Tag Archives: Broadcast

Electro-Voice Brings on the RE20-BLACK

EV's RE20-BLACK
EV’s RE20-BLACK

Burnsville, MN (December 6, 2020)—Electro-Voice has introduced the RE20-BLACK, making available for the first time a new color option for the long-running RE20 broadcast microphone.

The designation BLACK is exactly that, as the new version sports a low-reflection dark charcoal finish. The RE20-BLACK offers customers an aesthetic alternative to the original’s finish, while being acoustically, electrically and mechanically identical to the original RE20, introduced more than 50 years ago and steadily adopted since by recording studios, broadcasters and podcasters everywhere.

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The RE20 BLACK still offers the original’s Variable-D design, which is said to minimize proximity effect, helping users work around the mic at varying distances. Additional features include a mid-bass tone-shaping switch, an integrated pop filter and a humbucking coil to guard against line hum.

The RE20-BLACK is shipping and has a street price of $449 US.

Electro-Voice • www.electrovoice.com

Original Resource is ProSoundNetwork.com

Two-Level OB Truck Rolls with RTS

M&J doubles down on going up, creating the first vertically expanding broadcast truck.
M&J doubles down on going up, creating the first vertically expanding broadcast truck.

Burnsville, MN (December 4, 2020)—Washingtonville, NY-based facilities and integration company M&J Systems Technologies is meeting the challenges of COVID-19 with the first vertically expanding broadcast truck, which is equipped with an RTS ODIN OMNEO digital intercom matrix.

The 40-foot-long, 640-square-foot trailer provides remote workstations on two floors, with space for a show producer, director, replay associate director, graphics coordinator, show associate director and an EIC/audio operator. A two-person announcer booth is also included. All positions are a minimum of six feet apart and include Plexiglas partitions. Fully equipped, the vehicle weighs less than 20,000 lbs.

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Onsite staff and/or worldwide remotes are able to provide real-time communications through any of the onboard RTS KP series keypanels or two-wire partyline channels, and ODIN’s native RVON (RTS Voice Over Network) channels can provide low-latency links to any of the other thousands of RTS trunked intercom systems used by the majority of sports and news broadcasters.

M&J Systems Technologies • www.mjsystemtech.com

RTS • www.rtsintercoms.com

Original Resource is ProSoundNetwork.com

StreamGuys Launches SGrecast 4.0 Podcast Platform

StreamGuys’ updated SGrecast 4.0 podcast management/livestream repurposing system includes a new UI, editing tools and more.
StreamGuys’ updated SGrecast 4.0 podcast management/livestream repurposing system includes a new UI, editing tools and more.

Bayside, CA (December 3, 2020) – Podcast solutions provider StreamGuys has upgraded its flagship SGrecast podcast management and livestream repurposing system. The new version 4.0 include an improved user interface to speed and simplify operations; an expanded waveform editing toolset; and built-out automated publishing capabilities.

New overlay windows enable users to access and edit information about a particular item or task – such as the details of a particular podcast episode – while preserving their current place in the main interface and workflow.

Meanwhile, the newly expanded browser-based Waveform Editor sports an updated user interface and expanded functionality. New interstitial cutting capabilities enable operators to remove unwanted sections in the middle of recordings and recombine the remaining segments for republishing. This aids potential content repurposing – for example, removing ‘baked-in’ advertising to enable subsequent dynamic ad insertion. The company sees this as a tool for repurposing already-produced podcasts and livestreams for revenue-expanding monetization opportunities and audience growth; the interstitial cutting tools will help pave the way for future functionalities within the platform, including multitrack editing and in-browser content production, enabling complete workflows in the cloud.

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SGrecast 4.0 also further augments the automated podcast publishing capabilities added to the platform earlier this year for repurposing broadcasters’ live streams without user intervention. SGrecast’s enhanced AudioLogger recording feature offers the option of preserving mid-roll ad break metadata from the livestream, thus enabling subsequent dynamic ad insertion in the published podcast without requiring manual marker insertion. Combined with the ability to automatically trigger podcast publishing based on metadata in the live stream, this enables fully automated, metadata-driven publishing workflows.

Version 4.0 adds new functionality for publishing to Google Audio News, including support for the mRSS format required for advanced Google News features. Users can specify episode-specific intro and outro audio files in the mRSS feed. The new update also expands the range of standard RSS fields supported by SGrecast, including linking to specific webpages related to particular episodes in a feed.

