalised and authorise the holder to travel to and from the fair using public-transport services operated by the RMV.
Around 41,000 trade visitors from the audio and studio technology, lighting design, event planning and design attended the last Prolight + Sound, which runs alongside Musikmesse. The exhibition halls occupied by Prolight + Sound will be changed next year as Hall 6.1 will no longer be used and the companies that previously exhibited there will be found in Halls 8.0 and 9.1. Hall 9.1 will become part of Prolight + Sound and house the ‘International Sourcing – Light and Sound’ product group. Interdisciplinary product groups, such as production, broadcasting, recording, media technology and systems integration, will be made more tangible for visitors via individual marketing campaigns.
Graham Blyth, co-founder of Soundcraft, has received an Honorary Doctor of Science degree from the University of Hertfordshire. The award is in recognition of Graham’s long and distinguished career in audio engineering and his leadership in advancing mixing console design.
Having co-founded Soundcraft in 1973, Graham Blyth is currently technical director for Soundcraft and has been involved in the design of numerous products. ‘My engineering life has been constantly rewarding and stimulating and I continue to learn new skills as technology and the market constantly change,’ said Blyth. ‘I particularly want to stress the vital role of the analogue engineer in what is now a very digital world. Ones and zeroes are never that black and white and I could bore for England on the subject of Clock Distribution.’
Photo shows Blyth (left) with Professor Quintin McKellar, vice chancellor, University of Hertfordshire.
RØDE, Genelec and API in conjunction with UK distributor Source Distribution were platinum sponsors of the APRS Sound Fellowship Awards Lunch at the Kensington Roof Gardens, London in November hosted by Sir George and Lady Judy Martin. The annual Sound Fellowship Awards Lunch recognises six individuals who have made a contribution to the art, science or business of sound recording. This year saw the awards presented to Pete Townshend and David Gilmour, engineer-producer Bruce Swedien, studio designer Eddie Veale, Air Edel film music supremo Maggie Rodford and educator and journalist John Borwick.
Source were joined at their table by Jarmo Masko of Genelec and engineer/producers John Leckie, Guy Massey, Andrew Hunt and Tom Morris, along with Keith Malin of pro audio retailer KMR. David Hamilton-Smith and Peter Filleul were MCs for the lunch and the Harewood Toast was delivered by Alison Wenham, chief executive of AIM (Association of Independent Music). US producer Joe Boyd gave the President’s toast in honour of Sir George Martin.
(L-R) Source Distribution and guests: Howard Jones, Guy Massey, Jarmo Masko, John Leckie, Andrew Hunt, Andy Bensley, Keith Malin, Tom Morris and Ian Jones.
The 133rd AES Convention in San Francisco had a keynote from producer Steve Lillywhite, histories and career highpoints of engineer/producers Jack Douglas, Narada Michael Walden and Young Guru and the debut of a Project Studio Expo seminar area. ‘In the months leading up to the show we had strong preregistration numbers and were on target for at least 14,000 people,’ said AES executive director Bob Moses. ‘The Exhibition Hall was packed on Saturday, but Hurricane Sandy took a lot of wind out of our sails. People fled for the airport on Sunday and Monday as flights were cancelled around the country. In the end, some 11,000 attendees turned out, reflecting strong preregistration but disappointing onsite sales.’
There were 296 exhibitors and sponsors. ‘I deeply appreciate the moral and financial support these companies provided,’ said Moses. ‘I’m very firm in my commitment to serve businesses. The creative ways in which we were able to work together to make this event special for these companies and their customers is a sign of the future.’
Shure Distribution UK has formed a partnership with RADA, the London-based Royal Academy of Dramatic Art, in which SDUK will support RADA with equipment for its live and studio productions plus for its theatrical sound design and location recording courses. These include Shure shotgun, dynamic and wireless mic systems and Sound Devices recorders for field use. Shure applications engineers will also play a central role in creating and delivering tuition for the students on RADA's Specialist Sound and Technical Theatre and Stage Management (TTSM) courses, including key modules and hands-on training on wireless microphone use and RF spectrum management.
