Broadcast audio has undergone a dedicated development process over the years, progressing from mono to stereo, analog to digital and baseband to Audio over IP (AoIP). Despite this, it continued to live in the shadow of broadcast video and was almost subsumed when embedded audio was introduced in the 1970s. Today, with dedicated standards and protocols such as AES67, Dante and Ravenna, the position of audio in TV has grown in stature while also coming under the aegis of the more video-oriented SMPTE ST 2110.

This, however, does not appear to be a hindrance to the ongoing evolution of TV/streaming audio, now firmly established on an AoIP foundation and looking towards the continuing implementation of Next Generation Audio (NGA), with AI promising more practical benefits for processing and control.

Building on the Backbone
The advent of ST 2110 enabled the discrete transport of audio and video, giving operators the freedom and flexibility to send either stream to different destinations. This is part of the “second wave of IP,” which Christian Struck, senior product manager for audio expert infrastructure at Lawo, predicted will be at the 2026 NAB Show, April 18-22 in Las Vegas.

“It’s fair to say that AoIP is the de facto standard now, but I think what we will see at the NAB Show will build on that as the backbone architecture [for systems],” he said. “This means using the abstraction layer or the generic infrastructure that is capable of dealing with audio and video in an equal manner…to abstract further away from bespoke hardware and move the offering towards software values.” He also highlighted the EBU’s recommendations for the Dynamic Media Facility [DMF] as “a clear trend” towards generic backbone architecture that will “allow operators to define how to utilize these facilities for whatever purpose and on what scale.”

Costa Nikols, executive team strategy adviser for media and entertainment (M&E) at Telos Alliance, picked up on the concept of the DMF, adding that ST 2110, NMOS (Networked Media Open Specifications) and virtualized audio engines are now the “baseline” for new builds and major refurbishments.

“MXL [Media eXchange Layer] is [also] becoming predominant in the broadcast space, allowing for different virtual machines and processes as well as memory share, with ST 2110 for signal flow and a bunch of transport standards like SRT and NDI and, in the audio world, Dante,” he said. “As well as those, there are software-as-a-service [SaaS] platforms from companies including Grass Valley, Vizrt and Matrox, [all of which can enable] virtualization like the DMF, configuring different rooms via software depending on the function you need to have that specific day.”

Going Full 2110
The Dante AoIP protocol is now firmly established in broadcast and its developer, Audinate, has expanded further into the market with video functionality. “Operationalizing IP and software workflows at scale” for broadcast audio is a growing trend, Principal Product Manager Will Waters said.

“New facilities are being brought about with IP at the core, with ST 2110 as the backbone,” he said. “But it’s not just about the [audio] quality, which is there on the digital side. It’s more about how you operationalize that, scale the network and ensure you don’t get into challenges because we really need a deterministic behavior in the audio, where networks are inherently packetized, so they’re meant to be agnostic to what’s flying over them. The trend I see is operationalizing that alignment with PTP [Precision Time Protocol] across the facility to get better control of multicast flows.”

Jason Waufle, global strategic business development manager at Shure, observed that Dante and AES67 are now being backhauled into ST 2110 networks as part of OB truck integrations.

“The industry consensus is a full ST 2110 or IP infrastructure is the way to go,” he said. “You’ve got significantly more flexibility, control and interoperability of audio and video and transport. Shure has been making Dante and AES67 native products for nearly a decade, and advancing our onboard DSP [to] make our array microphones essentially an edge device for a network, capturing more audio data than a single analog mic could.”

Phil Owens, senior sales engineer at Wheatstone, said there are also advancements in routing and distributing AoIP in live broadcast.

“The preferred method of operation now is to be able to grab any source or signal and send it and use it anywhere you want,” he said. “That kind of distribution and sharing is right in the IP wheelhouse, whether it’s long-distance transport with AoIP or just within the same building.” Right now, Owens added, Wheatstone is focused on server-based systems that can be in the cloud, but he sees on-prem setups as more practical. “Server-based apps can provide scalability and redundancy that bespoke hardware is lacking.” he said.

Immersive and Personalization
While AoIP is now either being implemented or is part of broadcasters’ plans across the sector, NGA, immersive systems such as Dolby Atmos and personalization of audio for alternative languages and commentaries are more confined to streaming services.

“Amazon and Netflix are overtaking the conventional linear TV broadcasters [when it comes to] Dolby Atmos and binaural,” Struck said. “It has always been a significant challenge to make the infrastructure and complete signal chain immersive-capable. It’s much more common to the large streaming services than it is for broadcasters, where only exceptional and selected things are transmitted in immersive.”

Nikols is more positive, saying Telos is seeing immersive and personalized audio “showing up in strategic plans” for new projects and installations. “They’re no longer just nice to have,” he said. There is now a “software-first virtualization mentality” in broadcast, Nikols continued, coupled with AI-assisted workflows. “It can assist in the creative process, [through] loudness control, compliance monitoring, speech enhancement and noise reduction.”

Another assistive application is in audio mixing, with Shure and others using AI to develop systems that can handle the more mundane aspects of a production. “We came up with the capability of developing DSP that, from an AI standpoint, allows the engineers not to have to worry about the audience mix because it does it automatically,” Scott Sullivan, vice president of strategy and innovation, explained. “But the things that are more in the hands of the professionals, that’s going to be significantly down the road. Right now, I think AI is a complementary tool.”

No doubt AI in all its forms will be prominent at the 2026 NAB Show, but it could be the less-showy aspects of audio, such as the second wave of IP, that really point the way ahead for this ever-evolving sector.

WOWOW, Japan’s leading premium pay TV broadcaster, is harnessing MQA’s award-winning audio technology to showcase HD video playback with the highest quality sound. The first demonstration took place at a press event hosted at WOWOW’s Tokyo offices on 24 October; this will be followed by a full demonstration at Inter BEE trade show on 15 November in Tokyo.