StreamGuys • www.streamguys.com

Original Resource is ProSoundNetwork.com

Shure Makes Strategic Investment in Wavemark

Shure Wavemark logosLondon, UK (November 11, 2020)—Shure has made a strategic investment in Finnish software company Ab Wavemark Oy, a software house centered around solutions for theater, broadcast, and content streaming applications.

In addition to products such as Wavetool and WTAutomixer, Wavemark has recently expanded its software portfolio into streaming applications with the debut of WTAutomixer, a multichannel gain sharing automixer plug-in that can be inserted to almost any DAW, enabling auto-mixing for uses like podcasting, remote learning and house of worship services.

Wavemark software has been used in conjunction with several high-profile theater applications using Shure Axient Digital Wireless Systems. Shure itself is no stranger to software solutions, as its offerings include Wireless Workbench for live events, as well as Designer, SystemOn, and its new IntelliMix Room Audio Processing Software for integrated systems.

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“This move reinforces our commitment to the evolving needs of the pro audio and events industries,” said Brian Woodland, vice president, Global Business Development, Shure. “Both Shure and Wavemark have established strong relationships in the industry by understanding user workflows. Leveraging this mutual success, we will further support the growth in wireless system scale and complexity, help customers navigate the challenges of congested RF spectrum, while enabling advanced remote control, monitoring, and system management tools.”

“We are very proud of this collaborative approach with Shure,” said Timo Liski, commercial director at Wavemark. “The ability to share ideas and leverage synergies around software will be beneficial to customers in the audio industry.”

Shure • www.shure.com

Wavemark • www.wavetool.fi

Original Resource is ProSoundNetwork.com

Blackmagic Design Expands Fairlight Line

Fairlight Desktop Console
Fairlight Desktop Console

Fremont, CA (November 11, 2020)—Blackmagic Design has launched a new 12-fader Fairlight Desktop Console with integrated HDMI interface.

The Fairlight Desktop Console, available in December, is intended for new users, smaller studios, commercials, online and independent work, according to the manufacturer. It features a familiar mixer design with 12 motorized faders, control knobs and illuminated buttons for channel identification. The built-in HDMI output lets customers connect a display, giving them the same interactive graphical feedback of audio status and metering as larger Fairlight consoles.

The surface includes transport buttons and a jog shuttle wheel, enabling users to move around the timeline and navigate clips, scrub, start or stop playback, or jump to a new position. The controls are logically grouped, says the company, allowing the user to keep a hand in one position to quickly navigate the timeline from end to end or anywhere in between. The search dial can also be used for timeline zooming, clip levels and more.

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By default, the console works in Strip Mode, giving customers one channel strip per track. Focus Mode lets customers assign all of the select buttons and knobs on the console to work on the parameters or plug-ins for a single track.

Customers can add an HDMI display to see an extensive graphical display of everything happening on the console without having to open pop-up windows on top of their timeline. For example, when customers adjust EQ settings, its interface will be displayed on the screen as customers turn the knob.

Fairlight HDMI monitor interface
Fairlight HDMI monitor interface

Blackmagic Design also announced a new Fairlight HDMI monitor interface that lets customers use any HDMI or SDI television or computer monitor with the large Fairlight Studio Consoles.

“Fairlight LCD monitors have a graphics processing engine built-in,” said Grant Petty, Blackmagic Design’s CEO, “so it means you cannot simply swap out the monitor with a custom monitor. However, now we have taken the graphics processor and packaged it into a low-cost converter that customers can use with any display.”

Blackmagic Design • www.blackmagicdesign.com

Original Resource is ProSoundNetwork.com

PreSonus Revelator USB Mic Debuts

PreSonus Revelator
PreSonus Revelator

Baton Rouge, LA (November 10, 2020)—PreSonus has introduced its new PreSonus Revelator USB microphone. Intended primarily for home studio use as well as podcasting and voice overs, the mic includes accessible presets, loopback audio, and selectable polar patterns.

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The Revelator offers the same DSP algorithms found in PreSonus’ StudioLive Series III mixers, providing users with eight presets with various combinations of EQ and compression, and offers an additional eight user-defined presets that can be created and saved using the full StudioLive Fat Channel controls available in Universal Control. Also onboard are a selection of voice effects and the ability to store up to four presets to be instantly selectable via the Preset button on Revelator.

