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Archive for October 26th, 2011

Minnesota Church Stays On Leading Edge of Technology With Upgrade To 96k/Optics-Capable SD10 Console

Minnesota’s Eagle Brook Church prides itself on staying at the leading edge of technology for its ever-evolving production and broadcast needs. In 2010, the thriving house of worship, which opened in late 2005 and accommodates over 2100 in stadium-style seating—retooled its overall technical infrastructure at its main Lino Lakes campus location, adding three DiGiCo SD8 consoles and DiGiRacks for FOH, monitors and video broadcast production. Flash-forward to the spring of 2011, and the audio team is at it again. Working closely with Audio Logic Systems, the latest upgrade set in motion swapped two of the SD8s at FoH and monitor world with one of DiGiCo’s newest 96k/2 gig optics-capable SD10B broadcast console loaded with the DiGiCo Waves SoundGrid plug-in bundle. They also added three SDRacks, one dedicated to the SD10 and the other two distributed within the facility. In turn, the two SD8s and DiGiRacks were migrated to the Spring Lake Park and Woodbury facilities. The changes at the main Lino Lakes campus had a ripple effect throughout, allowing all the Eagle Brook engineers at each facility to mix on similar DiGiCo platforms.

Audio mix pro Adam Bufis was brought in to work as audio director, to transition and streamline the multiple facilities, to facilitate the newest gear integrations, and to provide a mix position for the broadcast hub at the main location. With a decade of touring experience working with major Christian artists from Casting Crowns to Lincoln Brewster, and Israel Houghton for the last several years, Bufis brought a savvy technical prowess and mixing expertise to the church. The choice of the broadcast console offered many great features for live sound and for Bufis, including 5.1 surround, fader backstop solo and more.

“Originally, the radar was out to get a newer or bigger desk at our main broadcast location,” Bufis explained. “I’d mixed a ton on the SD7 and have a lot of experience on that and with DiGiCo, and really liked the added benefits available with the optical network. We started to look at what it would take to get an SD7 into our main campus as our needs were growing there. We also wanted to bump up to 96K, and I personally wanted to bring in the Waves plug-in package. So when the SD10 came out, it was almost a no-brainer just the cost-factor. With the SD8s, I was filling all 60 channels plus returning stuff with insert returns on groups, so to expand it out to a bigger channel count was almost a necessary move for us. With our ever-expanding band and orchestra, and all the loop/track/bass stuff, that starts adding up as does the input channels. Another big push for me was to get it all running on optical, using an RME MADI bridge for distribution. Before, we were running RME MADI signals to a bunch of different areas for recording and multitrack stuff. With the optical network, it just made the whole system a lot more functional and easy to use, versus flipping switches and changing routing on the MADI bridges. I can do it all basically at the desk now.

To accomplish his optical networking dream, Bufis was able to run an HMA fiber optics loop for backup redundancies and a total of 2 SD Racks, and 1 DiGiRack placed in various locations in the building—two near the stage and one in the broadcast studio—to supply the different audio feeds from each source. “The addition of the SDRacks, even at 48K took a step up! It had a much more clean and clear sound. I’ve always been a fan of the DiGiCo sound anyway, but it made a noticeable difference to us merely by just changing that. And then once we bumped up to 96K, it was even more of a noticeable difference with overall clarity and sonic performance.”

At FOH on a typical weekend, Bufis estimates Eagle Brook is running 40-45 inputs total to handle its service flow, which he says is a 50/50 mix of music and message. “We rely heavily on the production aspect for our worship experience, using LEDs, video, lighting and of course audio. We have a full band comprised of drums, bass, a few guitars, usually 4 stereo keyboard channels-worth of inputs, sometimes a small horn section of 3-5 pieces and normally we’re running anywhere from 5 to 8 background vocals and we incorporate a lot of loop-based stuff from Pro Tools. Typically, I’m running anywhere from 2-10 channels of anything from a percussive loop to a string loop to a vocal loop or whatever, and on our bigger weekends, we incorporate orchestral string sections, the biggest of which was 30-pieces, where I was running 101 analog inputs and 60 digital ones. I was able to lay the SD10 out so that I could change scenes and inputs, and to generally manage that many inputs on not a whole lot of faders for the live side of things.”

