Posts Tagged ‘vista 5’

New Endemol Sport Studios Back HARMAN Studer Vista 5 Digital Consoles

Studer_FoxEndemol copyAMSTERDAM, The Netherlands –Situated at the MediArena in Amsterdam, the new Endemol Sport studios have been equipped with two 42-fader HARMAN Studer Vista 5 digital mixing consoles as part of an innovative production design, involving three studios and three galleries on the same fiber backbone.

The consoles were supplied by Heynen, Studer’s Dutch distributors, and installed by system integrator DutchView. These form the audio control of a sophisticated fit-out initiated by Eredivisie Media & Marketing to mark the start of the 2013-2014 Dutch football season. Three new HD studios and production galleries, dedicated to match-day programming and highlights, have been built and equipped for this purpose.

The project’s primary objectives were to improve both the quality of content contribution across multiple platforms and the overall experience for viewers tuning in to the Fox Sports Eredivisie football pay-TV channels.

Undertaking the conceptual design and specification was a team comprising Victor Winkelhage (head of production Endemol Sport), Jinne Tania (consultant Fox/Eredivisie) and SjaakVreeburg (Resources Manager Endemol). It was Vreeburg who produced the tender document, and later acted as project manager for the construction of the studios.

The aim was to achieve an innovative mix of cutting-edge studio technology and IP-based platforms, with direct access from, and full integration between, technology and editing using Riedel MediorNet media networking.

“We can now handle three different live programmes on three different channels, using one video/audio router for the three studios, one intercom system, Virtual studio manager and other software solutions,” said Vreeburg. “The workflow from EVS is directly streamed to the storage facility. We can start editing instantly on up to 12 sets for direct playback in the studio by IP-directory or file transfer to the Fox play-out facility and master control room in Hilversum.”

The conceptual difference of the sports studios is that the content sits right at the center—not only for TV but also for Internet streaming (and C-Cast) of mobile devices and tablets. “This enables us to deal more with sport and less with technical issues,” Vreeburg added. “The combination of incoming lines and the connection to the Studer mixer and the intercom givers us so much more flexibility.”

The Studer solution was adopted on the recommendation of DutchView, supplier of technical facilities and crew, working with Dutch system integrator D&MS. “We knew the quality and flexibility of Studer’s Vista series and were deliberating between the Vista 1 or Vista 5. Jinne and I visited the Integrated Systems Europe Show to satisfy questions about the MADI router, number of faders and stage boxes, Input/Output boards, de-embedding and routing. Niels [Mijnlieff, product specialist from distributors, Heynenbv] provided all the answers we needed and DutchView advised us to opt for the Vista 5 in view of the configuration required.”

The Studer platform was recommended for its audio quality, ease of setup, control and operation, the analog approach of the console and the experience DutchView has in working with the consoles. “We have lots of trained audio engineers who are extremely familiar with Studer Vista consoles and operating systems,” stated DutchView’s Robert Reparon. “There is also the possible expansion of the system with additional Studer preamp stageboxes from our own stock.”

Although DutchView has historically been the house supplier for Endemol, and supplied the facilities for the Eredivisies Studio (Dutch Premier League League channel) it nevertheless had to participate in a 3-way tender process. Having nominated DutchView, Endemol and Fox then addressed the configuration details—namely to build three complete new studios (designated 4, 5, and 6) each with four cameras and LED lighting, while Studio 5 and 6 each have six projectors for background projection in the set. The two Vista 5 consoles will mix programs in Studio 5 and 6, alongside Grass Valley vision mixers, Vizrt studio and match graphics.

Each Vista 5 is equipped with the SCore Live processor and accompanied by a 6U 19” Input Output Frame, with a Studer D21m 3U I/O Frame, each frame equipped with redundant power supply. This is populated with five SCore Live DSP boards; SCore Live Bridge board; Sync Generator board; GPIO Board; 12 Mic/Line inputs; 16 analog Line inputs; 24 analog Line outputs, eight digital AES/EBU inputs (stereo); eight digital AES/EBU outputs (stereo); MADI I/O board; threeMADI input/output board (Hub) optical with single mode fiber I/O; two HD board for link to DSP core; two 19” 1U Fan units and two 19” 1U air deflection panels; two19” 1U air deflection panels with cable feed-through; Serial Merger Card; Vista 5 System Software; and Configuration Editor software.