PreSonus Revelator
PreSonus Revelator

Revelator also features two stereo streams for loopback audio so users can conference in Zoom calls, record gameplay, or showcase the audio in a YouTube video. The presence of two streams for loopback audio means users can mix and record the audio from two different applications on a computer, along with their voice, at the same time using the intuitive interface in Universal Control. Built-in monitoring and an onboard headphone amplifier let users listen to your performance and your mix in real-time.

Three pickup patterns are provided—cardioid pattern, for one-person use; figure 8 for two users, such as in an interview situation; and omnidirectional to pick up multiple speakers around the microphone.

The bus-powered, USB-C-compatible mic comes with PreSonus’ Studio One Artist recording and production software and Studio Magic Software Suite, as well as an integrated desktop stand with built-in cable management.

Revelator is available now for a U.S. street price of $179.95.

PreSonus • www.presonus.com

Original Resource is ProSoundNetwork.com

iHeartRadio Theater Digs DiGiCo Desks

iHeartRadio Theater’s new DiGiCo Quantum338 console (right) and Usher’s own Quantum7 (left) in monitor world at the tenth annual iHeartRadio Music Festival
iHeartRadio Theater’s new DiGiCo Quantum338 console (right) and Usher’s own Quantum7 (left) in monitor world at the tenth annual iHeartRadio Music Festival

Burbank, CA (October 23, 2020)—In late September, the iHeartRadio Theater Los Angeles in Burbank, California hosted the 10th annual iHeartRadio Music Festival. While it is always a streaming, radio and TV broadcast event, this year’s edition had to be held in front of a virtual audience, but that didn’t stop artists like Alicia Keys, Bon Jovi, BTS, Coldplay, Kane Brown with special guests Khalid and Swae Lee, Keith Urban, Migos, Miley Cyrus, Thomas Rhett with Jon Pardi, Usher and others from giving their all. The event was a thrill for fans, but for the team at the Theater, it represented a chance to finally put its two new consoles—a DiGiCo SD12 and the recently introduced DiGiCo Quantum338—to work.

Jason Batuyong, the venue’s head of audio for the past year, and his team, which includes FOH mixer Josh Manville and monitor mixer Matt Russell, knew that they wanted a compact SD12 at the front-of-house position in the theater, which has a capacity of around 500 standing plus another 150 to 200 on the mezzanine. “Having an SD12 at front-of-house saves us so much space because it’s so small, yet it still has all the functionality. And that made everybody happy, because everyone that normally congregates at front-of-house suddenly had more room,” he said.

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Tipped off to hold off on ordering a monitor desk until after the 2020 NAMM Show in January, Batuyong and Co. wound up ordering one of the first Quantum338 desks soon after it was announced at the convention. The venue’s new Quantum338 is fitted with 112 inputs and 48 outputs, all incorporating DiGiCo’s new “Ultimate Stadius” 32-bit ADC and DAC conversion, plus DMI-AES cards supporting 16 AES I/O. Two SD-Racks are connected optically, he said: “We run everything on a loop and share the head amps, one mixer using the gains and setting them, and then everybody using trims beyond that. No one is using gain tracking. We found that that works the best for us.”

The iHeartRadio Theater Los Angeles shut down due to the pandemic in March but didn’t receive the Q338 until June, so the festival was the maiden voyage for the Q338. Batuyong noted, “Everyone was extremely excited because, with quarantine, nobody had been able to see this console. Some artists’ FOH mixers were little bit worried about bringing their files and how the file converter was going to work, but all of that worked seamlessly and was absolutely great. But most people started the mix from scratch. That was easier for the shortened sets that they were going to play. And everyone said, on their next tour, they want a Q338.”

iHeartRadio Theater Los Angeles • www.iheart.com

DiGiCo • www.DiGiCo.biz

Original Resource is ProSoundNetwork.com

A COVID-Careful Kitten Bowl Gets Clear-Com

New York, NY (October 22, 2020)—It would be easy to overlook the intercoms necessary to capture the annual Kitten Bowl, a popular pet-adoption broadcast event that airs during Super Bowl weekend every year. After all, the stars of the show don’t need them and the sets are relatively small, right? In fact, they’re always necessary, and when it came to creating and capturing the show to be aired this winter, COVID precautions were in place, so production company 3 Ball Productions used Clear-Com Agent-IC Mobile App and LQ Series IP Interface technologies in a unique configuration to keep production moving.