As for outputs, the SD10 is accommodating quite a few in the sanctuary for its “robust” PA. “As our room seats just under 3000 in our main campus, I have a few different hangs with group outputs going to each zone: my main L/R, main outhangs, separate controls for front, outfills and subs, and we have a 70-volt distribution system throughout the building that handles mainly overhead-type speakers that we send a feed to. I also have a full split for our broadcast suite SD8, that is outputting all 24 groups of stereo outputs to 48 digital input devices from DVRs to digital recorders to our broadcast send. We use a Mako system that utilizes microwave technology to send point-to-point signals to our other campuses, which is how they receive our simulcast message in HD video and AES audio. We have a center HD screen in each location that comes down right to the stage floor with a 6’ projected image of our pastor, and it surprises most people because it’s pretty life-like. All of that is done in HD, from the filming to the projection to the broadcast, and it’s pretty impressive. It gives the small church building a large church feel. All campuses have a live band and their own worship pastor, so outside of running our Lino Lakes simulcast sermon, it gives each of the satellite locations the opportunity to be unique.”

When asked to single out some of his favorite features on their new console, Bufis couldn’t help but rave about the SD10’s expandable GPI and GPO connections, as well as the configurable Smart Key Macros. “The GPI/GPO is huge! I love using GPI triggers out of my console to fire lobby music to start, credits to roll, and for my CD to start and stop recording—all of that is all pre-programmed in my snapshots and then controlled through GPI triggers. That, on the setup side of things, has made rolling through show time very seamless, and has taken it almost from a two-man job to a one-man position at FOH, where I’m firing everything from hardware to music. Also, I love the Smart Keys on the SD10. I love identifying them with coloring and digital labeling. Having more than just the macro buttons, I’ve started getting into more advanced shows where I have 80-100 snapshots, and it’s nice to lay those out on the Smart Keys to visually go to something quickly if I need to. I’d say those are the two biggest things I’ve found to love. However, I have to say I also really like the black color of the console. Black and gray are my two favorite colors, and the look of it is very stealthy.”

It was important for Bufis to add the Waves SoundGrid bundle in order to streamline and simplify his outboard gear. “All of our outboard gear is now completely gone; we ripped out all our BSS and Drawmer outboard stuff and now I am basically rocking the Waves SoundGrid and the console at FOH. I love all the onboard offerings from DiGiCo, but the addition of the Waves package has given the console a new character. In particular, I use the Mercury bundle quite a bit, which gives me a plethora to pick through. I use a lot of the CLA compressors on vocals and drums, and the Fairchild compressors used on bass and guitar give it an amazing character. Basically, I don’t use any onboard compression right now; most of it is done mainly through the CLA or the Fairchild’s. I do use the SSL master bus on the output of the master. I’ve started to use some of the SSL channel strips for some of the EQ and on a few vocal channels, and I use another inserted SSL or CLA EQ. Again, sonic performance is key for me and I just love the sound of some of these compressors. I’m using about 12 of the 16 racks, racked on various drums, mainly rhythm section inputs, and I’m using the compressors on vocals. I’m using one Ultramaximizer, usually on my outputs, as well as for broadcasting, so it has a more mastered sound going out to our campuses.” There are lots of things to access in my toolbox artistically.

At monitor world, he also swapped out their in-ear monitoring system. “Before we were using an Aviom system for a segment of the in-ears as we have a split of mixed ears as well as personal mixers in use. Stepping up to the new Roland M48 mixers, they have an SMADI device, which takes a MADI signal and converts it to their REAC system, allowing me to pipe a MADI signal from the console to feed to the Roland units. That too, was a pretty night-and-day upgrade for us. It has great functionality and really expanded what we do by allowing me to assign each mixer its own set of channel counts. Before, with the Aviom system, you only got a generic 16 channels to patch to. Now, with the Roland, you can patch everybody’s mixer separate from each other. It gives you a whole lot of flexibility with band members wanting specific things on those mixers.”

Bufis is running a Pro Tools rig on the FOH console, routed off a MADI connection from the SDRack and uses the GPI/GPOs to trigger the start and stop of those session files within Pro Tools. This was key in order to streamline both FOH and monitor functions into one console. The use of Smart Key Macros was key in managing monitor outputs. “The snapshots there are pretty robust and using the macros to lay those out functionally and color-code them is huge, as is the ability to rack more than two racks. We quickly grew out of just having two racks into three, and now even four and five MADI devices. So with the SD10, we can have a couple of optical racks and MADI racks needed in both those positions.”

