1945 Dr. Fritz Sennheiser founds ‘Laboratorium Wennebostel’ or ‘Labor W’ (Lab W) for short. The young company manufactures tube voltmeters.
1946 Start of microphone production with the DM 1.
1947 Lab W develops its first microphone, the DM 2 (MD 2).
1948 The measuring equipment portfolio is extended significantly.
1949 Manufacturing of geophysical equipment and geophones.
1949 The ‘invisible’ DM 3 (MD 3) micro-phone and the first noisecompen-sated microphone, the DM 4 (MD 4).
1950 Lab W manufactures microphone transformers.
1950 Labor W shows its first mixing amplifiers and pre-amplifiers at the 1950 Consumer Electronics Fair Funkausstellung.
1952 Lab W adds magnetic miniature headphones (HM 11, HM 21) to its portfolio. Miniaturization becomes key in all areas.
1953 Lab W introduces miniature transformers as used in hearing aids.
1953 The classic MD 21 microphone sees the light of day.
1954 Lab W shows the first interference tube microphone for the movie and TV industry. Its successor model, the MD 82 “telemicro-phone”, results in a major breakthrough in 1956.
1955 Ten years after its founding, Lab W employs a staff of 250. The foundation to a new building complex is laid.
Sennheiser History 1945 – 1955
Sennheiser at a glance
For more than 60 years, the name Sennheiser has been synonymous with top-quality products and tailor-made complete solutions for every aspect of the recording, transmission and reproduction of sound. In 1945, Dr. Fritz Sennheiser together with seven engineers and technicians set out on the venture to found a new company. The research and development specialists converted their university institute, which had been moved during the war to the small village of Wennebostel, into what became known as “Labor W”, and it was there that they began to build measuring instruments. Less than a year later, microphones were added to their product range, and soon the resourceful team became extremely successful in numerous fields of audio technology.
Those were the humble beginnings of Sennheiser electronic, now a worldwide group of companies with more than 1,800 employees and one of the world´s leading manufacturers of complete audio solutions. Still a family-owned company, Sennheiser has made a name for itself above all in the development and manufacture of high-quality microphones, wireless RF technology and headphones. Conference and information technology, infrared systems, products for the hearing impaired and aviation headsets round off the comprehensive product portfolio. The Sennheiser Group also includes the studio microphone specialist Georg Neumann GmbH, Berlin, K+H Vertriebs- und Entwicklungsgesellschaft (loudspeakers and studio monitors) and the Denmark-based joint venture Sennheiser Communications, which develops headsets for the PC, office and call center markets.
Sennheiser´s main priority has always been research and development. The company´s outstanding reputation throughout the world is the result of countless innovations, such as the invention of open-back headphones in the 1960s, infrared transmission technology in the 1970s, groundbreaking innovations in multi-channel wireless transmission in the 1980s, head-based surround sound systems in the 1990s and intelligent audio information systems in the new millennium. As the company´s founder, Prof. Dr. Fritz Sennheiser, points out: “Ideas need space. So I was always a firm believer in giving our R&D staff all the freedom they need to develop their ideas.” Today, a major research and development division in Germany and an R&D center in California ensure that the company maintains its technological lead. Numerous patents and awards, including two German Innovation Awards, a Scientific and Engineering Award, an Emmy and a Grammy, are evidence of the company´s capacity for innovation.
The headquarters of Sennheiser electronic GmbH & Co. KG are still located in Wennebostel, which is now part of the municipality of Wedemark. The company also has production sites at its second German location in Burgdorf (electronics manufacturing, wireless technology), as well as in Tullamore, Ireland (headphones production) and Albuquerque, USA (wireless technology for the American hemisphere). Sennheiser´s products are sold by a worldwide network of long-standing sales partners and subsidiaries. “That was certainly my most important decision: not only to make products but also to be responsible for selling them,” said Prof. Dr. Jörg Sennheiser, now chairman of the Supervisory Board. In 2006, the Sennheiser Group had sales of approximately € 356 million, of which 82% were achieved outside Germany.