MQA founder Bob Stuart, commented, “With our partners at WOWOW we’ve been exploring the feasibility of delivering video with MQA audio and our experiments have succeeded. We’re bringing the unique aspects of MQA – clarity, smaller file sizes and backward compatibility – to deliver the best quality audio alongside HD video. This development holds exciting possibilities for the international broadcasting sector.”

Hideo Irimajiri, senior expert, engineering division and project lead at WOWOW, added, “We’ve been conducting these trials with a view to integrating MQA into our services in the future, including on-demand and live broadcasting. It makes no sense that audio quality still lags behind, while video is achieving higher definition with 4k and 8k resolution display. Due to transmission bandwidth limitations, the audio element has until now been problematic, however MQA’s technology – which achieves high-resolution transmission with normal 48k sampling audio – solves this problem. Most importantly, we have proven that great sound is essential to fully convey emotion.”

While the mainstream consumer is used to a constantly improving visual experience, the audio element has too often been an afterthought. MQA’s technology enables the highest quality playback of the original recording on all devices – from smartphones to high-end home audio systems, as well as cars.

At Inter BEE 2018, MQA’s real-time encoding capability was demonstrated to Japanese audiences for the first time. A live audio performance from acclaimed jazz musicians, Eriko Shimizu and Mabumi Yamaguchi, was streamed in real time in MQA quality from Onkio Haus Studio to different locations throughout the show. MQA’s versatility is further reinforced by its adoption across multiple audio formats, beyond streaming and downloads to include MQA-CD, which has been particularly well received in Japan where demand for CDs remains high. Earlier this year, the widespread application of MQA earned it a special award from the "HiVi Grand Prix" judging committee, which recognises excellence in the world of audio-visual products.

London, UK— The decision to standardize on Point Source Audio (PSA) was led by Dave Cowell, lead sound designer and programmer for Carnival UK. Point Source Audio’s body-worn microphones will support the fleets’ performance venues which are in use a standard 15-hours a day, 365 days a year.

Carnival UK (which incorporates Cunard Cruise Line and P&O Cruises UK) are part of Carnival Corporation & plc, the world’s largest leisure travel company, with a cruise fleet of 102 ships operating in North America, England, Europe and Australia.

“The cruising industry is one of the harshest environments for product delivery I have worked in. When microphones fail due to sweat, cable failure or breakages, it significantly affects our product delivery to the thousands of guests we cater to on a daily basis,” described Cowell.

Having used microphones from different manufacturers over the years, Cowell experienced increasing costs but saw no major benefit change to the products. The variation of microphones from ship to ship—including a mixture of omni and directional units—made the shows sound different, as well as life more difficult for the engineers who had to come to grips with new sound challenges on a routine basis.

“There weren’t many available solutions to consider. First and foremost, I was looking for quality, followed very closely by sweat resistance and longevity,” said Cowell. “While the quality aspect was matched from our previous supplier, there were continued issues with sweat ingress and breakages as well as the aforementioned cost implications.”

Autograph supplied demo units of PSA’s CO-8WD omni headsets for Cunard’s Queen Elizabeth which led to Cowell’s ultimate recommendation to move ahead with Point Source: “From the moment the microphones were plugged in, I could hear the quality. Crystal clear mid and high frequencies made vocal mixing easy. The low end was also great for our male cast members. The gain before feedback was impressive and there was very little EQ applied to any of the performers as the response was so flat out of the box.”

The ability of the headsets to be bent and configured to any conceivable shape without breaking was incredibly important to Cowell. He described the wear and tear the mics typically face: “The production casts are on board between five to seven months and perform two or three shows a night, on average every two days. We have costume changes that run under 8 seconds, so having a unit which dealt with the day to day environment was paramount. The sturdy frame of the headset was also an important factor for the same reasons.”

Cowell summed up his experience by expressing that “our Point Source Audio microphones are delivering monetary benefits as well as continued quality across our delivered product.” He credited the marked improvements by saying, “Thankfully, our relationship with Autograph and the fact we were provided demo units to trial during the aforementioned installation meant that they could be properly tested by myself on board, allowing me to gather an informed opinion on their suitability, both from a product delivery standpoint as well as a cost benefit one.”

Visitors to PLASA 2019 from September 15-17 will be able to demo Point Source Audio’s collection of microphones at Autograph Sales & Installations’ stand H10 in Olympia, London.

To learn more about Point Source Audio products, visit www.point-sourceaudio.com or its UK distributor, Autograph Sales & Installations at http://www.autographsales.co.uk.

About Carnival United Kingdom Carnival UK (which incorporates Cunard Cruise Line and P&O Cruises UK) are part of Carnival Corporation & plc, the world’s largest leisure travel company, whose portfolio of global cruise line brands includes operations in North America, England, Europe and Australia. Their cruise fleet of 102 ships is the most extensive globally, visiting more than 700 ports around the world, employing over 120,000 people worldwide and attracting 11.5 million guests annually.

About Autograph Sales & Installation Autograph Sales & Installations was established in 1982 by Autograph Sound, a global pioneer in audio for theatre and one of Europe’s leading sound rental companies. Then, as now, Sales & Installations’ activities complement those of the hire division by bringing the same design principles, system engineering, technical expertise, and leading-edge technologies to a much broader spectrum of clients in education, worship, industry and retail. They are also acknowledged leaders in providing installed audio solutions for contemporary theatre and dedicated performance spaces.

About Point Source Audio Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones—a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, Calif. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

Manteo, N.C.— Through wind and rain, stage fights, environmental acoustics and more, Point Source Audio mics have weathered all the challenges in The Lost Colony, the outdoor theatre production located on the Outer Banks of North Carolina. The audio team, confident in their PSA investment since 2013, recently added the new patent-pending CO2 Confidence Collectiondual-element headset mic to their collection of 24 active on set mics.

“We were excited to see a product that made the application of the dual elements simpler by combining those wire runs and keeping things as tidy as possible. That mic has been a great benefit to the production,” says Sound Designer/composer Michael Rasbury. “The [lead] character is most likely to have a mic issue due to the activity required by this role; stage combat; perspiration.”