All the signals coming from the venues, the master control room and local play out servers are merged into MADI streams via a third-party audio router. Local studio audio sources (such as mics) are patchable directly to the Studer D21 I/O frame.

The configuration was undertaken by DutchView, whose senior engineers also provided operational training, while Heynen commissioned the systems. In addition, the systems integrator also provides two OB vans for covering four soccer matches during a weekend—both equipped with Vista consoles and D21 routing systems.

Summarized Robert Reparon, “All our audio engineers are very satisfied with the Vista setup in the studios. They feel comfortable during the shows and are confident with a system on which they rely.”

And SjaakVreeburg concluded, “There is no comparison between the present configuration and the situation before, with usage of all eight audio channels, the incoming lines, live studio production, commentary positions and playback from EVS via the excellent interface between Riedel and Studer. This has given us greater flexibility, speed, multitasking, fewer faults and a better operation/understanding between directors and audio technicians.”

About the broadcasters

Netherlands-based television and digital production company Endemol is the world’s largest independent television and digital production company. Fox Sports Eredivisie is a Dutch premium television service owned by Eredivisie Media & Marketing CV, which in turn is held by Fox International Channels (51%), the Eredivisie CV Football clubs, Endemol and the KNVB (Dutch FA).

HARMAN designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

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COLCHESTER, United Kingdom — With an eclectic and award-winning catalogue of classical music—much of it consisting of orchestral, choral and chamber music—UK-based Chandos Records is renowned for its natural sound quality and prides itself on capturing superior audio with first-class balance. Founded in 1979 by Brian Couzens, the independent label is today run by his son Ralph, who knows that sound is only as good as the production facilities, and his quest for a state-of-the-art digital mixing console to complete the equation led him recently to a 32-fader HARMAN Studer Vista 5.

The Vista 5 has the combined effect of greatly increasing the DSP and I/O capacity over Chandos’ previous desk, which had served them well during the previous decade. “We also needed 24-bit, 96kHz capability, which is our standard for recording,” confirmed Couzens. “Although our old desk would support 96kHz, this was only by halving the number of available channels and busses. We were faced with cutting it down to 48kHz or linking two desks together with MADI cards—but that would have meant buying a second desk.”

But the path that led Chandos to Studer was due to the extensive recording work they undertake with the BBC Philharmonic and Symphony Orchestras, the BBC Concert Orchestra and BBC National Orchestra of Wales. “We were aware that all their resident BBC facilities were equipped with various Vista consoles,” Couzens noted.

It was at BBC Wales that one of the resident technicians recommended that Couzens try their in-house Vista 8, and offered to walk him through the operating process. “I instantly fell in love with the way the desk worked,” he said. “I saw that Studer produced a Vista 5, which was portable—this was vital with location work.”

He and assistant engineer Jonathan Cooper attended a Studer Broadcast Academy day in Potters Bar and Studer volunteered a demo rig for evaluation. Chandos Records fired it up at Watford Colosseum and Couzens was convinced then and there.

The 32-fader desk consists of 20 channel strips, optimised for input channel operation, and 12 additional versatile strips for operating output and input channels. By using the standard Vistonics screen, up to 52 outputs are under immediate control. A total of up to 240 channels can be accessed from the desk and laid out in any order, with the Vistonics™ system giving instant control over all related channel functions. The DSP power and I/O are configured to customer requirements.

Typically Chandos will be recording orchestral ensembles in excess of 100 musicians—plus chorus—which places a heavy requirement on the I/O count. One such instance was at Watford Colosseum where the new console was pressed into service to record the complete orchestral works of Witold Lutoslawski by the 100-piece BBC Symphony Orchestra, conducted by Edward Gardner—for release later this year.