SoundCraft Products
Digital Live
Soundcraft Vi4
Soundcraft Vi6
Live
GB2
GB4
GB8
MH2
MH3
Soundcraft GB2R
MH4
Mid-sized FOH Consoles
Live 8
LX7ii
Stage Monitor Consoles
Spirit Monitor 2
Multi-Purpose
EPM
Soundcraft EFX
Soundcraft FX16ii
Soundcraft MFX
MPM
Spirit M Series
Powered Mixers
GigRac 600
GigRac 1000st
Recording & Post Production
Recording & Post-production Consoles
Ghost LE
Compact Mini Desktop Mixer
Broadcast
TV & Radio Production
BB100
B800
B400
Radio & On-Air
Series 15
Series 10
RM1d / RM1ds
RM105
RM100
DJ
UREI 1603
UREI 1605
Discontinued [products no longer in production]
Large format FOH Consoles
Broadway
Europa
Series FIVE
Mid-sized FOH Consoles
8000
Delta Theatre
k1
k2
Series 1S
Series 2
Series 200SR
Series 400B
Series 500
Series 800
Series 800B
Series FOUR
Spirit Live
Spirit Live 3-2
Spirit Live 4
Spirit Powerstation
Spirit Powerstation 1200
Spirit Powerstation 350
Venue
Venue 2
Venue Theatre
Vienna
ViennaII
GigRac 300
k3 Theatre
Series TWO
Spirit Powerstation 600
324 Live
Spirit 8
Spirit Live 4 2
Spirit LX7
Spirit Powerpad
Stage Monitor Consoles
500 Monitor
Delta Monitor
SM12
SM16
SM24
Spirit Monitor
FIVE Monitor
SM20
Multi-Purpose Consoles
200 Delta
Delta DLX
Delta SR
Spirit F1
Spirit Folio
Spirit Folio 4
Spirit Folio Lite
Spirit Folio SI Discontinued
Spirit Racpac
Recording & Post-production Consoles
3200
6000
DC2000
DC2020
Delta 8
FAME
S6000 Auto
Sapphyre
Series 1600
Series 1624
Series 200B
Series 2400
Series 600
Spirit Auto
Spirit Protracker
Spirit Studio
Spirit Studio LC
TS12
TS24
Ghost
328 XD
Digital 328
TV & Radio Production
B100
Delta AVE
MBI Series 20
Series 30
VSA24 II
Radio & On-Air
MBI Series 5
SAC100
SAC200
SAC2000
Series 10s
Location Recording
200 BVE
GP1
LM1
Small Compact Consoles
Spirit FX16
Spirit FX8
Spirit SX
Spirit E Series
Spirit Notepad
Digital Interface Units
Mic/Line Interface
AES/EBU Interface
Analogue Interface
DJ
UREI 1601
UREI 1601E
UREI 1601S
UREI 1620LE
D-Mix 300
D-Mix 500
D-Mix 1000
Nearfield Monitors
Spirit Absolute 4P
Absolute 2
Absolute Zero
Microphones
Spirit VM01, VM01S, IM01
An Introduction to Soundcraft
Founded in 1973, Soundcraft first made its mark with the launch of the Series 1, the first mixing console in a flightcase. Back in the early 70’s, the music touring business was just beginning – and the transportable mixing desk quickly became popular among the bands and the new PA companies that were springing up to rent out sound equipment.
From what was then a small company in central London, Soundcraft expanded and started to diversify. The company designed a mixer for recording – the Series 2 – and began to build a reputation for great-sounding desks, which is often referred to as the favoured ‘British Sound’.
Design and innovation has always been one of Soundcraft’s major strengths. Over the years it has introduced a number of industry-favoured consoles such as the Series 4, 2400, TS24, 8000, 200B, 6000, Delta, SAC200 and the Spirit Folio range, and more recently the Series FIVE, FIVE Monitor and Broadway.
Today Soundcraft has a network of 88 distributors selling and supporting its products world-wide. Part of the Harman Pro Group, Soundcraft is still very much the dedicated professional mixing console designer and manufacturer it was back in 1973. It now boasts a range of mixers which are designed for use in live sound, recording, post-production, TV and radio production and disco applications.
Harman is an international company which comprises a group of dedicated manufacturers of audio equipment spanning professional audio, in-car systems, multimedia and hi-fi consumer products.
Soundcraft is part of the Professional area of Harman and has many sister companies.
Audio Mixer
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TOA A-903MK2 modular 30 watt mixer/amplifier (01926) : TOA’s A-903MK2 modular 30 watt mixer/amplifier! The TOA A-903MK2 30 watt mixer/amplifier modular design allows for fast.. $580.00
$522.00
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Studio Equipments
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Amplifiers
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Tapco J800
The Tapco J800 power amplifier features 800 watts of power and switchable operating modes.List Price: $549.00
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Zoom Fire-30
The Zoom Fire-30 from Samson Audio is a 30 watt amplifier with modeling and built-in effects.List Price: $434.99
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Pyle Pro PT4000
Pyle Pro PT4000 rack mountable amplifier has 2000 watts of power and versatility to match.List Price: $999.00
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Digital Playback
Gemini & Denon see all digital playback
Denon DN-S1000
The Denon DN-S1000 tabletop CD MP3 player is a compact feature rich CD MP3 player at a great price.List Price: $499.99
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Pioneer CDJ-100S CD Player
Pioneer CDJ-100S pro offers DJs a wide variety of performance features and digital effects.List Price: $499.00
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Denon DN-C680
FREE SHIPPING! Denon DN-C680 player ideal for pro audio, studio and broadcast production applications.List Price: $1199.00
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Digital Recorders
Marantz, Zoom & Tascam see all digital recorders
TASCAM CD-RW750
TASCAM CD-RW750 rewritable CD recorder that copies from CD, Mini Disc, cassette and vinyl.List Price: $678.00
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Zoom MRS-1608
The Zoom MRS-1608 is a 16 track digital audio workstation that records to a 40GB internal hard drive. List Price: $1449.99
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Marantz PMD-570
Marantz PMD570 is a solid-state recorder featuring true installation quality and full RS-232 control. List Price: $1099.99
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Headphones
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AKG K 44
AKG K 44 closed back stereo headphones perform far above any others in their price range.List Price: $43.00
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Nady QH 560
The Nady QH 560 is a professional studio monitor stereo headphone that has a lightweight design.List Price: $49.95
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Sennheiser HD 280 Pro
Sennheiser Pro reference headphones employ advanced technology for pristine sound.List Price: $199.95
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Microphones
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Samson C01
The Samson C01 studio microphone is ideal for vocals, drums and acoustic instruments.List Price: $174.99
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Shure WH-58
Shure WH-58 wireless handheld microphone is a single channel handheld microphone transmitter.List Price: $390.00
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Samson SWQSCV
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Mixers
Nady, Gemini & A.R.T. see all mixers
Nady MXE-612
The Nady MXE-612 six-channel stereo microphone- line mixer with internal DSP effects.List Price: $119.95
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Nady Systems RMX 6
The Nady Systems RMX6 – six-channel microphone mixer with XLR and 1/4-inch microphone inputs.List Price: $149.95
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Sound Tech PMX10SD
Sound Tech PMX10SD mixer features two 450-watt power amplifiers with a separate 1×200 watt monitor output.List Price: $1155.00
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Monitors
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Fender 1270P
Fender’s 1270P is a 100 watt powered (bi-amped) ten inch two way stage monitor with tone control.List Price: $399.99
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Nady SM250A
Nady SM250A magnetically-shielded active studio monitors include built-in 100 watt bi-amp power.List Price: $299.95
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SoundTech CST12M-1
SoundTech CST 12M-1 is a 150 watt unpowered monitor with enhanced vocal projection.List Price: $273.00
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Musical Instruments
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Washburn T12MBL
Washburn T12MBL Metallic Blue P-style passive electric bass guitar with die cast tuners.List Price: $329.90
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PinTech E-Jam
PinTech 5-piece E-Jam is an all SilenTech mesh kit with ConcertCast pads and rim triggering capabilities.List Price: $1628.00
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Washburn D10CEQSB
Washburn D10CEQSB Quilt Top acoustic/electric featuring a gorgeous top plus Equis Extra Preamp.List Price: $599.90
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Recording Gear
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Nady SC-20
The Nady SC-20 is an 18-gauge, 20 foot speaker cable with two 1/4-inch phone plugs on each end.List Price: $8.95
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A.R.T. CleanBox II
The A.R.T. CleanBox II is the safest way to eliminate unwanted “hum” noise in an audio system. List Price: $50.00
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Fender Boom Stand
The Fender lightweight boom microphone stand features a collapsible tripod.List Price: $48.93
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Sennheiser e614
Sennheiser overhead studio condenser mics brilliantly capture both live and in-studio recordings.
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Sony MDR-V700DJ
Like all Sony headphones the MDR-V700 has high quality audio and comfort to spare.
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1. Sennheiser e614 mic
2. Sony MDR-V700DJ headphones
3. AKG 301 XTRA headphones
4. Pioneer EFX1000 effector
5. Denon DN-T625 CD-R/RW deck
6. Pioneer DJM 909 mixer
7. TASCAM CD-RW750 CD recorder
8. Pioneer DVJ-X1 video turntable
9. Sennheiser MD421II studio mic
10. Gemini MPX-3 CD/MP3 player
DJ Skill of Mixing
This month I will be dealing with the all important DJ skill of mixing.
By the way, AudioMan assures me he knows all about mixing. But then AudioMan is cool, and you will be too, once you master these few basic mixing techniques. (Also, my gig here is only guaranteed for three articles, so I thought I would butter up the man. Hey – it won’t hurt if you write in and tell AudioMan if you have found my articles helpful.)
Ok here it is in one sentence: the basics of mixing allow you to seamlessly blend two songs together so that the sound – rhythm and music – sweeps like a continuous wave across the floor of your club.
First of all, you need two audio sources. Most of the time, DJs use a pair of turntables or a double deck CD Player. These players are designed especially for mixing. You should be able to modify the playing speed of the songs (known as pitch control) and pause the tracks at a precisely right moment (known as CUE points).
Next, you need an audio mixer. which is the central part of the system and where the songs really get blended together into tracks.
Lastly, you need an amplifier with speakers and a set of headphones.
Ok. If you have all your components in place, you are ready to hook up the system:
connect the output of player A to input 1 or line 1 of the mixer;
connect the output of player B to the input 2 or line 2 of the mixer;
connect the output of the mixer to the input of the amplifier (usually called AUX or auxiliary)
connect your head phones to the mixer.
Before you attempt your first mix, here’s a little skinny about the anatomy of a song track. By the way if you ever want to write your own music you can take this as a jumping off place. (Looking pointedly at AudioMan who has been known to score his own.)
Most songs follow the same basic structure. They start with an intro and end with what I like to call an outro. These are the sections where only drum beats or music plays out without vocals – this is where the DJ mixing magic happens! In addition, songs have refrains (repeated sections) between verses, or musical solos which are original instrumental riffs.
A DJ measures the length of each musical section by the number of drum beats within it. Count the beats for each section and then divide by four. Good songs (for DJ mixing) follow a few simple rules:
The length of the intro and outro are 32 beats each (that’s 8 times the 1-2-3-4 beat counting)
Verses are generally 64 beats each
The refrains and solos are usually multiples of 32 – 2 x 32, 3 x 32 and even higher.
Of course, there are exceptions, such as having less than 16 beats between the refrain and the second verse. However, in the club world, most tracks follow a generic formula. The idea is to get people moving and a groove is the ideal way to do it.
Mixing Basics
The basic idea is to start track 2 before track 1 stops playing. The problem is synchronizing the start of track 2 with the end of track 1. This shows the importance of understanding the song’s anatomy. Let’s say the intro of track 2 and the outro of track 1 both last 32 beats. Ideally, we need to match beat 1 of the track 1 outro with beat 1 of the track 2 intro. How do you accomplish this?
Adjust track 2 so it starts exactly on beat 1 when you press the play button. This is called CUE positioning and is prepared in the head phones while track 1 is still playing.
Next, adjust the speed of track 2. Let’s suppose that the first beat of the intro of track 2 was precisely started on beat 1 of track 1’s outro. If the speed – or tempo – of track 1 is faster then track 2, track 1 will reach the end before track 2 finishes its intro. So you must match the tempo of both tracks. This is known as synching the BPM or beats per minute. (If you forget how to do this please review my discussion of beat mixing here)
CUE Points
In order to start track 2 at the desired time (beat 1 of track 1) and to match the first beat, track 2 should be placed on pause, so it’s ready to start instantly.
On a turn table, listen to track 2 from the start and wait for the first beat. Then hold the vinyl disk by its edge. The turn table should keep turning underneath (use a slipmat between the turn table and the vinyl to reduce friction). You can also slightly spin the vinyl forward or rewind the vinyl to place the needle on the exact start of beat 1. When track 1 enters the outro, release track 2 and the beats should match. This requires some training at the beginning to develop your musical ear but it then becomes quite natural.
The next step is to adjust the speed so the beats of track 1 and track 2 match all the way through the mix.
Pitch Control
A quick review here for those of you who are always late to class:
The BPM represents the tempo of a song, in other words its speed. In general for disco, dance or techno, the BPM is between 110 to 150. Once both tracks are playing, and the first beats are matched, the speed of track 2 should be adjusted to keep this synchronization. The idea is to have the same BPM for both songs before raising the volume of track 2. So, if the beats of track 2 are faster, you slow down track 2. If they are slower, you speed up track 2.