Since 1937, The Lost Colony has been telling the story of the first English colonies in North America and their mysterious disappearance. Over the past few years, the audio systems have been overhauled, upgraded and redesigned, including the ever-important microphones.

Robust equipment to withstand elements including water—in the form of rain and perspiration— as well as wind and heat is invaluable for theatre, but especially for outdoor theatre. The associate producer Lance Culpepper explains: “To provide our audience the experience that they’re expecting, we really have to put a lot of our resources into ensuring that the audio equipment can sustain itself through all of these dynamic changes. That’s one of the reasons why microphones are so important to us. Prior to the Point Source mics, we saw a much shorter lifespan with the previous microphones and we had to send them out for servicing more frequently. We don’t see those problems with the Point Source mics.”

“I am beyond pleased with the addition of Point Source microphones to our production,” states A1 Joseph Reynolds. “The waterproof elements are paramount to an outdoor period drama, where the perspiration of the talent could compromise mic functionality. I especially enjoy the dual behind the ear headsets. It helps to have consistent placement and keeps the mic off the talent’s face.”

Placement is an important consideration as noted by Rasbury. “From a design perspective, the low profile of these microphones is key for getting the mic near the voice without detracting from the 16th-century costume design. Our show is also very physical in nature. We have a large company and large-scale fight choreography. Given the way these mics attach to both ears, they stay on the actor and in the correct place throughout the show.”

The other feature of the PSA mics that the team wants to highlight is that “the frequency response of these elements is excellent (20Hz to 20kHz),” says Rasbury. “Our show also includes gunshots, explosions, and loud actor responses; these do not distort at high SPL.” Reynolds adds, “The frequency response is tailored nicely to the full range of human speech and I don’t have to slice up every channel with a parametric scalpel.”

The CO2 Confidence Collection has two waterproof and frequency-matched elements, each measuring a tiny 3mm. Both elements offer built-in redundancy and integrate PSA’s first-to-market features including IP 57 waterproof rating and the “unbreakable” headset boom. Point Source Audio mics are engineered for durability and to endure challenging mic applications.

Culpepper appreciates the support from Point Source Audio. “They’ve been great to work with,” he says. “The communication has been excellent as well as customer service-wise. Knowing that we’re not just another account number with them means a lot to our organization.”

The audio team at The Lost Colony includes sound designer Michael Rasbury, A1 Joe Reynolds, and A2 Josiah Rodgers. Microphones supplied by Wake Forest, NC-based Provision Audio Video Solutions.

For more information about Point Source Audio and its products, visit www.point-sourceaudio.com.

AboutThe Lost Colony

First staged in 1937, The Lost Colony is the nation’s premier and longest-running outdoor symphonic drama. Written by Pulitzer Prize-winning playwright Paul Green and produced by the Roanoke Island Historical Association, a 501 (c)(3) nonprofit, The Lost Colony’s 2019 season runs May 31-Aug. 23, 2019 at Roanoke Island’s Waterside Theatre, located within the Fort Raleigh National Historic Site on the Outer Banks. For information, go to www.thelostcolony.org

About Point Source Audio

Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones—a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, California. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

Location Sound Mixer Henri Rapp Provides Unique Sound Solutions

Having more than a decade of audio experience, Henri Rapp Recording provides high quality audio solutions on location for productions with unique audio requirements. Having recorded hundreds of music performance videos & two comedy specials, projects with unique requirements can be both challenging but also extremely rewarding. Henri Rapp has more than a decade of experience producing music in a professional recording studio, orchestral recording, doing audio post-production, as well as several years of production sound experience.

Location Sound For Performance Videos

Musical performance videos have become an incredibly popular way for brands to market themselves, but getting a studio quality sound on location can be extremely difficult. When working with celebrity talent that will get millions of views, it’s imperative things go right the first time; There is no time for trouble shooting or to make mistakes costing the client money and burning through a limited time slot available with the artist. This is the reason Henri Rapp Recording often gets brought in for specialty projects like this. One such shoot in 2018, we travelled to Nashville, TN to do 140+ performance videos at the George Jones Museum with several Grammy Winning Artists and several up and coming country artists. From solo musicians to full bands, a ton of content recorded in an incredibly short 3 shooting days.

For years Henri Rapp also produced many of the videos in the “Live From Bad Racket Recording Studios” series. While a bit different then a performance on location, every video brought album quality audio to live performances in the studio.

Getting Studio Quality Sound on Location

Not only does it take a lot of gear to deliver studio quality recordings on location, but a depth of knowledge & prep to execute it properly. With a full sound team, acoustic treatment and large scale multitrack field recording packages can be deployed to capture anything the studio can offer. From recording voice overs on location to the unique audio challenges your production, we can come up with a solution.

Sound for Comedy Specials

Comedy specials aren’t just about recording the performer, but the audience in the room with them. Using zoned micing techniques to capture a large audience is essential. With discrete multitrack recordings of every microphone there is a ton of flexibility in post to bring a polished sound to any comedy special.

Henri Rapp Recording on Location

For projects with unusual technical needs such as music performance videos or comedy special, Henri Rapp Recording works out on location throughout the country. Based in Cleveland, we regularly travel to Pittsburgh, Columbus, Detroit, New York City, and beyond. If your project has specialized audio needs, let's talk about your project!

BURBANK, Calif.—Creatives in the feature film, episodic and commercial arenas are now able to submit entries for consideration for the 14th HPA Awards presented by the Hollywood Professional Association. The awards are recognition for the behind-the-scenes work of industry professionals who support and collaborate with the vision of filmmakers.

Awards will be handed recognizing Outstanding Color Grading for theatrical feature, episode or non-theatrical feature and commercial; Outstanding editing for theatrical feature, episode or non-theatrical feature (30 minutes and under) and episode or non-theatrical feature (over 30 minutes); Outstanding Sound (Design, Editing, Mixing) for theatrical feature, episode or non-theatrical feature and commercial; and Outstanding Visual Effects for theatrical feature, episode or non-theatrical (13 episodes and fewers) and episode or non-theatrical (over 13 episodes).