‘It will be extremely valuable for our technical students to have first hand practical experience in using some of the leading technology in the sound industry,’ said Chris Mock, head of sound at RADA. ‘At RADA we are proud to offer our students the highest level of training to best equip them for when they graduate and begin their professional career. This venture will contribute highly to the students’ learning and development.’
Photo shows Peter James SDUK MD and Chris Mock head of sound at RADA.
The New England School of Communications (NESCOM) is a private institution in Bangor, Maine that has 500 undergraduates in audio engineering, Internet communications, video production, journalism, marketing communications, and broadcasting. It recently installed a second 32-channel API 1608 console at its facility, which already includes a large-format API Vision and the school's original API 1608. The new console shipped with fader automation and will be used for project-based education in the third audio mixing course.
‘Our experience with the API Vision console and our first API 1608 demonstrated that API products are rock-solid reliable and of the highest audio quality,’ said Wells Gordon, NESCOM audio media specialist and lab instructor. ‘The students use these consoles day-in and day-out, and we never have problems with them. And with technology going in so many different directions these days, it is a service to our students to train them on a benchmark of audio quality.’
John Meyer, one of the original pioneers of the modern sound reinforcement industry, won the 2012 Gottelier Award at Plasa 2012. The award aims to recognise an individual or team judged to have made a significant and sustained contribution to the development of the equipment and tools that enable entertainment technology practitioners to push the boundaries of event production, presentation and installation.
Meyer began his career in 1967 by building a customised system for the Steve Miller Band and from there went on to develop loudspeaker systems for Creedence Clearwater Revival and the Grateful Dead. Since founding Meyer Sound Laboratories in 1979 with his wife Helen, Meyer has continued to research, experiment and develop sound technology -- building Meyer Sound into an iconic brand and a world leader.
The Jazz Theater on the top floor of the Old US Mint Building in New Orleans is designed around a modular 4,000sqft performance space and has hosted numerous performances since it opened in 2011 that are recorded in the venue’s recording studio. Located at the rear of the space the studio employs a pair of Genelec 8240A DSP Monitors and 7270A subwoofer.
‘The Genelecs work amazingly well in this studio,’ said Sam Brandt, AV Designer on the project and a senior consultant with Akustiks, the Connecticut firm that designed the Jazz Theater’s acoustics and AV systems. The Genelecs are connected using their AES digital inputs in combination with a digital-thru connection. ‘The ease of their setup and the way they sound are equally remarkable,’ he said.
Yamaha and Steinberg have launched Nuage as an audio postproduction system that marries dedicated Yamaha control and interface hardware with the Nuendo 6 DAW. Nuage components communicate with each other and up to three DAWs via Dante networking -- a low latency, PCIe Dante audio interface card (for Mac or PC) delivers up to 128 simultaneous, bidirectional channels at 192kHz or 256 at up to 96kHz. Nuage hardware is modular and includes Nuage Fader control surfaces, which align with the system’s LCD monitor displays, and a Nuage Master control unit featuring everything needed for Nuendo editing and session management.
Nuage Workspace units can be used to integrate third party hardware and/or facility-specific custom options and there are three Nuage I-O units providing 16 analogue I-O, 16 AES-EBU I-O or eight digital and eight analogue.
‘We believe it is a new milestone in postproduction technology,’ said Nick Cook, European marketing director, Yamaha Commercial Audio Systems Europe. ‘It throws the gauntlet down to the industry, demonstrating that Yamaha and Steinberg are determined to become bywords for excellence in audio postproduction.’
Roland Systems Group’s M-200i is a compact 32-channel digital console with iPad control for additional remote control of such things as preamp control, pan, high pass filters and PEQ and GEQ. It also includes the ability to store and recall scenes, adjust compressors and gates, sends on faders and effect editing.
When using the M-200i without an iPad, the console is controlled via the built-in LCD screen and the control surface. The benefit of the remote control application is the ability to control the mix from any location in a venue within the wireless network. The wireless network is created by plugging a router into the LAN port on the M-200i or by plugging a Roland Wireless Connect adapter into a USB port.