Slowing down or accelerating is done using the Pitch control slider. In general, you can adjust the pitch within a 12% range (+/- 6%). The pitch should be modified slowly and progressively – especially if the volume is up (don’t try this at home).
Sometimes the beats are equal in speed, but there is a slight delay between the start of the outro of track 1 and the start of the intro of track 2. In this case, I advise you to use the pitch bend buttons (+ and -) to temporarily accelerate or decelerate the pitch without modifying the BPM synchronization. When you release the button, the pitch returns to its previous value and you’re home free.
Adjusting the pitch is definitely the most difficult part of mixing. Don’t get discouraged! Once you get better at this, you can start mixing almost any kind of music.
Conclusion:
In this article I have walked you through the basic mixing techniques that all DJs use. If you understood the principles, you should be able to seamlessly blend two songs that fit the rules for good DJ slams. Choose two songs that you know well and practice over and over. Make sure the two songs are closely matched for pitch and BPMs.
A DJing job demands a lot of work and practice (Amen says AudioMan). Spend a couple of hours each day for a few months to acquire the techniques and someday soon you’ll give me a run for the money.
The next step is to turn your DJ hobby into a successful and profitable career.
Next time we get together (hint hint AudioMan), I’ll share some of my secrets of self-promotion.
Until then, spin good!
PRODUCTION
BIDANG ENTERTAINMENT / INFOTAINMENT
*) PEDOMAN POKOK PENDIRIAN SEBUAH PRODUCTION HOUSE (PH).
a. Mendirikan sebuah PH (Production House) dengan bidang usaha perfilman dan infotainment dengan legalisasi badan hukum (Perseroan Terbatas).
b. Modal PT (tercantum di Akta) minimal Rp. 1.000.000.000,- (satu milyar rupiah).
c. Bidang usaha PT tersebut harus tercantum di Akta ybs sebagai berikut;
1. Menjalankan usaha bidang Produksi Film dan Rekaman Video / CD
2. Menjalankan usaha bidang import dan eksport film.
3. Menjalankan usaha bidang studio film dan laboratorium film.
4. Menjalankan usaha bidang peredaran dan penggandaan film / video / CD.
5. Menjalankan usaha bidang periklanan.
6. Menjalankan usaha bidang import bahan baku film dan shooting equipment film.
7. Menjalankan usaha bidang rental shooting equipment.
8. Menjalankan usaha bidang produksi program untuk broadcast TV.
9. Menjalankan usaha bidang Event Organizer yang sehubungan dengan seni budaya, musik, infotainment, dll.
Legalisasi PT tersebut :
Memiliki Akta Pendirian PT tersebut dari notaris dan disahkan oleh Departemen Kehakiman.
Memiliki NPWP dari Dirjen Pajak Departemen Keuangan.
Memiliki Surat Izin Usaha Perdagangan (SIUP) dari Departemen Perdagangan.
Memiliki Surat Izin Usaha PerFilman dari DEPDIKBUDPAR
Memiliki Surat Keterangan Domisili Kantor PH dari Kelurahan setempat.
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Per Episodenya
Siapa sasaran programnya
Broadcast mana yang hendak dipilih
Siapa pengisi acaranya (Talent)
Air time mana yang dikehendaki
NB : Secara Unique Selling Point Program dimaksud harus menarik, profesional & komersil
Sesuai : Visi sebagai Entertainment / Infotainment
Misi meliput penonton secara luas.
BUSSINES TIME FOR
ENTERTAINMENT / INFOTAINMENT
(AIR – TIME)
Lebih Mahal dari Reguler
Minimal 1 ½ X
30 menit per Episode
60 Menit per Episode
>60 Menit per Episode
BISNIS
SISTEM
JUAL LEPAS
PH. Tidak punya hak lagi
Atas Sebuah Program
Sama-sama memiliki hak dan tanggung jawab atas sebuah Program
Hak Mutlak atas Sebuah Program
INHOUSE
SHARING
BLOCKING
PERHITUNGAN RUGI / LABA
Adapun perhitungan rugi / laba dalam sebuah usaha Entertainment tergantung pada sistem bisnis yang kita pilih dan jenis programnya :
1. Pada IN HOUSE SYSTEM
Platform harga beli dari sebuah Broadcast misalnya Rp. X,- per Episode, maka pertelaannya :
a. Pengamanan modal 15 s/d 20% dari Rp. X,- = BEP (Break Event Point)
b. Efisiensinya dar BEP = Y
Jika kenyataan kalkulasinya melanggar BEP atau setidak-tidaknya “KIT” untuk 1 sequel pertama (13 paket), bisa kita jalankan. Namun apabila kurang dari itu sebaiknya kita mundur.
2. Pada SHARING SYSTEM
Pada Sistem ini kita diwajibkan mencari / mendapatkan sponsor untuk membiayai biaya produksinya. Besarnya adalah Fifty-fifty (50% jatah iklan tersedia, PH yang harus cari). Ini agak beresiko walaupun prospektif apabila berhasil menyedot iklan, terlebih dari jatah yang dimaksud.
Contoh : Hak dan kewajiban kita sponsor @ Rp. 15.000.000,-
(Bisakah BEP = Rp. 15.000.000,- x 6 – (15%) ?)
3. Pada BLOCKING TIME SYSTEM
Pada Sistem ini PH membeli hak siaran. Seluruh biaya produksi + biaya penyiaran sepenuhnya ditanggung oleh PH. Hak penyiaran dan pencarian iklan / sponsor adalah sepenuhnya milik PH.
Contoh : Biaya Produksi 1 episode = Rp. X
Biaya Siaran = Rp. Y
BEP = X + Y
Jika hasil pengumpulan iklan lebih besar dari BEP maka PH akan mendapatkan keuntungan, sebaliknya jika pengumpulan iklan lebih kecil dari BEP maka PH akan mendapatkan kerugian.
*) SASARAN
Adapun spesifikasi hal-hal tersebut di atas, diuraikan melalui :
1. Layar Kaca (Broadcast Televisi), meliputi :
1) Infotainment
2) Documentary
3) Profille,
4) FTV / Sinetron
2. Layar Lebar, Film untuk Bioskop
Yang harus disediakan oleh sebuah PH :
Kantor untuk direksi dan manajemen lengkap dengan perlengkapan kantor, telpon, komputer, dll. Tempat parkir luas dan operasional kantor tidak terbatas waktu karena lingkungan perkantoran atau ruko umpamanya masalah overtime security, AC, lift, dsb.
Staff kantor : sekretaris, operator komputer dan office boy.
Team kreatif yang profesional di bidangnya : programmer, produksi, marketing atau sponsorship department.
Mobil lengkap dengan supir untuk operasional minimal 2 buah.
Sarana dan prasarana harus disediakan sepenuhnya oleh produser, umpamanya uang makan pagi, siang, malam, BBM untuk mobil operasional + uang transport kalau tidak dijemput.
Untuk menghemat biaya operasional harus ada perencanaan yang matang berdasarkan Polecy Perusahaan
Perlu digarisbawahi pembuatan proposal budget produksi berdasarkan skenario dan desain produksi. Terlampir contoh proposal budget produksi FTV yang pernah diproduksi oleh PT Dapur Film dibuat / produksi bulan Maret 2006 dan ditayangkan di ANTV pada bulan Mei 2006.
N O T E
Usaha di bidang Entertainment / Infotainment ini dijamin Prospektif, asalkan :
- Cermat berhitung
- Punya lingkup ke dalam
- Sequel-sequel berikutnya adalah akumulatif profit
- Memiliki tenaga-tenaga profesional (Skill and experiences) yang profitable (bukan soal compassionate).
- Berani dan memahami pra-operasional yang relatif demi menembus / mencapai sasaran (program).
Demikianlah makalah ini kami sajikan, semoga dapat menjadi bahan pertimbangan untuk membuka usaha di bidang Entertainment / Infotainment.
SEMOGA INFO YANG SINGKAT INI DAPAT BERGUNA DAN BISA DIKEMBANGKAN SENDIRI.
Audio Distributor at Jakarta
Company Name: Lembayung Citra Music, Ltd
Contact Person: Mr. Balintang Pagabe
Street Address: Jl. Persatuan Bangsa II No. 10
City: Jakarta
Province/State: Jakarta Raya
Country/Region: Indonesia
Zip: 20141
Telephone: 62-61-8216310
Fax: 62-61-8216315
Brand New Toft Audio Designs Atb 32 Analog Mixing Console
Audio Distributor at Palembang
Company Name: Celaka Music
Contact Person: Mr. Harlem Fernnado
Street Address: Jl. Kol H. Burlian Km. 6, Kotak Pos 110
City: Palembang
Province/State: Propinsi Sulawesi Selatan
Country/Region: Indonesia
Zip: 30001
Telephone: 62-711-351028
Website: http://
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