Submissions will be accepted from now until July 12. Early bird entries, which offer a reduced entry fee, are open until June 10. For work to be eligible it must have debuted domestically and/or internationally between Sept. 5, 2018, to Sept. 3, 2019. Entrants do not need to be members of the HPA or working in the U.S. The complete guidelines for submitting an entry are available at www.hpaawards.net.

The 14th HPA Awards will take place at the Skirball Cultural Center in Los Angeles on Nov. 21.

The Hollywood Professional Association (HPA) has opened its call for entries in creative categories for the HPA Awards. The Awards, now in their 14 year, are considered important recognition for groundbreaking work and artistic excellence, acknowledging creative artistry in color grading, editing, sound, and visual effects in feature film, episodic, and commercials. The 14th HPA Awards gala will be returning to the Skirball Cultural Center in Los Angeles, California on the evening of Thursday, November 21, 2019.

The HPA Awards were conceived to draw attention to the talent and innovation that fuels the professional media content industry. Celebrating the behind the scene collaborators who support the vision of filmmakers remains the focus of the HPA Awards.

Submissions are now being accepted in the following competitive categories:

• Outstanding Color Grading - Theatrical Feature
• Outstanding Color Grading - Episode or Non-theatrical Feature
• Outstanding Color Grading - Commercial
• Outstanding Editing - Theatrical Feature
• Outstanding Editing - Episode or Non-Theatrical Feature (30 Minutes and Under)
• Outstanding Editing - Episode or Non-Theatrical Feature (Over 30 minutes)
• Outstanding Sound (Design, Editing, Mixing) - Theatrical Feature
• Outstanding Sound (Design, Editing, Mixing) - Episode or Non-Theatrical Feature
• Outstanding Sound (Design, Editing, Mixing) - Commercial
• Outstanding Visual Effects - Theatrical Feature
• Outstanding Visual Effects - Episode or Non-Theatrical Feature (13 Episodes and Fewer)
• Outstanding Visual Effects - Episode (Over 13 Episodes)

Complete rules, guidelines and entry information for the creative categories and all of the HPA Awards are available at: www.hpaawards.net.

Submissions for consideration in the creative categories will be accepted between May 13 and July 12, 2019. Early Bird entries (at a reduced entry fee for the creative categories) will be accepted through June 10, 2019. To be considered eligible, work must have debuted domestically and/or internationally during the eligibility period, September 5, 2018 through September 3, 2019. Entrants do not need to be members of the Hollywood Professional Association or working in the U.S.

Seth Hallen, president of the HPA and a founding member of the HPA Awards Committee, commented, “The HPA Awards represent so much of what the HPA itself is about, which is giving well-deserved recognition to the artistry, ingenuity, and flat-out brilliance of the community of creative people who help realize filmmakers’ creative visions. As our industry evolves, what remains constant is the HPA’s true passion for honoring and celebrating the talent behind the talent.”

The HPA Awards recognize an entire spectrum of the creativity behind the scenes. The call for entries for the HPA Engineering Excellence Award opened last month and submissions will be accepted until May 24, 2019. The Judges Award for Creativity and Innovation, a juried award, will be announced in advance of the gala. The recipient of the HPA Lifetime Achievement Award will be announced in the coming weeks.

The HPA Awards are made possible through the generous sponsorship of Awards Title Diamond Sponsor Blackmagic Design, Platinum Sponsor IMAX, and Foundation Members Avid, Co3, Deluxe, Dolby, EFILM, and Encore. For sponsorship or program advertising opportunities, contact Joyce Cataldo at jcataldo@hpaonline.com. Announcement of ticket sales will be made in June.

For a list of the previous years' winners, click here.

Petaluma, Calif. — Point Source Audio (PSA) announced that it has appointed China’s EAD and South Korea’s Capstone Pro to be distribution partners for its SERIES8 and EMBRACE™ microphones as well as its CM-i series of patented in-ear headsets. The appointments come on the back of an expansion effort in response to increased sales and product awareness outside of the USA for Point Source Audio. These partnerships further expand the company’s worldwide reach, which now includes international partners in the United Kingdom, Australia, Japan Italy, Norway, Finland and France, among others.

“We’re excited to be working with both Capstone Pro and EAD,” said James Lamb, President of Point Source Audio. “The creative community in these regions is massive and our products fit their needs. Our goal is to continuously improve our customers’ experience around the world in every aspect and we are confident that our new partners will help achieve that.”

Integral to achieving this growth trajectory in the Asia Pacific region is also the appointment of AS Audio APAC Pte. Ltd. as the manufacturer’s representative in the territory. Based in Singapore, the company, led by Alex Schloesser, will support the Asia Pacific business and develop its distribution network. AS Audio will also handle all technical and sales support for Point Source Audio throughout the APAC region.

Schloesser comments, “Developing and growing the PSA business is a rewarding and enjoyable task. Wherever we take the products, they shine and stand their ground with the competition. I very much look forward to be taking PSA into APAC.”

Point Source Audio is a manufacturer of specialty sub-miniature body-worn style microphones and patented lavalier mounting systems specifically designed for theatre applications. The company creates value-added solutions through intelligent designs, driven by market demand — examples include their IP 57 rated waterproof models and unique headsets which retain the position of the microphone capsule regardless of performer activity.

About EAD
Established in 1997, Guangzhou Donghui Digital Technology Development Co, Ltd is a professional audio and video integrator and distribution company. The company is headquartered in Hong Kong with branches in Guangzhou and Beijing. For more information, visit their website at www.ead.cn.

About Capstone Pro
CAPSTONE PRO, led by founders Kevin Kim and Jesse Park, both veterans of the professional audio industry, was established in 2018. The company distributes pro audio brands including Point Source Audio throughout Korea. For more information visit their website at www.capstonepro.co.kr.