Daniel Farmer, co-owner and DP of KatFarm Productions, has combined his cinematography skills and love of cats to handle the technical production for the last seven Kitten Bowls. Forced by COVID restrictions to shift to a remote workflow for this year’s event, he worked with Gotham Sound & Communications to deploy the Clear-Com gear.

Under normal circumstances, the production team builds up to five custom sets, including the main football field set, bars, locker room, parking lot for tailgaters and more. “Usually we use the existing comms system and tech structure in whatever studio we’re filming in that year,” Farmer said. “This year, we were using a raw, empty studio, and we had to build the show systems in flypacks.”

For 2020, the set was scaled back to only a main stage and a cat-scession stand with fewer crew members and kitten wranglers allowed on site. As an added challenge, the director and executive producers couldn’t travel to the New York location as planned, but still needed to view the set and communicate with the production teams.

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“The director needed to see the live feeds of multiple cameras remotely from his home,” Farmer said. “We had been testing other equipment that could do this prior to COVID, but nothing worked with a separate walkie system, three comms channels and a separate video channel, all seamlessly and within a limited budget. Plus, with our accelerated timeline, we couldn’t afford any mistakes.”

Peter Schneider, VP at Gotham Sound, recommended the Agent-IC and LQ Series interfaces. He suggested using Agent-IC as everyone’s virtual interface, working with the hardwired LQ on-set, with programmable buttons that could be hit to switch between camera views.

During the event, the on-site production team maintained social distancing in the control room and studio, with everyone else working remotely. “It was no different than all of us being in the same room,” Farmer said. “The system became invisible. Everyone wondered, ‘How is it working so well? There is no delay.’ Our communications were actually cleaner and crisper than anything we had used in prior years.”

Clear-Com • www.clearcom.com

Original Resource is ProSoundNetwork.com

72nd Engineering Emmy Awards to Honor Sound

Engineering Emmy AwardsLos Angeles, CA (October 14, 2020)—The Engineering Emmy Awards always honor individuals, companies or organizations for developments in broadcast technology. This year’s edition, to be held Thursday, October 29, is no exception, and those honored will include two audio-oriented award winners—Dan Dugen Sound Design and Sound Radix

Dan Dugan, namesake of Dan Dugan Sound Design, will be awarded an Emmy for “Outstanding Achievement in Engineering Development,” honoring his invention of gain sharing automixing technology. Gain sharing is a unique audio process that helps an audio mixer mix multiple live talkers, automating the robotic part of mixing multiple live talkers, recognizing who’s talking and crossfading them faster than a human can react.

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Meanwhile, Sound Radix will be awarded for its work creating Auto-Align Post, which makes phase/time corrections of a moving multi-microphone recording. By dynamically correcting delay and phase between the boom and lavalier microphones as they move around the set, the tool automates what was previously a labor-intensive task for sound editors across the industry.

The 72nd Engineering Emmy Awards will be presented online on Thursday, October 29, at 5:00 PM PDT.

Emmys • www.emmys.com

Dan Dugan Sound Design • http://dandugan.com/

Sound Radix • https://www.soundradix.com

Original Resource is ProSoundNetwork.com

PreSonus Launches PD-70 Broadcast Mic

PreSonus PD-70 Broadcast Mic

Baton Rouge, LA (October 14, 2020)—PreSonus has launched its new PD-70 Dynamic Broadcast Microphone, intended for podcasters, radio broadcasters, YouTubers and live streaming.

As a dynamic end-address mic with a cardioid polar pattern, the PD-70 offers a 20 Hz to 20 kHz (±3 dB) frequency range. On-board features include an integrated windscreen to reduce plosives, and an integrated hard mount.

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Designed with an aim to reduce mechanical noise and breathiness, the mic is claimed to offer solid off-axis rejection, allowing mic owners to use it as a part of portable recording setups.

The mic is available now at a U.S. street price of $129.95.

PreSonus • www.presonus.com/products/PD-70

Original Resource is ProSoundNetwork.com