Want KITT in Your Car?

As mentioned on Wired.com, there’s a new GPS featuring the talents of voice actor William Daniels as the infamous KITT from the original Knight Rider series.

The Knight Rider GPS will soon be available on the market retailing for $270.

The GPS box, from satnav maker Mio, pictured above, asks the question “Michael, where do you want to go today?” when powered up.

Pretty cool for fans who are looking for something to take the Knight Rider experience to the next level and likely a very good gig for William Daniels.

Speed Racer Game Features Voice Acting by Original Cast

Speed Racer has been a favorite for too many years to count, and now it has returned. It is on the big screen with all the graphics and action you would expect from current electronic and computerized tools available.

If that isn’t great enough, the video game has the thrills that the movie does, and possibly more. This is, of course, a racing game, but it is also much more. It is about speed – 300 to 500 MPH, but more than that, it is a smart racing game about speed.

The game was created for WII, with a PS2 version coming out this fall. The game follows the story as you compete as Speed Racer in the World Racing League against up to 19 opponents. Of course, everyone including Speed Racer wants to win the coveted prize, but the course isn’t easy with its loops, jumps and unpredictable track. You can flip and jump your car – with the help of a “car fu” mechanic, who can keep you going even if you smash your car.

There are about 20 different car/driver combinations. Speed Racer’s Mach6 and Racer X’s Shooting Star are included in the game, as well. To top it all off, the original actors from the movie including Emile Hirsch, Matthew Fox and Christina Ricci have lent their voices to the game, as well, which always takes things to the next level.

The New Speed Racer is worth a good look, and even if you’re not a Speed Racer fan, you will certainly be excited and delighted.

Hulk is Incredible even the Second Time Around

Let’s just say that computer graphics have made a few leaps and bounds since the original HULK came out. Nonetheless, HULK is a beloved, well maybe not beloved, but at least well liked and enduring figure, even now, and though we are in the 21st century, there are still basic shades of the original HULK that are infused in both the movie and the video game. The video game comes out today.

There are some awesome features that are part of the movie and the video game. A few of those features have been preview released by SEGA in advance. For instance, players can become the HULK and create whatever powerful destruction they feel is necessary – in fact, they can demolish anything in their path and then use it as a weapon. – including demolishing buildings with their (HULK’s) bare hands.

Then there’s rage. Rage creates power, and players can create the rage that HULK needs to use his ultimate power. The scale is powerful, as well. New York is at scale and realistic with the skyscrapers allowing for exciting vertical play, while Bi-Beast and the Abomination challenge the HULK’s power.

The best features are that the world is dynamic and open, providing a next generation open representation of Manhattan – which gives the player a stunning playground on which to play the game and other mini games within the overall game. The best feature of all is that the voices of the characters from the movie are used in the video, enhancing the realistic feeling.

If you are looking for a great games and want some awesome previews, got to the SEGA site – which has gone interactive – and there are a couple of good Hulk Video Game sites on line, as well.

Two Worlds Takes a Second Try

Reality Pump put out the game Two Worlds and the reviews by most everyone was that it was pretty horrible. It had awful images and the voices – forgetaboutit!!! The first edition of Two Worlds was called a lot of things, including an utter mess that was disappointing to all.

Reality Pump’s response to this: Two Worlds: The Temptation. RP says that instead of using staff (which did the best they could on the original release); RP used professional voice actors on the sequel, The Temptation. Even RP says that they were overzealous in trying to do everything necessary put the original package together and get it out themselves. This overzealousness also extended to the plot and other ideas. It seems that RP put everything but the kitchen sink into the original and has scaled back on The Temptation.

Though the original Two Worlds was a total mess overall, it did have some good points and some great, fun ideas, but the overall difficulties made them hard to find.

Hopefully, Reality Pump has done what it says it has done by scaling back, taking its best ideas and putting them front and center – and eliminating the overkill – Two Worlds: The Temptation should be worth a try one more time.

Earprompter from Ovation a Perfect Fit for Public Speakers

In business, one of the most important skills is the ability to stand in front of a group and effectively get the message across. Unfortunately, fear of public speaking is our number one fear (most people would rather have a root canal), and most speeches and presentations are read, which seriously limits their impact.

There is a solution to this thorny problem, and it’s called the Earprompter.

The Earprompter is a system that allows speakers to deliver their presentations word-for-word, without memorizing or notes. This system combines miniaturized electronics with the latest speaking techniques, to enable people to become effective public speakers with just a half-day’s training. They can give their speeches, however long or technical, perfectly every time, with relatively little preparation… usually a matter of hours.