With services on both weekend days, the audio team has built in time on Sunday morning to do a recap of previous productions. This playback is a way for everyone, including the band, to take a disconnected look and listen to the overall production experience and to share feedback on what works and what needs improvement. “We’re getting amazing feedback from them on how the whole system is performing, from the sonic quality to the mix. I would say, from musicians to pastors alike, the addition of the SD10s, SD Racks and optics, has definitely been an improvement and noticed by all, which is amazing as many of us come from a secular and Christian touring background and bring more of a show-type mentality to how things are done here. We like the term, ‘go big or go home.’ We try to stay relevant and like keep an eye out on what other houses of worship within the US are doing and I think in comparison, we fare quite high. All of us hold to a pretty high production value and standard and we’re pretty progressive on stage and set design, too. We’re constantly adding gear to stay on top of the latest technology. For us, the addition of the newest DiGiCo console was such a great thing. When I look at a console, the biggest thing for me is the sound quality. I can kind of get around hard-to-function desks or ones that may not be as intuitive if the sound quality is there. What I love about the SD10 is it has it all: a massively huge sonic quality and an easy to use, intuitive, fully functional user interface. And that for me, hands-down, is why I think it’s the best for us as a facility and for me as a mix engineer.”

Dual DiGiCo SD10s Propel Alison Krauss & Union Station’s ‘Paper Airplane’ Tour

The nearly sold-out Alison Krauss & Union Station tour this year in support of the band’s new album, Paper Airplanes, is certainly proof-positive that they’ve never been more popular, bringing a tightly knit fusion of bluegrass and country to fans old and new. Though Alison’s award-winning 2007 collaboration with Robert Plant may have briefly elevated her stature to a whole new audience it’s abundantly clear that as a group they don’t need an A-list rocker to pack the house.

Taking charge of the tour’s production is longtime audio frontman Cliff Miller of North Carolina’s SE Systems. Last summer, Miller put a pair of newly minted SD10 console through rigorous paces at the 2010 MerleFest, one of the country’s premier Americana and roots music festivals. With that experience being so positive and productive, Miller decided to entrust the Union Station tour to DiGiCo, placing the consoles at FoH and monitors for himself and monitor team Bernie Velluti and daughter Haley. The nightly challenge of presenting acoustic music in venues ranging from indoor auditoriums to outdoor sheds isn’t lost on Miller, who’s been at it for over 40 years, working with some of the most prominent artists of the genre. He says the SD10 has been a key component on this tour, showcasing the nuances of the band’s sound.

“The console is so amazingly consistent and I’m very pleased with the clean quality of sound we’re getting out of it,” Miller offered. “Mixing an acoustic band like this is probably one of the more challenging things for a digital console… it’s really the sum of all the parts and what goes into the console that affects what comes out. There’s a lot of detail with stringed instruments that you never hear with electric guitars and a lot of the other typical rock ‘n’ roll instruments. It’s important to understand the sound of these instruments because when they’re amplified, it’s literally a balancing act to get that right blend—where the sound system is equalized and isolated enough to keep the instrument resonance minimal and as natural as possible, and the low-end frequencies maintained. And that can change, too, depending on the facility and whether it’s indoor vs. outdoors. Outdoor sheds with vinyl roofs over the audience are a real challenge. There’s a lot of reflection even when you make a point of keeping the PA out of it. It’s very live. I find that even in the varying circumstances, once I get the overall PA tuned the way it needs to be, then my presets work well from day to day, inside or outside, pretty consistently. The only thing that may change is the EQ from day to day. Sometimes Ron [Block; banjo/guitar] may change the EQ on his Fishman Aura DI, depending on what he’s hearing in his ears. That affects what I’m getting at front of house, so I just compensate for that on a daily basis. I let him get it to suit his taste and then I set it to suit mine!”

In addition to the pair of SD10s, Miller’s carrying two DiGiCo SD-Racks, with one serving as an emergency spare, and loves hearing the warm, analog preamp sound.

The outboard gear is non-existent with the exception of the Lab Gruppen Dolby Lake LM 26 processor. “The way I’m inserting the Lake processor—which is digitally inserted using the AES sends and returns for my mains, front and side fills—I’m driving it with matrix outputs to the input of the delay. But on the returns, I have three stereo aux sends set up so its coming into the insert IN, so the biamped output of my Lake for my front and side fills and my stereo subwoofers are all being sent from stereo aux sends. Having the insert features is really handy on the console for driving multiple lines and getting signals. Depending on the venue, and if we’re using an in-house sound system, I’ll send all the sends off the console to analog outputs, if that’s where their inputs are. Otherwise, I can send them from the SD Rack on the stage. It’s very versatile, easy to route outputs, and you can rename them for whatever you need. You always have enough. And I really love having those two-two spaces on the SD-Rack underneath for a total of 4 rack spaces. On one side I have a UPS just as a backup in case we lose power, and on the other side, I have the Lake processor, a spare USB pre for my Smaart rig [the Rational Acoustics’ equalization software], and a receiver for a TM400 Lectrosonics test and measurement microphone. There’s not an outboard rack, you just set up the console, plug it in, and I’m ready to go!”