“We have 40 mic preamps and eight line outputs in the Stagebox and record via MADI to our Sadie LRX2. Sound quality is so important and the Studer A/D converters [the most important stage in the process] in the Stagebox are also fantastic,” Couzens continued.

“With DSP power you are mixing complex sound into a stereo bus but with the Vista 5 the sound and image stay true whatever the content you are mixing,” Couzens said. “With our previous desk the sound could run out of steam with the combination of DSP power and A/D’s but with the Vista 5 everything remains crystal clear whatever the circumstances. I also love the desk’s EQ, its operating system is intuitive and it’s so configurable if we need to duplicate and expand.”

“Already I am noticing the improved sound quality of the recordings,” summarised the Chandos Records MD. “And I expect audiophiles will too.”

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

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PITTSBURGH, Pennsylvania — The Benedum Center, a project of the Pittsburgh Cultural Trust and a renowned performing arts venue in the heart of Pittsburgh, Pennsylvania’s cultural district, recently added a HARMAN Studer Vista 5 digital audio mixing console with 42 faders to support a variety of theatrical productions and live music performances. The console was purchased through New York-based Sound Associates (www.soundassociates.com).

Chris Evans, House Sound Engineer for the Benedum Center, first saw the Vista series of consoles at the AES Convention in San Francisco in 2010. Evans, who has been with the Center since its renovation and re-branding in 1987, ultimately chose the Vista 5 because he believed no other board felt closest to analog.

“The relationship I have with HARMAN also helped,” Evans said. “After a valuable discussion with Studer, who were very helpful in navigating the system, it felt like the right choice.”

During the summer, the Benedum Center hosts at least one performance per day—a very busy schedule with little time to adjust to a new console. “The Vista 5 was easy to install and is even easier to use. More importantly, it sounds great,” Evans noted. “The transition to the Vista 5 has been seamless and it’s given me greater flexibility with far less hassle than our previous analog board.”

With a variety of performances and acts hosted by the Center including Blue Man Group, Fiddler on the Roof, A Chorus Line and more (including a recent performance by The Beach Boys), the ability to move audio around the building is something that Evans relies on constantly. “I can patch something downstage right to FOH and go through the system without having to touch the console,” Evans stated. “It can operate as a mixing console and routing matrix. The Vistonics™ surface is so easy to navigate. I also use all the built-in features, from compressors to EQ to delay.”

Evans also noted the console’s Snapshot function as a key asset during live events. “I’ve done a number of shows where there are two or three different bands, so I am able to save a snapshot of each band’s settings and be ready to go with my input list,” he said. “It’s always set up as either I or the touring engineer left it.”

During the Center’s own theater and opera productions, the Vista 5’s cue list has been another great asset for Evans. “It’s easy to program and I use it extensively,” Evans noted. “We included two racks of 48 channels of DSP which I can put anywhere with additional fibers if needed. This is a real flexible solution for what we are doing.”

Since the purchase of the Vista 5, everyone at the Benedum Center has been pleased with the console. “Studer’s support is on a whole other level, it’s easy for me to do my work and count on the performance of their products,” Evans concluded. “The value of the Vista 5 was apparent immediately and the whole team here adapted to it right away.”

For more information on the Benedum Center for the Performing Arts, please visit www.trustarts.org

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

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TORINO, Italy – HARMAN’s Soundcraft and Studer’s Italian distributor, Leading Technologies Srl, along with sister company Sound Light & Technologies (SL&T) recently participated in an exciting recording project with RAI Radio, using a combination of Soundcraft and Studer digital mixing platforms in order to optimize the sound.

The vast production of Rossini’s famous La Cenerentola (Cinderella), which involved around 250 members of cast and technical crew, was mixed on a combination of three Studer Vista 9 and Vista 5 consoles, with three further Soundcraft V1 desks providing backup. These were used in four different scene locations: while the actors, singers and choir were variously located in Parco della Mandria in Venaria, Palazzina di Caccia and Palazzo Reale in Torino, the orchestra was recorded remotely at the Auditorium RAI in Torino.

All locations were linked by fibre or radio bridge to give the actors the sense of performing in real time with the orchestra-and a Studer stagebox was positioned in each venue.

On duty were two Vista 9 consoles (configured with 52 faders), a further Vista 9 with 42 faders and a 42-fader Vista 5 located in the OB truck, which were used for mixing the Orchestra and actors’ microphones, as well as for 5.1 post-production, while the three Soundcraft Vi1 consoles were used for pre-mix of secondary inputs and backup.

A multitrack recorder received the audio via a MADI port on the Vista 9. The orchestra required 68 microphone channels on the desks with a further 12 channels for the choir (who were based in the same location as the actors).

RAI Radio provided technical staff while SL&T provided personnel support and other ancillary equipment from the HARMAN Professional portfolio, such as JBL EON loudspeakers and AKG microphones and headphones. AKG C414 XLII and various K141 and K702 microphones were used for mixing and monitoring by the musicians and engineers.

The La Cenerentola recording marked the latest success in a long relationship between Italy’s national broadcaster and SL&T/Leading Technologies.

The event itself was transmitted live around the world over a 2-day period in early June and the DVD, produced by Rada Film, will be available soon for marketing and promotion.

RAI Radio has the technical production rights for La Cenerentola, with Antonio Ciano taking overall audio responsibility, Fiervisaggio Giorgetti, technical project and installation supervisor, Marco Diodato and Domenico Narducci as Vista 9 engineers and Dario Chiapino as Vista 5 engineer.

Rada Film has the production rights for Cinderella under the authorisation of Andrea Andermann with the direction of Carlo Verdone. Providing the technical interface between Rada Film and RAI was Alessandro Bernardi.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012.

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(Left to Right) Joe Webster, Monitor Engineer; David Bullard, System Designer; and Lucas Rico Corrubia, FOH Engineer

LAS VEGAS, Nevada – Donny and Marie Osmond continue to bring their popular stage show to audiences of all ages while on tour with a HARMAN Studer Vista 5 serving as the front-of-house mixing console.

Donny and Marie’s performances include a 90-minute variety show, highlighted by many of their original hits with a mix of special effects and dancing. New York-based Sound Associates provided the Vista 5 console as it is “the most sophisticated board and perfect for theatrical performances,” according to Lucas Rico Corrubia, FOH Engineer, PlanetRoadie Sound Design. “After trying an assortment of digital consoles, we went with the Vista 5 because it still has the analog feel that I love so much.”

David Bullard, System Designer for Sound Associates, mentioned, “On the road there isn’t much time for setup and tuning. We have to be ready to go feeling confident that the show will go smoothly and most importantly, sound beautiful.”

The transition from analog to digital was daunting for Lucas, but after trying the Vista, everything felt right. “It’s amazing, for someone who has been mixing for over 30 years, I was able to make the easy switch and noticed right away the value of the digital console,” Lucas said. “The layout is user-friendly and provides me with anything I could ever want in a board.”

“I love the programming and the snapshots,” Lucas said. “Being able to save cues and settings makes my job even easier. With 12 people on stage with a variety of roles, it helps greatly to have a whole section of the board dedicated to making changes on the fly. I don’t need to scroll through pages or settings to change a fader or EQ, it’s all there when I need it.” Lucas explained how this allows him to make very few changes during sound check and he can be confident that everything is set up correctly.

Lucas says there has never been an issue with the console; in fact, the board is able to detect potential problems. “If for some reason something isn’t hooked up correctly, the Vista 5 lets you know and it’s easy to trace the problem,” he added. “Everything about the console is easy to work with and just makes my job easier.”

“When artists recognize the sound quality, you know you are doing something right,” Lucas continued. “They think it’s me, but it’s really the console! Studer is definitely moving in the right direction and I appreciate everything they have done to allow me to get everything I need out of the console.”

For more information on Sound Associates, please visit: http://www.soundassociates.com/

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012.

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