For the past twenty years, the Earprompter has been the best-kept secret of professional presenters and spokespeople. There were also a few businessmen and politicians who discovered that using this device gave them the edge they needed to be leaders in their fields. The Earprompter is also big in the convention and the acting worlds (Marlon Brando used it for twenty-five years), and is starting to make headway in the corporate and political worlds as well. Its uses are unlimited: making strong forceful presentations at meetings, speaking at fundraisers, delivering a consistent message on tour, speaking to stockholders, standing in for another speaker at the last minute, giving presentations in a foreign language… the list goes on.

Using this system allows the speaker to leave the lectern and notes behind, walk out into the audience, and deliver the message face-to-face, a style which is extraordinarily effective. The Earprompter allows the speaker to maintain eye contact with the audience, and really connect. It brings with it a large dose of charisma, a characteristic that is especially important when speaking to potential investors, stockholder and clients.

One very senior member of the Clinton administration had to deliver two or three speeches a day, each of them to different organizations, several times a week. He attended our training, and after giving his next speech, a member of the audience said, “Sir, I heard you speak a couple of months ago, and today you were absolutely riveting. You’re not the same speaker.” The official just smiled and said “Thank you!” And that theme has been repeated many times, both here and abroad.

So if you’re giving a presentation, and you absolutely, positively, have to get it right, the Earprompter can take a load of your shoulders, and your mind.

Source: Earprompter.com

Talking Menus Now in Restaurants

Mo and Carol Sattar, owners of Boca Raton’s Original Pancake House, face problems common to restaurant owners everywhere — customers that don’t speak English, an aging population with
less-than-perfect vision, and an active blind community that sees no reason to stay at home.

What these groups have in common is their taste for Original Pancake House fare. But finding experienced servers who are bilingual and don’t mind spending extra time with customers is proving to be a challenge.

“South Florida is a cultural crossroads,” said owner Mohammed Sattar. “Not only do we get visitors who don’t speak English, but we’ve got a large retired population. We had to find a way to serve them.”

They turned to Menus That Talk(TM), a Miami company that manufactures a line of talking menus for restaurants, cruise ships, museums and other public places. The menus are compact — about the size of a DVD case, portable and multilingual.

What co-owner Carol Sattar likes is their ruggedness and ease of use. “Customers simply select a language they prefer, then press a button like Omelettes, Crepes or Senior Specials,” she said. A voice responds, describing the dishes and their prices. When they’re ready to order, a Service button summons a waiter.

Preparation for the Pancake House was quick and easy. They sent their printed menu to Menus That Talk who organized it to work with the menu’s buttons, then translated it into Spanish. With an approved script, English and Spanish voice actors recorded the menu. A “face plate” was designed, and in less than a week a set of bilingual talking menus was delivered to The Original Pancake House.

“Customers appreciate the practical side,” says Ms. Sattar. “This gives them access to the full menu without needing to ask for help.”

Menus That Talk can deliver much more information than a Braille menu, and as Miami Lighthouse President Virginia Jacko points out, only one in ten blind persons actually reads Braille.

Beginnings: Menus That Talk CEO Susan Perry was having lunch with her niece, a young woman with advanced macular degeneration who cannot read a menu from any distance. “When my niece asked if I would read the menu specials to her, I realized I had forgotten my glasses, and we had a good laugh,” said Perry, “but the incident begged the question, why can’t menus talk to customers?” After nearly a year of development she and partner Richard Herbst showed the first completed menus to restaurant owners.

“Restaurants face some unique challenges,” says Herbst. “They are serving more diverse customers with shrinking wait staffs. Managers are under pressure to get food choices and cuisine descriptions in front of customers. We’re filling those needs with a device that anyone can use. And,” he added, “Menus That Talk satisfies basic Americans With Disabilities requirements.”

The Menu currently supports two languages simultaneously; the company offers English, Spanish, French, Portuguese, German, Italian and Russian. A version that will offer up to six languages will be ready shortly. A detachable external earpiece provides privacy, also interfacing with modern Telecoil(R)-equipped hearing aids for added service to the elderly and hearing-impaired.

Source: PRNewswire.com

Tips from Neumann Brand Manager on Preserving Microphones

A wide range of studio condenser microphones has recently been developed to meet the needs of home and project recording engineers. If you’re about to purchase your first condenser mic, you should be aware that while they sound great, they also require quite a bit more care than dynamic mics. This article will explain how to maintain the best-quality recordings from your condenser mic for years to come.

Many engineers are unaware that microphone diaphragms are “working” even when the mic is not plugged in, which means there is mechanical movement at the diaphragms 24 hours a day, 365 days a year. To avoid possible damaging noises and conditions, and to keep your condenser mic in tip-top shape, take the following precautionary measures.

Use a Dust Cover
Microphones not in operation should never be left on the stand unprotected. By design, condenser mic capsules and the amplifier circuit are of an extremely high impedance. Dust, ash, smoke, and other pollutants can degrade the insulating properties of the materials used for this part of the microphone. A non-fluffy dust cover will help protect the mic from dust settling on the capsule.