The core of Union Station is a 5-piece band featuring Dobro phenom Jerry Douglas, with the addition of a drummer and a keyboardist for this tour. Miller’s utilizing approximately 34 inputs for the band, much of which is dedicated to a band-wide package of Shure microphones for drums, fiddle, guitars, banjo, lap steel amp and vocals, a Neumann TLM 193 on the bass cab, as well as Fishman Aura DI’s for guitar, banjos and Dobro [the Jerry Douglas signature model], and various inputs for playback iPod, etcetera. A nightly encore finds the group singing in old-timey fashion gathered around a Shure KSM44.

Miller’s output section is fairly minimal, comprised of Left and Right outs, with the occasional Left Right Upper and Left Right Lower. “I always have a Left/Right, side fill, front fill, delay mix, and always provide an ADA house mix for the hearing impaired. One is dedicated for my Smaart computer. It’s an industry-wide reference software package that I use for tuning the sound system into the room environment itself, and for PA time alignment. It’s invaluable and I use it every day… very affordable, very versatile and it really fills a niche for me.”

Within the console, Miller’s effects rack is minimal, consisting of about 4 reverbs and 2 delays. “I’m using the simple vocal plate for Alison’s vocal and the backup vocals, and a simple delay that I use mainly for the Dobro to get a pan effect in some of the slower songs that we do. Other various reverbs I use are for percussion, and I have a warm hall delay that I use on guitars. Obviously in an auditorium, a little reverb on the instruments is always nice. It’s a pretty basic setup because, after having worked with them for 11 years, I try to be as true to the instrument’s sound—and to the recordings—as possible. The music they play has a wide dynamic range, and I like to make the most use out of that, so there’s very little compression.”

Macros and snapshots are two of the must-have features for Miller’s daily workflow. “I like being able to record a macro of an EQ setting that I can use for one particular instrument in one particular song. Typically, I have my console set up so when I have an EQ for a guitar it stays the same through all the snapshots. But when they change instruments using the same line, using the macros I can bring up the EQ I prefer when, say, Ron plays the Banjola on ‘Sinking Stone,’ which is a radically different EQ then I use for his guitar on another song. It’s very simple for me at FoH to be able to recall what I need quickly. I also have an ADK Lyve Tracker digital workstation recording 56 channels at 96K to create a ‘virtual soundcheck’. The SD-10 outputs MADI to Lyve Tracker and at the bottom of the playlist I have a playback snapshot for recalling the output from the Lyve Tracker to the inputs of the console for playback. I’m also using Time Fade a bit between songs, where they go from one song right into another. I can use that to ease in the drums and other instruments and it works very nice. I can just hit the scene and let it transition.”

The SD10 at monitor world is set up and shared for Haley Miller and Bernie Velluti to manage their respective areas—Haley for Alison specifically, and Bernie for the rest of the band. “I set the console up and layered it so I have all my channels on one side of the board and Bernie can have the other side for his. This worked well for us, and it was great to have two sets of eyes on the band at all times. I love the versatility of the board. Being the first time on a DiGiCo, I found it seemed almost limitless in how I could customize the console to my specific needs. The rotary knobs are assignable. For example I’m able to bring my head amp, high pass filter and Pan control right above my channel fader. Within a push of a button the rotary knobs toggle between my settings and Aux sends. The best feature for me, though, is the ability to control the surface offline, although it will get you in trouble if you are not careful. We have a scene for every song and everyday there are some variances in instrumentation, such as proximity of the subs, it changes day to day and affects the level of bass that is put in the ears. As well as pedal boards, they are never the same, even when you mark every knob. Making the appropriate adjustments for these channels has been so easy. Without interrupting audio within the current scene, I’m able to take the surface offline, fire any scene make changes, save and return to audio before the song ends. If I need to make the same change in all or just select scenes, I can edit Range, make the change and confirm it within all the ones selected.

“I’ve really enjoyed working with this console and it will be difficult to jump back on something else when we get back into the shop. The clarity is there for Alison, who is using the Sensaphonics 2Max earbuds with a Shure PSM 900 belt pack. She has told me, ‘It’s so clear and full’. You can really gain it up and it has such a nice fluid transition.”

That low latency rate is one of the console features that resonated with Miller, as well. “I own probably 6-7 other digital consoles now, and these were the first two DiGiCo’s I’ve purchased,” he explained, “and I couldn’t be happier with them. Quite frankly, I really like using the digital consoles we used before, but it came down to the fact that I was looking for a company that was taking advantage of the newer technologies. Having a 96k sampling rate is very important for a low latency sound—and especially for Alison’s in-ears, which is critical. Not to mention the Optocore system. The fact that I can use a tactical fiber for my whole snake line for 96 channels is great. It saves me so much time every day and in some of the situations where I run snake that can be like 500 feet long sometimes! It’s small and easy to hide up against the base of the step where no one’s tripping on it. Frankly, I couldn’t be happier with these consoles.”

“And also, I knew these consoles were going to be versatile after this tour, when we get back to business at home,” he added. “We do a lot of concerts with symphony and a rock & roll bands playing together and having a console where I can get 96 inputs and not take up anymore than 4 seats in an auditorium, 3 rows deep is great. Promoters love that! They’d rather sell tickets.”

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Related Topics: AES Newslink, Events, NAMM Newslink |

POLAR FOCUS INTRODUCES NEW WEBSITE WITH NEW PRODUCTS

Polar Focus® has just launched a new website which is better than ever at showing our products and services at www.polarfocus.com. Polar Focus also announces the release of two great new products; the PM1-17 adjustable pole mount, and the SFA-16-1100 spine frame adapter! The new site showcases many more of our products that audio rigging users may not have known about, and will be glad to discover. Polar Focus strives to meet our customers’ audio rigging needs with knowledgable service, efficient designs, and innovative products. We will continually be adding new photos, products, and configurations. Visit www.polarfocus.com today!

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X2O Media at CETW 2011

Twitter: http://Twitter.com/X2OMedia
YouTube: www.youtube.com/X2OMedia

X2O Media at CETW 2011
Customer Engagement Technology World
November 9-10 | New York
Booth 537

X2O Media, Inc.
147 Saint Paul St. West
Suite 300
Montreal, Quebec
Canada H2Y 1Z5
www.x2omedia.com

Company Contact:
Maria Porco
Vice President, Business Development
Tel: +1 408-988-8307
Email: maria@x2omedia.com
www.x2omedia.com

Agency Contact:
Veronica Esbona
InGear Public Relations
Tel: +1 954-392-6990
Email: veronica@ingearpr.com

Company Quote:
“At CETW, we will be teaming up with several of our partners to show how the Xpresenter(TM) platform can easily power a wide variety of displays, from 3D to LED and everything in between,” said David Wilkins, president and CEO of X2O Media. “In addition, we will be debuting our new Digital Signage Social Media Pack — designed to take advantage of social media as a dynamic content source — and demonstrating Xpresenter’s integration with Microsoft(R) SharePoint(R). This new capability enables users to automatically display content from SharePoint to digital displays, mobile devices, and employee desktops.”

X2O Media at CETW 2011:
In booth 537, X2O will be joined by several of its technology partners to demonstrate how the Xpresenter(TM) digital signage platform can power a variety of screens, including 3D screens from Exceptional 3D; LED screens from Trans-Lux; LCD flat-panel displays; in addition to tablets and smartphones. Xpresenter provides an end-to-end solution for the creation, management, and distribution of content at a fraction of the time and cost of other solutions. The software’s power can be extended to the Web, enabling users to control, monitor, and manage their digital signage network via a Web-based control screen from anywhere in the world with the X2O Portal.

New Products From X2O Media at CETW 2011:

Digital Signage Social Media Pack
X2O Media’s Digital Signage Social Media Pack is a new set of templates and objects specifically designed to display content from popular social media sites such as Twitter and Facebook on digital signage screens. The templates and objects can be personalized using X2O’s PowerPoint(R)-based authoring tool — providing network operators with the flexibility to select the format that best fits their display content strategy — and displayed in the highest image quality with the Xpresenter(TM) Player.

Image Link: www.ingearpr.com/X2OMedia/SocialMediaPack.zip
Image Caption: Digital Signage Social Media Pack

Microsoft(R) SharePoint(R) Integration with Xpresenter(TM)
At CETW 2011, X2O Media will demonstrate the integration of its Xpresenter(TM) platform with the Microsoft(R) SharePoint(R) enterprise collaboration platform. Through this tight integration, Xpresenter users are able to link to SharePoint information such as calendars, announcements, and even dashboards to quickly and easily display information on a variety of screens throughout an organization, including mobile phones, tablets, and desktops. Links to SharePoint information are automatically updated to the screens in real time, greatly simplifying content management and reducing staff workload.

For timely messages and alerts, information can be entered directly into SharePoint and quickly sent throughout an organization or to specific staff or locations. For more creative collaboration and knowledge sharing, employees can also publish videos, images, and PowerPoint(R) slides that appear within the SharePoint interface, enabling exciting possibilities such as product demos, training videos, and team announcements. The result is a powerful communications tool with the look and feel of a corporate TV channel.

Image Link: www.ingearpr.com/X2OMedia/SharePoint_Dashboard.zip
Image Caption: Microsoft(R) SharePoint(R) Integration with Xpresenter(TM)

New Version of X2O Xpresenter(TM) vClips Powered by NITRO
X2O Media will display the latest version of its Xpresenter(TM) vClips video kiosk, the first product to be powered by the NITRO graphics platform. With NITRO, the latest version of vClips combines new dynamic display capabilities, including a 3D video carousel that displays HD videos with simple on-screen navigation.

The Xpresenter vClips video kiosk is a complete interactive video application that allows users to browse and play back video clips using a simple touch-screen interface. Ideal for any application requiring on-demand video playback, Xpresenter vClips combines the highest quality HD video and graphics output with simple and flexible management tools. The adaptable solution features unlimited categories and expandable video storage, support for popular video formats, and the ability to customize categories. For X2O’s customers, it offers simple setup and configuration as well as comprehensive logging of all user interaction. The latest version of vClips is ideal for corporate training, retail product showcases, information kiosks, lobbies, movie theaters, music stores, video jukeboxes, and more.

Image Link: www.ingearpr.com/X2OMedia/NITRO-Powered_vClips.zip
Image Caption: Xpresenter(TM) vClips Powered by NITRO

Sidebar:
Twitter Cube:
CETW attendees are also invited to check out X2O Media’s popular Twitter Cube in the company’s booth. Powered by NITRO, the unique, interactive Cube will allow attendees to keep up with “tweet-by-tweet” updates on all things CETW in real time.

Speaking Event:
Producing Content for Distribution Across Multiple Platforms and Channels
Thursday, Nov. 10 — 11:45 a.m. to 12:45 p.m.
Conference Room 2
Moderated by David Wilkins, President and CEO, X2O Media
Featuring Denys Lavigne, President of Arsenal Media, and Troy Hitch, Executive Creative Director of Barefoot Proximity

Attendees of this session will learn how to plan creatively, utilize existing digital assets to reduce costs, and achieve message and brand consistency across multiple channels. The session is open to all CETW conference attendees. To register for the conference, please visit www.cetworld.com.

Company Overview
X2O Media is a full-service provider of software, network management services, and content services for professional digital signage and corporate communication applications. The company offers a wide variety of software solutions for digital signage and interactive networks of all sizes. X2O’s award-winning Xpresenter(TM) provides an end-to-end platform for the creation, management, and distribution of content at broadcast quality, and at a fraction of the time of other solutions. In addition to technology, X2O offers content design, acquisition, management, distribution, and monitoring services for digital signage networks. More information about X2O Media is available at www.x2omedia.com.

All trademarks and registered trademarks mentioned herein are the property of their respective owners.

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Wohler Appoints John Terrey Vice President of Channel Management

SAN FRANCISCO — Oct. 25, 2011 — Wohler Technologies today announced the appointment of John Terrey as the company’s vice president of inside sales and channel management. In this new position, Terrey will be responsible for improving dealer support, and proactively managing and building global distribution channels to improve performance and grow market share for Wohler’s rapidly expanding line of signal management and confidence monitoring products.

“Over his career John has demonstrated the ability to generate ideas and put practical plans into action, using common sense to simplify complex issues,” said Don Bird, chief marketing officer at Wohler. “John’s prior experience in market development for several video and test and measurement companies will not only help to promote Wohler’s newest video and loudness control offerings, but will also reinforce our company’s strong brand presence in both audio and audio for video solutions. We’re pleased to welcome John to the team and look forward to working with him to continue building Wohler sales worldwide.”

Terrey joins Wohler with nearly 30 years of management experience, the majority of which he gained in sales management and business development at high-profile broadcast technology companies. He most recently held senior sales and management roles with DK Technologies A/S, Norterra Technologies, and Eyeheight Ltd. Within all these roles, Terrey helped to establish and maintain distribution network and direct accounts for audio and video products in the United States, managed day-to-day relations and coordination with business partners, and worked to put long-term strategic relationships into place.

In addition to experience with technology companies including PESA, Videotek, Philips TV Test Equipment, and Leader Instruments, Terrey has participated in industry-specific and sales-focused training with the BBC, Imaging Science Foundation, and the Dale Carnegie Corporation.

# # #

About Wohler Technologies Inc. Wohler offers a comprehensive and award-winning range of audio, video, data monitoring, and captioning products designed to provide the highest quality solutions for facilities of all sizes and complexity. Founded in 1987, the San Francisco Bay-area manufacturer has grown to become the dominant provider of confidence monitoring and signal management solutions for the broadcast and pro audio/video markets. Originally inventing and defining the category of in-rack audio, video, and data monitoring products, the company has expanded its offerings to include solutions for captioning and loudness. More information about Wohler and its full range of solutions is available at www.wohler.com.

ENDS

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131st AES Convention Rocks New York

310 Exhibitors; 15,926 Attendees; Ben Folds, Judy Collins & Perfect Weather

NEW YORK: With the successful completion of the 131st AES Convention on Sunday, Oct. 23rd, one of the most positive, pages has been writ in the annals of AES history. As 310 Exhibitors and 15,926 attendees thronged to NY’s Jacob Javits Center for the “World Series of Pro Audio,” flawless fall weather and rampant enthusiasm coalesced in a textbook example of planning and execution. “Soon after the curtains fell on last year’s event, our 2011 Committee began the first of over a dozen intensive planning meetings,” reports Convention Chair Jim Anderson. Each Chair brought an extraordinary degree of commitment, enthusiasm and professionalism to the table. The results of their labors registered rave reviews and high praise from attendees and exhibitors alike.”

“I was taken by surprise when the first day of the show ended. The number of qualified customers and end-users who passed through our booth was overwhelming,” remarked Mick Olesh, Waves executive vice president.

“Right up until the last 5 minutes of the show, the intensity of the good, qualified traffic was far beyond our expectations. This year’s AES Convention had the feeling and pace of the glory days…” said Genelec marketing director, Will Eggleston.

“As first time exhibitors, we were delighted with numbers and quality of visitors to our booth,” reports Moog Music Inc., sr. marketing & brand manager Emmy Parker. “Their level of interest in our new products and our legacy was particularly gratifying. We are already thinking about the 133rd Convention in SF next year.”

“It’s always wonderful to be at the AES convention, where you can re-connect with old friends and make new ones. The mood was upbeat this year, we had good traffic at The Recording Academy booth, and I heard other exhibitors were also having a good show. The aisles were full of people and the energy was great,” P&E Wing Senior Executive Director, Maureen Droney

Special appearances by iconic recording artists Judy Collins and Ben Folds; and perennial AES Convention crowd pleasers such as Platinum Producer, Engineer and Mastering Panels; Technical Tours; Live Sound, Educational and Historical Presentations and Lunchtime Keynotes provided over 70 cumulative hours of invaluable information, and precipitated a positive buzz which permeated the entire 4-day event.

“Broadcast & Streaming Events Chair, David Bialik; Education Chair John Krivit; Facilities Chair, Michael McCoy; Games Track Chair, Steve Martz; Historical Chair, Harry Hirsch; Live Sound Co-Chairs Henry Cohen and Mac Kerr; Master Class Chair, Alan Silverman; Papers Co-Chairs Veronique Larcher and Agnieszka Roginska; Platinum Co-Chairs, Janice Brown, Bob Ludwig and David Weiss; Product Design Track Co-Chairs, Bob Moses and Jonathan Novick; Technical Tours Chair, Lou Manno; Volunteers Chair, Doron Schacter and Workshops/Tutorials Chair Natanya Ford all performed above and beyond the call of duty” Anderson said.
“Beyond coordinating Historical events, Harry Hirsch took advantage of the proximity of a number of pivotal contributors to advances in the art and science of pro audio, to produce additions to the on-going AES Oral History Project. Interviews conducted by industry ombudsman Paul Gallo include multi-platinum producer/engineer Tony Visconti; studio entrepreneur Howie Schwartz and AES doyen Irv Joel.

“Lastly, Executive Director Roger Furness remained an indomitable source of organizational and motivational direction throughout the year-long process,” Anderson concludes. “His invaluable experience in coordinating these enormously complex programs; his ability to deal with disparate issues ranging from logistics, budgets, venue wrinkles, last minute program changes and the myriad details, enormous and miniscule which need to interface, provided the Committee with a reassuring comfort level of professionalism. At the end of the day, when questions arose, Roger Furness was the man we turned to for decisions.”

The 132nd European Audio Engineering Convention will be held in Hungary’s Budapest Congress & World Trade Center, April 26-29, 2012. The 133rd AES Convention is scheduled for October 26-29 in San Francisco’s Moscone Center.

Photos: 131st AES Convention Opening Day

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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StrandVision Debuts Employee Communication Digital Signage Screen Saver

Presents dynamic digital signage content on employees’ personal computers to enhance employee communication…

MENOMONIE, Wis. – Oct. 26, 2011 – StrandVision Digital Signage today unveiled a new screen saver capability for StrandVision Digital Signage networks that extends companies’ signage networks to employees’ desktops to further reinforce employee communication messaging.

Designed to bring corporate announcements directly to employees, it is ideal for human resources communications of employee benefits, reinforcement of corporate goals/missions, general business marketing, news and events or special announcements, such as weather-related bulletins. Compatible with Microsoft Windows operating systems, the screen saver application plays the same content that streams over customers’ StrandVision Digital Signage network on screens throughout a facility and internal and external websites.

“This is a powerful and efficient way to consistently communicate with employees and visitors,” commented Mike Strand StrandVision founder and CEO. “The StrandVision Digital Signage Screen Saver enables companies to get the most out of their digital signage networks by utilizing existing equipment that is temporarily inactive. We’ve designed a system that fits with corporate networking and computer management protocols while substantially extending the reach of the digital signage network for employee communication and business marketing opportunities.”

The application can be distributed in the same manner that other standard corporate applications are deployed. Once installed on an employee’s personal computer, the application becomes a dropdown selection in the Screen Saver Settings dialog and works the same way as any other screen saver.

StrandVision Digital Signage Screen Saver content is distributed over companies’ standard computer networks. A StrandVision preconfigured, on-premise server or Linux signage player is required for installations of more than 10 computers, which reduces subscription costs and network traffic while increasing efficiency. Pricing starts at $499 per year and goes as low as $.17 per desktop per month for larger installations. The StrandVision Digital Signage Screen Saver is available immediately from StrandVision and through authorized resellers.

About StrandVision

StrandVision LLC, based in Menomonie, Wisconsin, delivers low-cost, Web-based digital signage software through a patented Software as a Service (SaaS) approach that delivers content to subscribers’ LCD flat panel screens, as well as computer screens and websites. StrandVision’s service distributes text and graphics pages, video content and national and local weather and news. It is ideal for many large and small business marketing applications, including medical and dental offices (patient education); banks, retailers and industrial distributors (video merchandising); education (student communication, staff and visitor information); employee break rooms (employee communication of events and benefits); non-profit and religious organizations (member and supporter communications).

StrandVision also offers PC-2-TV.net, a fully digital, high-definition (HD) video extender to connect a computer to a television over long distances for use with digital signage and many other applications. StrandVision Digital Signage services and PC-2-TV.net are available directly from StrandVision and through registered affiliates and system integrators. Additional information about StrandVision Digital Signage is available at StrandVision.com, 715-235-7446 or by email.

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EDITORS – For further information:

Mike Strand
StrandVision
715-235-7446 X100
mjstrand@strandvision.com

Sandy McLaughlin
Soucy Communications Group
781-898-7305
smclaughlin@scg-pr.com

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NanoLumens To Move To New Headquarters In Norcross, Georgia



NORCROSS, GEORGIA, October 26, 2011 – In order to better meet the long-term needs of its rapidly growing customer base, NanoLumens®, the pioneering company that last year introduced the world to large format flexible digital display technology, today announced plans to relocate its world headquarters to a new 32,000 square foot office center in Norcross, Georgia, the same city it has called home since its founding in 2006.

According to NanoLumens President & CEO Rick Cope, the company will move from its current 14,000 square foot headquarters to its new headquarters on December 1, 2011. “Our company has more than doubled in size over the last two years and we expect 2012, our first full year of commercial production, to create an even faster rate of growth,” Cope explained today. “This new headquarters will enable us to comfortably grow and meet our customer demands. It will allow us to consolidate all administrative, sales, operations, research, design, and assembly under one roof right here in the city we have always called home. What’s more, the new headquarters will house the largest digital display showroom in the country.”

The new NanoLumens headquarters will be located at 4900 Avalon Ridge Parkway, Norcross, Georgia 30071. The general phone number will remain 678.421.9694.

Underscoring its rapid rate of growth, NanoLumens today announced two key executive appointments. Karen Robinson, a senior technology and out-of-home media executive with more than 30 years of experience, now joins NanoLumens as Executive Vice President of Sales & Marketing, effective immediately, reporting directly to NanoLumens President Rick Cope. Ms. Robinson’s experience is strategic and solid and includes CEO level positions at Atlanta Technology Partners, Prime Point Media, and Enrev Corporation, as well as senior sales management positions at Electronic Power Technology, AMNEX, and AT&T.

“Karen has the exact skill set and experience that we need to drive sales in all of our target markets,” Cope emphasized. “As we begin the next chapter of the NanoLumens story, Karen will play a pivotal role in developing sustained sales in all of our targeted vertical markets.”

Reporting directly to Karen Robinson is Dana Michaelis, who now joins the company as Vice President and General Manager of Advertising Networks. In this new position, Michaelis will be responsible for developing and implementing strategic out-of-home place based advertising revenue sharing programs with content owners, networks, convention centers, stadiums, and arenas. