In practical tests in a room of 11 x 7 x 2.8 meters, we were able to record conversation down to a whisper with the microphones placed at maximum spread on a conference table of normal height. To push the equipment even further, we placed both microphones near to one end of the main room, to simulate a large boardroom with the PA/Operator sat at one end of the table, without using any extension cables. The microphones were able to record a whisper from the four corners of the room without difficulty.

Please note that these tests were conducted in an otherwise quiet room, with conversation between two individuals. The results may differ in a room full of people with a great deal of background noise. You should also note that the built in microphone on the Digital Pocket Memo supplied with the Philips Conference Kit 955 is disabled when the Y cable is attached, so for best results placement of the microphones should cover the whole conference area as indicated in the User Manual.

If you are considering extending the coverage of your Philips Conference Kit 955 (LFH0955) we have added links to some additional equipment which you may find useful.

Philips Dictation Conference Microphone for LFH9370 and Analogue Pocket Memos Ref LFH9172	Philips USB Foot Control LFH2310/00	Philips Headphones for Desktop Dictation Equipment Ref LFH233

Having used the Philips Conference Recording System we can confirm that it is unobtrusive for users who may otherwise find a microphone intimidating. It is simple to set up, and comes in an elegant metal case for highest mobility. The easy-to-use technology requires no technical expertise and provides excellent sound quality.

The two path-breaking conference microphones permits 360 degree pickup for comprehensive recording with maximum comfort, while the extendibility of components lets the system grow with the needs of your business. Get your meeting going with the professional Philips Conference Recording System 955.

Can you imagine being able to grab the attention of industry professionals in just a few words?

Actually, that’s an essential if you want to succeed as a writer, director or producer in film or TV. The ability to pitch well is vital.

Don’t be too put off by all the mythology, though. Pitching is a skill that can be learned and practised like any other. And there are some basics that you need to know first.

1. Pitching is like talking

The word “pitch” gets people anxious. Think of it like having a conversation. You tell someone you meet about a film or TV programme you like. In the same way, you tell a producer, actor, director, colleague, about the film/programme you want to make. Rule one: make your pitch natural, informal and conversational.

2. Keep it short

Just like a conversation, you wouldn’t talk for ten minutes without pausing for breath or checking the other person is still alive. So don’t with a pitch. Start with no more than two to three sentences at most. Yes, you read that right. Two to three sentences will seem long when you come to practise properly.

The most famous pitch in the industry – the pitch for Alien – was just three words: “Jaws in Space.”

Nobody ever complained because a pitch was too short. Your second best outcome of all is if they say, “Tell me more.” (See here for more discussion of short pitches).

3. Know what you want

If you’re a writer then your best outcome would be for them to ask to read the script. (The truth is, unless you have a track record, you have almost no chance of getting a commission from a pitch). If a director or producer, then you’ll probably either be pitching for finance or because you want someone (star, distributor, director of photography) to commit to the project – most often, though, they too will first want to read the script.

4. Know what they want

Research the person you’re pitching to, if you have time. If not, just ask them. When I run my Pitching Masterclasses for Euroscript, I focus significant time on exploring what industry professionals are looking for when you pitch to them.

5. Get in the mood

Not just the mood for pitching, but also get in the mood of your story. If you know your genre (or genres) – and you absolutely must know that – then you know that each genre has an emotional effect on the audience. Comedy is supposed to make people laugh – though some scripts I see make me doubt that… Horror horrifies. Thrillers thrill, etc. Your pitch should convey some of that mood through the way you say it.

I’m not saying that to pitch a comedy you need to be do a stand-up routine, but if your pitch for a screwball comedy doesn’t have a hint of humour to it, then how’s the pitchee going to react? Put humour into your comedy pitch. Ensure your thriller pitch reflects some of the tension and fear.

6. Be clear

State what needs to be said up-front. Be clear about the genre – say what it is. Be clear who the protagonist is and what the main issue is that they face. Be clear what the point of the whole story is. I spend a good deal of my Pitching Masterclass in helping you learn what needs to be said, and how to say it clearly, succinctly and elegantly.

7. Put in the work

If you want to get powerful at pitching, you need to put in the work. Analyse as many pitches as you can. Short written pitches are everywhere, in adverts, in Radio Times blurbs, even in the body of film and TV reviews.

Also listen to people pitching – at network events or pitching workshops and Masterclasses or just friends talking about what they just saw.

8. Practice Makes Confident

Pitching is essentially simple, but that doesn’t mean it’s easy. Not at first. Practise, practise, practise. Pitch to everyone you meet. Pitch to a tape recorder. Pitch to others in the industry and get them to pitch back to you. Practise doesn’t make perfect, it makes confident. Also you’ll find as you work on your pitch you’ll also gain a much deeper understanding of your own project – you’ll spot things that need improving – and will improve the project in the process.

9. How to make your pitching even better?

• You can book a personal session with a script consultant, and work on your pitch in person, on-line or on the phone.
• You can work in a group of other writers, directors and/or producers – supporting each other.
• You can go to Pitching Workshops and Masterclasses – there are many around but the quality can be variable so check them out first.

I do consultancy and facilitate groups and masterclasses when I have time and I also recommend you check out my colleagues at Euroscript
Charles Harris

Charles Harris is an experienced writer and director in TV, theatre and cinema who has worked with a number of the top names in cinema and TV, from James Stewart to Spike Milligan. A film editor for BBC and Channel Four, he moved on to direct TV and theatre, winning awards around the world.

His first professional feature script was optioned for production in Hollywood, and he has continued to write original and commissioned screenplays, and published acclaimed short stories. As script consultant, he has worked with professional writers from Britain, Europe, Asia and the USA, lectured at international film festivals and on MA courses at London University and London Film School.