Use a Pop Screen
The pop screen does more than eliminate the plosive noises in vocal recordings. In close-miked vocal applications, such screens also can efficiently protect the diaphragm from almost anything, including breath humidity and food particles.

Discard Aging Windscreens
Foam material used in mic windscreens ages and degrades over time. With very old windscreens, the material decays, becomes brittle, and sheds. The particles can then settle on the diaphragm. To test for this, hold the windscreen over a flat surface and wring it in your hands. If particles show up on the surface, you should discard the windscreen.

Functional Testing
Modern condenser mics cannot be harmed by high sound pressure levels (SPLs) found in the studio. Still, there is no need to blow directly onto the diaphragm to see if a mic is working and present on the console. Normal speech is the best test, as only scratching the mics by rubbing a fingernail against the grille may not show a dropped cable leg or even gross distortion. Also, pop testing can produce SPLs at the capsule that exceed 140 dB, which may damage your studio speakers.

With older microphone types, be aware that some diaphragms can indeed be damaged by excessively high SPLs. The Neumann M50, KM53, KM54, KM56, SM2, SM23, KM88 and TLM50 all have nickel diaphragms that can be damaged by high SPLs. Also, older U47s and M49s may still have PVC diaphragms, which become brittle with age. Even transporting microphones from one part of the studio to another and the subsequent rush of air over the capsules can cause huge SPLs at the diaphragms. When moving the mics from place to place, enclose them in a case, a box or even a plastic bag.

Long-Term Storage
When not in use for a longer period of time, the mic should be stored in a case of some kind. One specific recommendation is to store condenser mics in sealed plastic boxes (like Tupperware) along with a silica gel desiccant pack.

Regular Servicing
Sending in microphones for servicing can help detect potential damage early. Slight soiling can be removed much more easily than a layer of nicotine that has been embedded firmly in the diaphragm. Regular check-ups of microphones on loan or those used in dusty or smoky environments can prove especially beneficial, as the cost is small compared to that of a major overhaul.

Expense of Do-It-Yourself
Attempting your own repairs on a delicate condenser mic can often do more harm than good. For cleaning soiled capsules consider referring the work to a trained and experienced professional.

Also, certain parts of condenser mics may be specifically selected and cannot be replaced with standard components.

Once you’ve invested in a studio con-denser mic, it’s wise to send any defective or damaged microphones directly to the manufacturer or authorized service centers for repairs. These providers can accomplish repairs in a timely, professional manner.

Following the tips in this column and exercising some common sense, you should enjoy a long life of excellent service from your studio condenser microphones.

Karl Winkler is brand manager for Neumann / USA. Contact him at kwinkler@neumannusa.com, or for more information, visit the Neumann Web site at www.neumannusa.com.

Source: DiscMakers.com

Aviom Speaks Volumes at Cotton Hill Studios

Cotton Hill Studios in Albany, NY has been busy with automatic dialogue replacement (ADR) sessions for a number of high-profile clients for such television shows as “Battlestar Gallactica,” “Flash Gordon,” “Jericho”, and “The Kill Point.” In the middle of it all, making the jobs of the actors and engineers easier and more productive, is Aviom with its Pro16 Monitor Mixing System.

A typical ADR session involves not only the recording studio and voice talent, but often producers, directors, and vocal/dialogue coaches located in other parts of the country. Remote parties participate via ISDN, allowing everyone to interact in real time. The artists need to hear the original set dialogue, music, sound effects, directions from the production team and coaches, cues, playback of the re-recorded parts, and talkback from the control room. With the Aviom Pro16 Monitor Mixing System, actors and engineers have control over their own audio environment, so they don’t miss a cue or a direction and still have the ability to monitor their own performance.

“It’s not unusual for us to have seven or eight different sources to feed to a talent when working on an ADR session for broadcast or movies,” says Margherita Petti Krug, the studio’s general manager. “Our engineers treasure the flexibility that the Aviom mixers afford, especially when it comes to ADR and ISDN broadcast sessions. The individual control we have over the different signals allows us to help an actor complete an ADR session comfortably and efficiently.”

Ray Rettig, president and chief engineer of Cotton Hill Studios, Inc., adds, “In the world of ADR and ISDN, when you are feeding seven or eight monitoring signals, nothing gives you more control or makes it easier than the Aviom personal mixers.”

Cotton Hill Studios has been quite busy these days. Actor John Leguizamo was there for two projects recently: Working with Wildtracks Studios in Los Angeles, Leguizamo recorded replacement dialogue for the USA Network television drama “The Kill Point,” and he did dialogue replacement for his movie Love in the Time of Cholera with the production team located in London. Cotton Hill, with Aaron Scher engineering, also worked in conjunction with Larson Sound, a Burbank California studio, via ISDN to record actor Michael Gaston’s dialog for an episode of the CBS hit show “Jericho”, where Gaston plays Gray Anderson, a main character on the show.