About Point Source Audio
Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones—a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, Calif. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

Washington, D.C.. — Point Source Audio’s CO2 Confidence headsets played a large primary—and a critical secondary—role for double mic’ing at the 2019 AIPAC Policy Conference held at the Walter E. Washington Convention Center in Washington DC. Over 18,000 people attended the three-day conference and included members of Congress, students, and synagogue delegations. The guest speaker roster was massive (the AIPAC website lists over 400) and the audio needs were equally large with 120 channels of wireless mics being used. And, as typical, the expectations for fail safe reliability and sonic excellence with microphones were high.

AIPAC live interviews got “backup” from 40 redundancy headsets

To that end, audio supplier, Maryland Sound Industries (MSI) provided their client, Viva Creative, 40 of Point Source Audio’s CO2 Confidence headset mics for use with the Shure and Sennheiser RF systems that were utilized for the event. Given the amount of RF which, in addition to microphones, included IEMs, broadcast and security channels, the chance of being “stepped” on was very real and made frequency coordination and backup or redundancy options vital.

Robert Jones is the account manager for MSI and first tried the PSA mics at a demo and was impressed both with the sonic capability and the fact that he now had two identical microphones in one package. “In the past we’ve used two transmitters with a headset and with a lavalier mic as backup. If we lost a particular frequency, which can happen in an event this large, and needed to switch transmitters during the speech, the sound difference between the lav and headset is audible. With the Point Source Audio mics, the sound never changes and, on those occasions, where we do need to switch to the backup transmitter, the audience doesn’t notice. There is a sonic consistency we like.”

Jones also noted the increased speed and ease of mic’ing the talent with the PSA mics saying, “Once this thing gets rolling, it’s a constant process of removing the mic as the speaker leaves the stage, putting one on for the new speaker, and on and on. Anything that helps our techs with that process is much appreciated.”

Yvonne Ho, VP of sales & marketing at Point Source Audio, appreciates and understands the challenges of large-scale productions such as AIPAC and commented, “Beyond the audio quality aspect, our goal is to assist our customers in solving problems. If the tech crew can double mic speakers in half the time and ensure the live mic is fail-safe, then we are making real progress.”

The patent-pending CO2 Confidence Collection, a new class of wireless microphones, all have dual elements, each measuring a tiny 3mm that offers built-in redundancy. The CO2 mics also integrate two of the company’s important first-to-market features in miniature microphones: IP 57 waterproof rating, and the “unbreakable” headset boom bendable to 360° to bolster durability.

Point Source Audio will be showcasing the CO2 Confidence microphones for audio professionals at the upcoming InfoComm in Orlando, June 12 – 14, booth 5443. To learn more about Point Source Audio products, please visit www.point-sourceaudio.com

###

About Maryland Sound
Founded in 1967 as a touring sound company, Maryland Sound has been an industry leader for over 40 years. While still maintaining a presence in the touring industry with artists such as Slash, Yanni, Seal, and other international artists, the company is now known as a leader in broadcast, sporting, and corporate events such as the Dew Action Sports Tour, multiple Presidential Inauguration Swearing In Ceremonies, as well as Inaugural Balls and, for 28 years, New Year’s Eve in Times Square. www.marylandsound.com

About Point Source Audio
Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones — a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, California. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

Charlotte, N.C. — Charlotte-based Elevation Church now has 19 campuses around North Carolina, all with very high production values. Each of the locations has its own worship band, and services are streamed from Elevation’s broadcast location to its satellite locations and the internet during worship experiences each weekend.

About four years ago, one of the technical volunteers at the main broadcast campus where sermons originate, got tired of wearing the large bulky double muff can-style headsets for tech team communication. So he bought a Point Source Audio CM-i3 in-ear headset with his own money. Its innovative lightweight design goes behind the head, as opposed to over the top of the head. A lightweight frame goes over his ears and it has small earbuds, a head strap around the back, and a mic that’s a little larger than a lavalier-style mic.

Other techs took notice and now 15 volunteers at Elevation have all purchased their own set.

Jared Olson is production director at Elevation’s Ballantyne Campus. Olson says, “I wear mine for 8-10 hours a day every Saturday and Sunday. I’ve had the same headset for four years with no problems. Any production I do, I do with this headset. I wear glasses and any muff-style headset gives me a headache.” Olson continues, “Most of the techs have custom in-ear molds and you can easily replace the stock or standard earbuds with your in-ear molds. It’s even more comfortable, and also provides an added measure of isolation.”

During those 8-10 hours a day, Olson says he wears the headset listening to rehearsals, front-of-house mixes or the streaming mix, as well as for conducting party line communication with camera operators, graphics, the stage, the band—the full production team. As production manager, he says the team has to know he is always available, so that’s why he wears the headsets the entire day. “Even between services we often take cameras outside to shoot interviews and video,” he says. Through it all, Olson is wearing his CM-i3 headset.

Elevation volunteer Mike Mitchell was the first member of the team to buy the CM-i3 back in 2016. “When I first used the CM-i3 headset, it was transformational,” says Mitchell. “The ability to hear better and protect my hearing at the same time has improved the way I approach my role in the production process.”

The headsets feature the company’s EM-3 in-earphones which can be switched with earphones of the user’s choice. The flexibility also extends the serviceability and lifetime of the product. The headset has a boom moving coil dynamic element with a cardioid pattern and a frequency response of 300 to 10,000 Hz. The earphones feature a single-driver ported design and come with three sizes of ear tips, a windscreen with an o-ring, and a custom storage case.

The newer CM-i5 in-ear headset is a back-electret condenser design offering a noise-canceling cardioid pattern and expanded frequency response of 100 to 10,000 Hz. The earphones feature an improved single-driver ported custom-molded style, universal design that can also be easily switched with the user’s personal earbuds.

Volunteers and staff now using the CM-i3 and CM-i5 in-ear headsets at Elevation Church say using them has made a huge difference in the ease and comfort of the production process and has been well worth the personal investment.

