Prosound News - April 2008 - (Page 46)

[46] soundbroadcast White Space (continued from page 45) resolution on engineering data rather than political agendas, and that Shure is prepared to provide solid product solutions in any future spectrum landscape. To date we have achieved significant progress in all three objectives and have no intention of relaxing our efforts in any of them,” he states. Initial tests last year were hardly a decisive success for the Alliance and led to political bickering between several of the interested parties. Brunner reports that prototype devices submitted by Microsoft and Philips were first tested. “Both of the units had problems detecting wireless microphones. The Microsoft prototype was not sensitive enough to detect wireless microphones even at moderate levels, especially with DTV signals present on adjacent channels. On the other hand, the Philips prototype often gave false-positive results, and couldn’t differentiate properly between wireless microphones and DTV stations. When transmitting, the Microsoft device caused interference at a greater distance than expected. The Philips device did not have transmitting capability, and was too fragile for field-testing.” In response to requests by Shure and other interested parties, the FCC decided to open the current round of white space testing to public observation. Shure also submitted a detailed test plan that seeks to simulate the conditions under which wireless microphones normally operate, calling for tests with strong DTV signals present on adjacent channels. Unlike last year, when the FCC turned down Shure’s offer to help develop meaningful technical data in real-world tests conducted during the setup for a couple of NFL games, this time, says Brunner, “We were gratified to see that the FCC lab accepted most of our recommendations, although the DTV signal levels they used are not high enough to match those present in the downtown areas of major cities.” The current, ongoing round of tests began in late January and includes reworked submissions from Microsoft and Philips. “In tests observed by Shure to date, neither one has demonstrated the ability to reliably sense wireless microphones in the presence of adjacent channel DTV signals,” reports Brunner. “Adaptrum, I2R and Motorola stated upon submission that their prototype devices are not able to detect wireless microphones.” Two of the Microsoft devices have failed and were withdrawn, the I2R unit was dead on arrival and Google submitted an antenna but nothing to connect it to, reports Brunner. “At this point, the FCC staff is reviewing the initial laboratory test results before deciding whether they will proceed to field tests. If they do, Shure has stated its desire to help facilitate any tests involving wireless microphones.” Microsoft issued a statement on March 26 when its device, designed by a third party, “unexpectedly shut down.” It read in part, “Microsoft will continue to work with its partners in the White Spaces Coalition to provide the FCC with all the support it needs during the rule-making process, including further exploration of the recent proposal made at the FCC that reflects some of the coalition’s thinking on the use of spectrum-sensing technology and beacons.” The technology referred to is Motorola’s hybrid system, which would utilize a base station that would communicate spectrum availability to remote units based on geo-location technology with access to a database of licensees. The system would also incorporate sensing capability at the local level for a beacon signal that could be used to identify a particular frequency as occupied by a wireless microphone. Brunner comments, “While this approach provides some interference protection advantages over a pure sensing model, which, as we have observed, does not appear to be close to reliable deployment, it also creates additional complexities for wireless microphone users, such as potentially having to register your frequencies and locations in a database in order to be ‘valid,’ along with what could be a substantial requirement for ancillary equipment—for example, beacons and antennas to protect each channel—that at this point are still in the very early stages of standardized development.” In a late-March filing with the FCC, Google proposed setting aside certain channels for the white space devices and touted Motorola’s spectrum-sensing technology. Brunner responds, “While Google’s stated desire to protect incumbent users of the UHF band is laudable, its ‘enhanced spectrum protection proposal’ is simply a repackaged set of measures that have little demonstrated promise of protecting wireless microphones. The ‘safe harbor’ of channels 36-38 is not really available nationwide, due to medical telemetry on 37 and DTV and low power TV on 36 and 38 in some cities. “Also, Google’s desire to write rules and let technologies follow ignores the fact that the interference issues raised by a flood of unlicensed personal/portable devices are exceedingly complex, as demonstrated by the thousands of pages of detailed study and analysis submitted by experts in RF fields into the Commission’s record.” Brunner stresses that the FCC must base its final rulings on empirical data, not politicking: “Promises of future solutions should not distract the FCC from requiring a clear-cut demonstration of the technology solutions purported to prevent interference. To do so would be placing speculation above science.” Shure www.shure.com KPIX/615 (continued from page 45) for a TV station.’ Dee Joyce is the VP of advertising and market for KPIX; she’s a real forward-thinking marketing person.” The client’s brief was simple, he says, but involved various consultations: “They said to take a few of the themes from a package that we had composed not long ago. We talked to Michael Engelhaupt, the chief engineer at KPIX. We talked to Dolby about getting it encoded and to get it on the air.” Wachtler also consulted with 615 Music mixer, Aaron Gant, VP production and en- Communication without limits. Whether your production crew is centralized in one facility, roaming from floor to floor or spread halfway across the globe, Clear-Com understands that communication accessibility is essential. At all times. To all locations. For all users. Clear-Com expands your communication capabilities with intercom solutions: • Wireless beltpacks seamlessly integrated with digital matrix systems • Intuitive and robust user control panels, stations and software panels • Reliable communication network through fiber-networking, IP connectivity, wireless and system interfaces We’ve made the connection. Come see our full line of products at NAB: Booth # C5908 Clear-Com Concert Intercom Software System Clear-Com Encore Party-line System Eclipse Digital Matrix System CellCom Digital Wireless gineering. “We talked about not putting single instruments in the rear speakers; let’s make it an overall ambience so it sounds more spacious to the viewer,” he recalls. Gant confirms, “The idea was to make it cinematic, but we didn’t really want people turning round in their seats and saying, ‘What’s that behind me?’ My theory in music mixing in surround is that it’s cool when it’s surrounding you but you don’t really notice it unless it goes away.” He elaborates, “News music has got a lot of syncopated rhythms and arpeggio bass lines and things, so those surround you at all times. It’s basically quad. I left the center channel empty for dialog. If something is in the center it’s not discrete, it’s phantom, like the snare. There are a few sweeping elements that go from the back to the front, but mostly it just surrounds you. It’s supposed to catch your attention then fade into the background.” He adds, “I think surround mixing, in a lot of ways, is easier than stereo. There’s so much more space. Nothing really fights; you can find a place for everything.” The new mix format necessitated some equipment to supplement 615 Music’s facilities, Gant reports. “I ended up renting the Dangerous Music 2-Bus surround monitor control. The local rental company, Blackbird, had one sitting on a shelf, and they were dying to get someone to use it. We plugged Pro Tools right into it, threw the remote on top of the console and went to town. It worked great.” The project benefited from the expertise at KPIX, he acknowledges, “A lot of these stations are hesitant to make the jump, because technically it’s difficult, but Michael Engelhaupt is all over it. That made it easy for our first one, to have someone like that at their end.” —Steve Harvey 615 Music www.615music.com RAISING PERFORMANCE www.clearcom.com © 2008, Vitec Group Communications, LLC. All rights reserved. ® Clear-Com, Clear-Com Encore, Eclipse, Clear-Com Concert and CellCom are registered trademarks of The Vitec Group plc. psn April 2008 http://www.shure.com http://www.clearcom.com http://www.clearcom.com http://www.615music.com

Table of Contents Feed for the Digital Edition of Prosound News - April 2008

Prosound News - April 2008 Sound Business Contents Sound Retail Mojo’s Working at NY Noise Studio Showcase: Jungle Room Studios Software Tech Tracks Sessions Nomad Takes Root TCB at NYC’s JSM SoundScreen White Space Turning Gray Audio for Video and Broadcast Field Reports:Sony PCM-D50 Linear PCM Recorder; Holophone H4 SuperMINI Surround Microphone Sound Innovations: Earthworks Audio PianoMic System Frozen Liquid Live Sound Showcase: Jill Scott Centerstage Soundcheck Sound People View From the Top Product Spotlight Advertiser Index Company Index Classifieds Music, Etc.

Prosound News - April 2008

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