The M-200i has 17 motorised faders, eight aux, four matrix, eight DCAs and 24 inputs and 14 outputs on the console expandable to 64 x 54 via the REAC port and the Roland Digital Snake technology. The M-200i can also mix-in audio from a USB key. A ‘touch and turn’ feature allows the user to touch a particular parameter on the iPad and control it with a physical knob on the console.
Audio-Technica has launched its flagship 50 Series of elite studio microphones with the AT5040 cardioid condenser. The AT5040 studio vocal microphone uses four ultra-thin rectangular diaphragms. The four matched diaphragms function together (with outputs proprietarily summed) as a single high-performance element and by using four diaphragms as a single capsule, the AT5040 achieves a large surface area without the increased weight and decreased transient response that are the expected limitations of expansive size. With a smooth top-end, controlled sibilance and fast transient response, the AT5040 will also be a first-choice microphone for acoustic instruments.
Another key AT5040 feature is internal shockmounting that effectively decouples the capsule from the microphone body. For additional isolation, each AT5040 is also provided with Audio-Technica’s new AT8480 shockmount.
The RØDE Reporter Microphone is a die-cast dynamic handheld interview microphone voiced primarily for speech. Due to its omnidirectional pickup pattern, the Reporter is free of the technique-related voicing issues that can occur with end-addressed alternatives. A multilayer mesh basket removes the need for a separate foam windshield to protect against environmental noise, and all Reporter microphones are supplied with a soft carry case and removable Flag to accommodate prominent branding for video use.
Radial has announced the Powerhouse 10-slot power rack for the 500 series format in response to requests for more module density. It includes the Feed function and stereo link. Each channel slot is equipped with separate XLR I-O with parallel ¼-inch TRS connectors for splitting the signal or acting as a patchbay. The Powerhouse is equipped with Omniport ¼-inch TRS that accommodates special functions on 500 series modules.
The Radial PZ-DI is designed to work with all types of acoustic and orchestral instruments by enabling you to optimise the input impedance to match the pickup or transducer. The design begins with a 3-position impedance selector with a 220kOhm setting to warm up magnetic pickups, a 1MOhm setting to replicate a classic DI box and a super-high 10MOhm setting to eliminate the peaks common with piezo transducers. A variable lo-cut filter lets you dial out unwanted low-frequencies and for high output active bass or digital keyboards there’s a -15dB pad. A hi-cut filter can also be engaged.
The Q4 is a 100% discrete state-variable class-A parametric equaliser. A line level device it has four EQ bands with fixed low and high frequency shelving at 100Hz and 10kHz, plus two semiparametric mid bands that span between 300Hz-2.4kHz and 1kHz-12kHz. Each mid band is also equipped with choice of wide or narrow Q and all frequencies have 12dB of boost or cut.
PMC’s active twotwo series feature Advanced Transmission Line bass loading and digital signal processing. The range initially comprises two models, the twotwo.5 and twotwo.6. A third, the twotwo.8, will be added in the new year. All three share the same core design and features; the model number refers only to the approximate size (in inches) of the bass driver, with larger numbers denoting increasing cabinet volume, greater bass extension and higher SPLs.
The 27mm soft-dome tweeter and the three new matt doped natural-fibre bass drivers are new and connections include analogue phonos and XLRs as well as an AES3 input. The built-in Class D dual-amplification delivers 50W to the tweeter and 150W to the bass driver.
- NAMM, Anaheim, 24-27 January 2013
- ISE, Amsterdam, 29-31 January
- BVE, London, 26-28 February
- Cabsat, Dubai, 19-21 March
- ProLight + Sound, Frankfurt, 10-13 April
- NAB, Las Vegas, 8-11 April
- LLB, Stockholm, 23-25 April
- Plasa Focus, Leeds, 30 April-1 May
- AES, Rome, 4-7 May
- KOBA, Seoul, 13-16 May
- Infocomm, Orlando, 12-14 June
- BroadcastAsia, Singapore, 18-21 June
- IBC, Amsterdam, 13-17 September
- Plasa, London, 6-9 October
- AES, New York, 17-20 October