BHV Broadcast Callisto Micro Switcher Wins Over Onstage Video

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Owslebury, UK (5 April 2011) – After a comprehensive search and evaluation process, Onstage Video – a London-based live event production company – selected BHV Broadcast’s Callisto Micro sub-miniature broadcast SDI switcher for its RealLive multi-camera production system. P. Julian Hiorns, BHV Broadcast’s managing director, announced the sale from headquarters in Owslebury, UK.

“I shopped for a suitable switcher for six months and very nearly purchased a competitor’s four channel unit with an HD option – until I sampled the BHV Callisto Micro at IBC 2010,” said Nigel Wilson, director of Onstage Video. “The compact Callisto won me over. It is well designed by a company that obviously knows the functions a VM needs to perform successfully. Although it is SD, its simplicity, feature set, and affordability are all very appealing. I didn’t want to pay for a larger mixer (more…)

RADIANTGRID OFFERS EXPERT VIEW FOR TRANSCODING SESSION

LAS VEGAS, APRIL 6, 2011 — Kirk Marple, president, chief software architect of RadiantGrid Technologies, developer of leading-edge transcoding, transformation and new media automation service platforms, will be sharing his industry experience with attendees at this year’s PBS Tech Conference as a participant in the “Nuts & Bolts of Transcoding,” presentation taking place on Thursday, April 7, at 4:30 p.m. in the MGM Grand in Las Vegas.

Moderated by Wendy Allen, Vice President, Media Operations and Engineering, PBS, this session is designed to review the basics of transcoding and takes a look at how transcoding works, what the process is and what the pitfalls are. This session takes a look at what you should expect from digital generation loss and how the industry best deals with these problems; what are the common problems when setting up a transcoding environment, when to use human QC versus automated QC products, (more…)

Baroque. Contrasted: final Daily Trivia

It’s the last day of our hugely exciting trivia section… *sob*

Here are the final titbits for your musical pleasure:

Johann Hermann Schein (1586-1630) was a German composer of the early Baroque era and was afflicted with poor health- his wife died in childbirth; four of his five children died in infancy; he died at age 44, having suffered from tuberculosis, gout, scurvy and a kidney disorder.

Hugh Aston (1485-1558) was an English composer of the early Tudor period. His initial salary at The Newarke (a musical institution in Leicester) was £10 a year, only £2 a year less than that of the Dean. Listen to his Hornpype (which we’re playing on Friday) here.

William Brade (1560-1630) was an English composer, violinist, and viol player of the late Renaissance and early Baroque eras and liked to change jobs frequently- during his career, he moved 13 times!

If you’d like to hear more music from these composers, why not try one of our hour-long concerts at Kings Place?

Concerts start tomorrow night from 6.45pm and more details can be found on our website.

The Beatles: Guitar Heroes – Revisited

Here is the first in a series of guest posts by John F. Crowley about guitars owned by the Beatles. Last year we unleashed a new article each week. If you missed them then, have a look now and check out the guitars that made amazing music and read a bit about the fantastic history!

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JOHN LENNON’S 1958 Rickenbacker 325

Purchased in 1960: 1958 Rickenbacker 325 Capri (5/8 scale, hollow-body electric). Serial No. V81: The Holy Grail of guitars. Lennon bought this “short arm” guitar, with a natural finish, gold pickguard and Kaufmann vibrato, on the Beatles’ first trip to Hamburg, after he saw jazzman “Toots” Thielmans playing a Ric model on an album cover. Later in 1960, in Hessy’s Music, Chris Huston of The Undertakers mounted a Bigsby B-5 vibrato and “bow tie” bridge (for more on this operation, click here). At the same time they replaced the “oven” knobs with new ones from Curry Electronics. Somewhere along the line, Lennon disconnected the middle pickup, and in September ’62 had it painted black. In his well researched piece Baby’s In Black, Peter McCormack tracked the job to a subcontractor, Mr. Derek Adams, and suggests the refinishing was part of Brian Epstein’s effort to spruce up the band’s look. But another source credits the refinish to coach painter Charles Bantam, who reportedly sprayed the Rickenbacker with black coach paint while the band took a brief holiday. Later inspection led Ron DeMarino (below) to speculate the finish had been brushed on! So perhaps we’ll sort out this point in time. At any rate, in ’63 Lennon changed the knobs again when he had some electrical work done by Burns of London.

‘LADIES AND GENTLEMAN…. THE BEATLES!’

Lennon played this guitar onstage and in the studio right through to the first Sullivan show (below) and the Carnegie Hall shows (2/12/64), then, except for a bit of work on Beatles For Sale, retired the beat-up workhorse. In 1972 he had it restored to its natural finish by Ron DeMarino of New York, who also replaced the tuners and cracked pickguard. (Read DeMarino’s account here.) This guitar may very well have made its final appearance during the Double Fantasy sessions, as producer Jack Douglas and Yoko Ono both confirm seeing it in the studio. There is also speculation that Lennon used this guitar on Yoko’s “Walking On Thin Ice” in December 1980, the last piece of music to which Lennon contributed. Regardless, as guitar aficionado Frank McLallen wrote: “That guitar . . . from Hamburg to the Plaza in New York City, and a national broadcast on the Ed Sullivan Show — doesn’t get any better.” This priceless instrument, recently displayed at the Lennon museum in Japan, is now owned by Sean Lennon.

CLICK HERE to revisit the complete series of Beatles guitar posts!

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