Point Source Audio will be showcasing the CM-i3 and CMi-5 in-ear headsets at the NAB Convention in Las Vegas, April 6-11, booth C2357. To learn more about Point Source Audio products, please visit www.point-sourceaudio.com.

###

About Elevation Church
Elevation Church is a multi-site church pastored by Steven Furtick, based in Matthews, North Carolina.Elevation has 19 locations, with 9 in the Charlotte area, as well as locations in Raleigh; Greensboro; Winston-Salem; Roanoke Virginia; Melbourne Florida; and the Greater Toronto Area. From 2007 through 2010, Elevation was cited by Outreach Magazine as one of the Top 100 fastest growing churches in the United States. www.elevationchurch.org

About Point Source Audio
Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones — a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, California. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

Petaluma, Calif. — Yvonne Ho and James Lamb, longtime partners in Point Source Audio, have announced the formation of Wider Pro, LLC, a new company to support their distributed lines that serve the broadcast industry. Based in Petaluma, California, Wider Pro, LLC will be the company to represent North American distribution of Digigram, AuviTran and other brands to be announced.

Point Source Audio will continue to handle all facets—manufacturing, distribution, sales, marketing as well as service—of its microphone and headset products for all markets including the broadcast sector. The timing is right for the transition of its current distributed brands from Point Source Audio to Wider Pro according to Point Source President James Lamb: “I have worked with the teams at both Digigram and AuviTran for almost two decades, and with the pending announcements of new products from both companies, we will be equipped to move into the next phase of growth under the Wider Pro company.”

Yvonne Ho, vice president of sales and marketing at Point Source Audio, and a principal at Wider underscores this point by saying, “Taking care of our customers will always be our first priority, and so we have been and will continue to add highly customer-service minded sales and marketing members to both the Point Source and Wider companies.” The principals equally stress that this pivotal change is intended to accelerate new products to market while maintaining hyper focus on customer service and support for all the brands.

Digigram, based in France, develops digital encoding and streaming links. The company manufactures sound cards, audio processing software and IP audio codecs that are used by broadcast professionals worldwide. Their IQOYA series of IP audio delivery devices are single rack units that can be ordered in a wide variety of configurations. The company also makes the Audioway Bridge line of products for facilitating the transfer of audio streams.

AuviTran, also in France, manufactures several innovative products for broadcast including the Audio ToolBox, a flexible and modular system that greatly simplifies IP networking when dealing with multiple protocols. Their AVDT-BOB is a compact DANTE breakout box with embedded digital signal processing.

Point Source Audio and Wider Pro will be exhibiting at upcoming broadcast industry events including the NRB Convention in Anaheim, March 26-29, booth 722; and the NAB Convention in Las Vegas, April 6-11, booth C2357. To learn more about Point Source Audio and Wider Pro products, please visit www.point-sourceaudio.com and www.widerpro.com

About Point Source Audio Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones—a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, Calif. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

About Wider Pro Wider Pro is a distribution company led by a highly experienced and connected team of professionals who are dedicated to delivering imaginative technology solutions to the broadcast industry. Manufacturers can rely on Wider for world-class marketing and sales support throughout the Americas. For more information call (707) 728-8180 or visit www.widerpro.com. Follow the company on Twitter at www.twitter.com/WiderPro.

Petaluma, California — Point Source Audio (PSA) today announced the patent-pending CO2 Confidence Collection microphones. The new class of wireless microphones all have dual elements offering built-in redundancy—and showcase an appealing new slimline design. They integrate two of the company’s important first-to-market features in miniature microphones: IP 57 waterproof rating, and the “unbreakable” headset boom bendable to 360° to bolster durability. All this unlocks new conveniences and simplicity for broadcast, audio, and production techs as well as please the presenters and performers they serve. The CO2 Confidence Collection microphones are shipping February 4.

“Double mic’ing can be heavy lifting when it comes to the cabling and their clutter; that’s why our CO2 Confidence Collection is specifically intended to ease the workload of many A2’s and sound engineers working in live mic applications. We released our first dual element mics in 2017 and now we’ve added other popular styles to the collection—our development team also originated a design such that the back-up mic practically disappears from view,” said Yvonne Ho, Point Source Audio’s vice president of Sales & Marketing. “The new form factor pairs our smallest elements at roughly 3mm each to create a dual mic’ing system that is barely detectable.”

Groundbreaking Double Mic’ing Simplicity in Three New Mic Styles

The ingenious double mic’ing setup of the CO2 Confidence Collection comes in three popular styles: headset, lavalier, and in Point Source Audio’s patented EMBRACE™ embodiment. The mics’ new petite form factor is based on the company’s existing omnidirectional single element microphones of a mere 3mm—and that are all waterproof. The backup element is fashioned to the existing mic in tandem and where the independent and continuous wire paths are integrated into a singular wire jacket giving audio technicians a clean alternative to cumbersome cable dressing. The mic cable splits approximately nine inches above connection to the body-packs to allow ample room for separation of the transmitters.

Time-Tested Waterproof Endurance

The CO2 Confidence mics utilize the same waterproof elements that have helped audio teams power through many challenging stage conditions from water, sweat, makeup and even (fake) blood-soaked stage actors in productions ranging from Sweeney Todd to Singin’ in the Rain to Monsoon Wedding. Cyril Auclair, Assistant and FOH Mixer at Paris’ Théâtre du Châtelet, sums up his experience with Point Source Audio’s waterproof mics in Singin’ in the Rain this way: “We are happy with the product because after 110 shows and a lot of water the mic is perfect!!”

Sonic Excellence Seamlessly Matched in Both Elements

The Confidence microphones feature precisely matched elements to a near identical ±0.5 dB difference. Whereas a usual method of redundant mic’ing can be achieved with two separate microphones, audio between them may vary due to differences between the microphone brand, the microphones’ age, as well as variances in the specifications. The Confidence Collection solves this challenge with elements that are factory matched in frequency and sensitivity—so when a vital backup is initiated, any difference in audio performance is nearly undetectable.