Aviom is the world leader and pioneer of personal monitor mixing technology with the popular Pro16 Series, as well as the exclusive developer of the revolutionary Pro64 Series of audio networking products. All Aviom products are powered by A-Net, the company’s groundbreaking high-speed digital audio transmission protocol. Aviom products solve problems in a variety of different environments, including live sound reinforcement, audio recording studios, houses of worship, theater, broadcasting and post-production facilities and a host of commercial installations. Aviom’s entire line of high-quality professional audio products are designed and manufactured in the USA.

Source: BroadcastNewsroom.com

Dark Sector Sound Design

Monster Sounds Through Human Performance

Trying to come up with a convincing ‘monster’ sound is a difficult task. You want it to somehow sound realistic in a way that the player could believe these characters were real, but at the same time you don’t want it to mimic like other generic monster sounds out there.

Through much trial and error we found that laying down a human performance as the core of our sound was the best way to get that realistic feel. ‘Acting’ out the vocalizations of a character is much easier to match to animations, and can get the point across as to what that specific creature is doing, or trying to do. Also, adding an ounce of humanity to a character can make it more terrifying as players can relate to what they’re hearing… something that maybe used to be human but is quickly becoming something else.

Once the core elements are in place, then processing and other layers to the sound would be applied (depending on the situation). Hopefully players will be a little on edge when they get further into the game and the ‘less-human’ characters start to emerge.

Dwight Schultz became the voice of Robert Mezner. We needed someone who could portray a larger than life character and be able to develop a voice that you would remember. Dwight did an amazing job of making Mezner come across as this psychotic half beast half monster enemy. Hayden often hears the voice of Mezner in his head throughout the game. Through the use of various signal processing techniques we were able to shift Dwight’s voice and make it sound like he’s taking over Hayden’s mind. It turned out really cool, so listen for it when you pick up the game!

Voice Acting the Main Characters

A great performance for all the characters in a game will only help draw the player in that much more. When you’re not sitting back and making comments on how poorly the voice over is acted out, you’re paying more attention to what’s happening on screen. Finding the right talent is key.

The cast of characters for Dark Sector come together and work really well. Michael Rosenbaum (of Smallville fame) pretty much nailed the overall vision we all had of Hayden Tenno, while Dwight Schultz (which everyone around my age group remembers from the A-Team as Murdoch) does an amazing job voicing Hayden’s rival, Robert Mezner.

When we set out to find character voices for Dark Sector we wanted to find actors who we all admired and thought would make the voices of Dark Sector come alive. We got the amazing opportunity to sit back and listen to Michael Rosenbaum become the voice of Hayden Tenno. Hayden was voiceless for a long time in the development cycle and so it was great to give our main character a voice after being mute for so long.

Working with these talented actors was quite and amazing experience. Though we monitored the recording sessions remotely from our studio here, it was almost like being out in the L.A. Studio. We could communicate back and forth as if the talent were in the next room, helping with direction as necessary.

Source: Official Dark Sector Blog

George DelHoyo Travels Less Thanks to ISDN

Half the mystique of “that guy” who narrates trailers is wondering what he looks like in person. By doing his recordings from home, George DelHoyo makes it so that even those who hire him have to guess.

“They say, ‘Children are to be seen and not heard.’ I think the opposite is true of voiceover people: We’re to be heard and not seen,” says DelHoyo, who worked for years as the voice of Fox, recording all the “American Idol” promos since the show first aired.

When DelHoyo started, he would drive from his Toluca Lake to studios around town, losing hours daily at the wheel.

“The first two years I had the car, I put 36,000 miles on it,” he says. Since adding a home ISDN connection, DelHoyo drives less than 2,000 miles a year.

His equipment is industry-standard — a Sennheiser mic, Avalon M5 pre-amp, Rane mixing board and Zephyr Xstream ISDN transmitter from Telos — but DelHoyo prides himself on a relatively low-tech operation.

DelHoyo eschewed a basement studio, preferring to work in a comfortable office with double-paned glass, heavy drapes and a thick sealed door.

“This is a very quiet street,” he says. “If the neighbor’s gardeners come to take out a tree or grind a stump, I had (an identical setup) built in a spare room upstairs on the other side of the house.”

He also created a third studio at his getaway home in Arrowhead, converting a spare closet into a booth.

“My family felt a little trapped by my work ethic,” he says. “I’m in here working so much of the time, anywhere from 11 in the morning till 9 at night.”

CREDITS

Can currently be heard narrating the campaigns for “Nacho Libre,” “Monster House,” “The Ant Bully” and “Talladega Nights: The Ballad of Ricky Bobby.”

Source: Variety.com

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