To contact Charles to learn more, Click here to visit his blog or Euroscript

The 2004 video is a meditation on the ownership of culture, the nature of art and creativity, and the history of a remarkable single music clip. Enjoy!

Sharing the same new technology that makes the SRM450v2 the breakthrough live performance powerhouse that it is, the ultra-compact SRM350v2 is perfect for when space is at a premium. With a front view that measures 13.1″x20.7″ at a depth (front to rear) of 12.25″, the SRM-350 is noticably smaller than it’s bigger brother, the SRM-450 V2, and weighing 26lb (11.8kg) is just over half the weight.

Mackie SRM-350 V2 (Single) 2-way bi-amplified, optimized Active loudspeaker system High-output, titanium dome compression driver 10″ Neodymium long-throw low frequency transducer 165W class-D, Fast Recovery LF amp / 30W HF amp Ultra-wide, smooth dispersion via HF waveguide Built-in phase-accurate 24dB Linkwitz-Riley electronic crossover Electronic time correction, phase alignment and EQ for studio quality sound Mic/line input and pass-thru connector Lightweight for ultimate portability (26 lbs) Flyable, Pole Mountable, Floor Wedge-able

Its first single is a cover of the Jagger/Richards song “Wild Horses.” which she sang on a special guest spot of the X Factor yesterday. The album also includes “You’ll See,” “I Dreamed a Dream,” and “Cry Me a River.”

I Dreamed a Dream Track List Wild Horses I Dreamed A Dream Cry Me A River How Great Thou Art You’ll See Daydream Believer Up To The Mountain Amazing Grace Who I Was Born To Be Proud The End Of The World Silent Night

Wharfedale Pro Titan 12A 300W 12-inch active PA speaker
The Titan 12 Active features a state-of-the-art Class D low-frequency amplifier design. Class D amplifiers are known for their extended efficiency, low-heat dissipation and lightweight compared to other amplifier classifications. Class D technology allows for unparalleled audio quality in a lightweight, powered speaker system. High-frequency power is provided by a high-quality, low-distortion and highly efficient Class A/B amplifier.

The bottom of the Titan 12A provides a convenient, built-in polemount socket for easy mounting on a standard 35mm diameter speaker stand pole. An optional wall-mount bracket for installation is available.

The Titan 12A provides basic mixing functions with a variety of input options. Two inputs with separate level controls and a common equalisation section allow for overall balance and tonal characteristic control. Easy interfacing to external mixers and processors provide for easy expansion to larger, more sophisticated systems.

Wharfedale Pro Titan 12A 300W 12 inch active PA speaker (Black) 2-way, active bi-amplified speaker system. Custom 12-inch low-frequency driver and titanium high-frequency compression driver. State-of-the-art, high-efficiency switch mode power supply with a Class D low-frequency power amplifier and a Class A/B high-frequency amplifier. Low-frequency power (Class D) 250W RMS, 500W Peak. High-frequency power (Class A/B) 50W RMS, 100W Peak. Active signal limiting system with LED indicator on rear panel. Built-in 2-channel mixer

If you want to know our favourite Sound Reinforcement Monitor, that would be the Mackie SRM 450 V2. The SRM450v2 continues the SRM450’s tradition of studio monitor sound quality, and trumps it to deliver sound that makes any venue seem like a well-tuned studio.

The Mackie SRM450V2 SRM Version 2 is a 2-way bi-amplified portable active loudspeaker pa system, which surpasses the performance of the original SRM450 to deliver pure studio monitor sound at more powerful, full-on loudspeaker levels. The Mackie SRM450V2 delivers live sound that sounds like it should.

The best measure of the SRM 450v2 is the exceptional sound quality; You might match it, but you wont do better.
Linkwitz Riley crossovers divide driver and tweeter punching out accurate detail up to 127dB. The sound is crisp and bright without losing the roundess of the bass. Noise is low to the extent of being negligible, with an EQ option built in, but only the mildly insane would use it and trade the accuracy. Although usually found on a PA stand at the events we crew, the Mackie SRM450v2 also doubles up as a floor monitor.

Mackie SRM 450 V2 Including FREE Stand, Mackie Bag and Lead!! 2-way bi-amplified, optimized Active loudspeaker system High-output precision titanium compression driver Neodymium long-throw low frequency transducer with 3-inch voice coil Servo Feedback controlled woofer for tight low-end punch 300W class-D, Fast Recovery LF amp / 100W HF amp Ultra-wide, smooth dispersion via multi-cell horn aperture and HF waveguide Built-in phase-accurate 24dB Linkwitz-Riley electronic crossover Mackie Active Electronic time alignment, phase correction and EQ for studio quality sound Mic/line input and pass-thru connector Lightweight for ultimate portability (40lbs) Flyable, Pole Mountable, Floor Wedge-able Built-in 2-channel mixer

Community Cashback is a new scheme in England and Wales which gives local people a say in how £4million of recovered criminal assets (for example confiscated cash or property) should be spent in their communities.

If you are interested finding out about the Community Cashback scheme, you can suggest a project you would like to see happening in your area, or have your say on a project suggested by someone else in your community. To find out more go to the Community Cashback website and select your area from the list.

If you are interested in finding out more about the Rock Solid Project, and find out how it will help to divert people from crime, click on The Rock Solid Project.

We can organise and host a wide range of events, from concerts and fund raising galas, to team building events, strategic planning sessions and sales meetings. Each event is carefully planned to reflect the needs of the client, and events can be themed if required.

If you are interested in recording your event, we have video and sound engineers, and audio production specialist available to assist in creating your own video and audio products. An Audio Consultant can show you how to capture your knowledge and presentation in the medium of podcasts for iPods and audio CD’s.

Contact Bruce Thompson Events now to see how we can assist you. If we can’t do it ourselves, we know someone who can.