SERIES8 Technology

All the dual element omnidirectional microphones come with SERIES8’s award-winning performance features and specifications. SERIES8 microphones are used worldwide—trusted by productions from Hamilton to the Tootsie Musical, and renowned performing arts programs at Belmont University, Berklee College of Music, Lindenwood and more. The backward compatibility is an advantage for existing SERIES8 customers to add the new dual element mics with total confidence in form, fit and function.

Locking X-Connectors for Added Confidence

All SERIES8 microphones feature convenient interchangeable X-Connectors for a rapid and inexpensive way to quickly change the microphone wireless termination from one brand to another. Both ends of the screw-on X-Connector now have locking “teeth” to give added confidence to the connection. More importantly, the low-cost X-Connector spares offer no-hassle repair or troubleshooting on-site.

Pricing and Availability

The CO2 Confidence Collection are offered in headset (CO2-8WD), lavalier (CO2-8WLp) and earmount (EO2-8WL) styles in beige, brown and black color starting at $825 (US) through Point Source Audio Authorized Resellers and Distributors worldwide (prices may vary).

More information about Point Source Audio and the CO2 Confidence Collection can be found by visiting www.point-sourceaudio.com.

SAN ANTONIO, TEXAS— The importance of bass managing control room speakers was made crystal clear to me in May 2004, during the first game of the NBA Western Conference Finals. The audio control room for the event was the first 5.1 room my team had ever built and, in addition to mixing the studio show and wraparound elements in surround, we were receiving a full 5.1 mix from the mobile unit parked at the arena.

Audio Design Labs’ Audio Management Controller
Everything was going well right up to the moment we mixed in audio from the site, which was when we discovered that effects microphones inside the venue were picking up low-frequency energy that was not there before the game started. Unfortunately, this low-frequency content was overwhelming the mix and driving our dynamics processing nuts.

The mix engineer in the truck could not hear the problem and it took us a little while to figure out that the main speakers in the truck were not reproducing those low frequencies because they were each fed directly from a console monitor output. This meant that none of the low-frequency content from the main channels was being sent to the subwoofer where it could have been reproduced.

In a large audio mix room with good acoustics, thick walls and full-range speakers, this would be no problem, but mixing audio in a remote truck is essentially mixing in the polar opposite of that environment. Had the truck speakers been bass-managed, the mix engineer in the truck would have corrected the problem immediately without getting a call from the studio control room.

REPRODUCING ALL FREQUENCIES
Bass management ensures the speaker system can reproduce all frequencies of content in the mix so the engineer can actually hear what is going on. Oddly, making this happen seems to have become more difficult as the need for it has increased. Audio control rooms used to have large speakers that could reproduce frequencies below 80 Hz, even though NTSC television had a limited frequency response of around 50 Hz–15 kHz and all of about 40 dB of dynamic range on a good day.

Nuendo Bass Manager plug-in
Mixing for analog television meant rolling off and filtering high and low frequencies, carefully controlling levels with limiters and compressors, and trying not to trigger any processing downstream that would destroy the mix. NTSC became ATSC and we suddenly had five audio channels with 20 Hz–20 kHz frequency response, 100+ dB of dynamic range and a band-limited low frequency effects (LFE) channel that requires its own speaker.

Unfortunately, the installation of subwoofers did not make up for the fact that mix rooms and their main speakers were shrinking. It seems that as soon as we started creating content with significant low-frequency energy, many facilities stopped installing control room speakers capable of letting us hear it, or building rooms with enough space in them to handle that energy.

The smaller near-field speakers found in control rooms now are much less likely to be able to adequately reproduce low frequencies below 80 Hz properly, if at all, and it is difficult for their frequency response to remain linear at lower frequencies. This creates a real problem for the mix engineer since audio that cannot be heard in the control room will still make it to the home. Worse still is the fact that practically all home surround systems bass-manage automatically, sometimes to make up for the fact that their main speakers are small.

At the creation end of the chain, bass managing means redirecting frequencies that cannot be reproduced by the five main speakers into the subwoofer. Subs get a bad rap as just being there to make things shake, but a properly placed and set-up subwoofer can actually smooth out low-frequency problems in small rooms and, when used for bass management, allows smaller speakers to operate more efficiently because they aren’t wasting power trying to reproduce frequencies they weren’t designed for.

Subwoofer speakers are also necessary for proper reproduction of the point one (.1) LFE channel, which was designed specifically to make sure the low-frequency portions of audio effects are adequately represented. Bass management never adds content to the LFE channel, but it does redirect low-frequency content from the main channels into the subwoofer along with it.

Genelec PD7070A15 subwoofer connectors
IMPLEMENTING BASS MANAGEMENT
Actually implementing bass management is generally not difficult, but can be expensive. The speaker system we used for Western Conference Finals had bass-management features built into the subwoofer, so changing our control room and mobile unit setups meant running the monitor channels to the subwoofer first, then to their respective speakers.

Speaker systems without this feature require a monitor controller or audio console monitoring section with built-in bass management that then feeds the speakers. There are also a number of software options available, either included in digital audio workstation monitoring sections or as plug-ins.

No matter the method, the principle is the same. A low-frequency crossover point is selected—usually 80 Hz—and audio below that frequency is redirected from the main monitor channels to the subwoofer. This ensures that low-frequency content makes its way to a speaker that is capable of reproducing it. Since sound becomes omnidirectional as we reduce frequency it is more difficult (but not necessarily impossible) to pinpoint the source, so using one speaker for low-frequency content works fairly well.

Anyone mixing on speakers that are not gigantic, full-range monsters should give serious consideration to bass managing their speaker system if they really want to hear everything in the mix, especially if a subwoofer is already a part of that system. Those mixing in small rooms would also do well to assess whether bass managing their system along with proper subwoofer placement would help sort out some of the acoustic problems inherent in those spaces.

Jay Yeary is a broadcast engineer and consultant specializing in audio. He is an AES Fellow as well as a member of SBE and SMPTE. He can be contacted through TV Technology or attransientaudiolabs.com.

Just about everyone who embarks on the video editing learning curve winds up with a passing knowledge of sound editing. And just about everybody who deals with sound editing, sooner or later, finds themselves collecting a library of sound effects, atmospheres, textures, soundscapes and the like. For most of us, this starts as an ad hoc collection of what’s needed at the moment or stumbled across in the course of other work. At a certain point—or for a more complex project—one needs a more comprehensive, organized, and/or a higher quality library of sounds to work from. The legendary, highly motivated, or simply obsessive sound editors embark on a massive recording, collecting, and cataloging campaign that lasts a lifetime. For the rest of us, there are libraries to purchase to provide the foundation. And there are lots of them to consider.

FEATURES
Pro Sound Effects is now offering the Hybrid Sound Effects Library, a relatively new library in the market and a rather unique marketing model. The Hybrid Library, with more than 56,000 curated sound effects delivered on a 500 GB USB3 hard drive, is a subset of the entire Pro Sound Effects Online library (consisting of more than 215,000 sounds). All files are organized into parent source libraries and sub-folder categories, are consistently tagged and meta-data-ed for easy searching, and are all in .wav format. Nearly 75 percent of the files are recorded at 24-bit 96 kHz, and all (that I have listened to, anyway) sound excellent, present, natural, and un-hyped.

Two major collections make up the bulk of the Hybrid Library: Sonopedia 2.0 and Foundation, with both having fairly balanced general use catalogs. Foundation seems to lean towards video game design, with more esoteric and otherworldly elements suited to making deeper soundscapes, but this is a somewhat subjective observation. Both collections provide many possibilities for achieving specific sound effects, beds, atmospheres, and even specific practical sounds. All files are clearly named and sorted into folders by collection, in addition to multiple tags and thorough metadata implementation, for both easy browsing and faster searching.

Other components of the Hybrid Library include niche libraries from Blastwave, who put together the massive Sonopedia, (Imaging Elements, many in 5.1 surround; Buzzsaw 2, musical instrument sounds and effects; Zombie Apocalypse, also applicable to non-zombie projects, including a wide variety of chomps, crunches, crashes, bites and breaks), PSE (Rare Animals, individual sounds and ambiences), Sound Control SE Basic (another all-around collection with a little bit of everything) and Sound Effects. ch (a collection of 5.1 surround ambiences), details of all can be found on PSE’s website.

Once or twice a year, PSE releases an expansion to the Hybrid Library that users can purchase for $750 (or $500 when the company offers a sale), typically filling up a 64 GB USB3 thumbdrive. Also, typically once a year, PSE provides all library owners with a free update; this past year this included 4 GB of new sounds, as well as metadata updates where applicable. Hybrid Library owners can always expand their libraries with specifics by downloading from the master collection online; the initial purchase price includes 100 download credits, and each expansion price adds 30 to 50 download credits.

The Hybrid Library is designed for, and targeted at, freelancers and independents. The user must apply to purchase the library, showing that they are not fronting a studio or commercial production facility. Once approved, they can purchase all that is described above, as well as discounted pricing on Soundminer, an industrial level audio asset manager and search tool, directly compatible with many DAWs. Users get the above-mentioned download credits toward purchases from the PSE online library. They are also invited to join an owners group on LinkedIn, to interact, learn from, and share techniques with other library owners, as well as to influence the direction of the Library’s development.

The Pro Sound Effects’ Hybrid Sound Effects Library is supplied on a hard drive.
IN USE
I used many elements from the Hybrid Library in several projects and in a bunch of experiments. I also spent a lot of time browsing through the collections, auditioning, searching with various terms, trying to get a sense of the organization, file naming, breadth of the collection, and metadata implementation. Both activities go hand in hand when doing this kind of work, so begin with identifying which elements to use; browsing such a large collection for specific elements is not very efficient. There are many different ways and tools for searching, from system-wide search tools, to media search tools, like Adobe Bridge, to applications specifically designed for audio element searches, like Soundminer (soundminer.com). I didn’t have access to Soundminer, but did have an old license for AudioFinder (icedaudio.com), a similar audio asset management, search, and auditioning application that I had not used for quite a while, which amazingly updated to the latest version for free, thus confirming my new “fan” status.

SUMMARY
The Hybrid Library is extremely well organized and implemented. From the desktop, it is organized into libraries, each with their individual content folders. When one searches the library, it quickly becomes clear that file names are clear, consistent, and descriptive; tagged descriptive keywords are effective but not overwhelming; metadata implementation is consistent throughout the library and very thorough. Searches yield focused results that are quickly and easily sifted through for the appropriate items. This aspect makes the library easy to use, easy to implement into diverse workflows, and easy to integrate with other collections of sound files.

PSE has taken a rather unique approach to marketing the Hybrid Library. In addition to marketing a well-organized, well-catalogued, and high-quality library, PSE is doing its best to support freelancers and independent contractors with discounted pricing (the Hybrid Library represents a roughly 75 percent discount over individual purchases), and the formation of a community of like-minded professionals. In so many ways, this is not your standard sound effects library, and I highly applaud all aspects of this initiative. Pro Sound Effects has a Hybrid Library sale each December for $1,500, or $1,000 off the regular price. Since the sale has passed, they would like to offer readers of this review the sale price (for one month after the publication date) by using the Partner Priority code: TVTECH15 on the Apply page. Any of the included libraries would be a good starter collection or a great expansion for an existing sound library. The whole Hybrid Library is an excellent value; one that freelancers and independent contractors should check into immediately.

Michael Hanish operates Free Lunch, a video/audio/multimedia production house near Guilford, Vt. He may be contacted at michael@freelunchmedia.com.

FAST FACTS

APPLICATION
Vast sound effects library for all aspects of soundtrack work

KEY FEATURES
High-quality, wide variety, well catalogued with metadata, frequently updated

PRICE
MSRP, $2,500; $1,500 (sale price)

CONTACT
Pro Sound Effects 646-706-7728

www.prosoundeffects.com