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Record Plant Remote “96 Cubed” Audio Production Suite Goes LightViper

Annapolis Junction, MD, October, 2007 — FiberPlex, Inc., announced that their LightViper™ audio transport system was recently installed in the new Record Plant Remote audio production vehicle. A total of 96 channels of fiber optic digital audio transport are available. The first location assignment for the Ringwood, NJ-based company‘s new “truck” was in mid-town Manhattan for the last broadcast of ABC Television‘s Good Morning America summer outdoor concerts in Bryant Park, NYC. Record Plant Remote production vehicles have handled the ABC morning show‘s May through August live music performances since 2001. In addition to the “plug n‘ play” LightViper fiber optic audio “snake” system, the production vehicle is equipped with two Yamaha DM2000 digital consoles with 48 channels each. Both consoles operate at 96kHz with all 96 inputs and there are also 96 channels of Tascam X-48 hard disk recording available. The new Record Plant Remote vehicle is the first of it‘s kind in that it is built as an audio production facility from within a luxurious 40-foot touring motor home, rather than the standard tractor/trailer type “big rig.”

Kooster McAllister, Owner and Chief Audio Engineer for Record Plant Remote, offered some insights into his decisions on equipping the new audio vehicle: “I‘m thinking of calling the new truck ‘Ninety-Six Cubed‘ since it‘s the only pro audio production facility on wheels that features a full 96kHz on 96 digital inputs to 96 simultaneous digital recording tracks. For many of the large gigs and high-profile artists we handle, being able to instantly set-up a huge number of inputs was also absolutely critical. The LightViper fiber system gives me full control of the Yamaha remote mic-pre‘s right from the twin consoles in the vehicle‘s control room. This capability coupled to the console‘s ability to do full snapshot audio set-ups, is one of the main reasons I went with the Yamaha/LightViper combo.”

McAllister, a winner of six TEC Awards for his live recording work, continued:
“The audio gear choices were really ‘no-brainers‘ for me. The highest sound quality I could get was the de facto decision. That being said, the fact that set-ups and tear-downs now take, literally, a fraction of the time that we used to spend on schlepping and repairing old-school copper snakes runs a close second!”

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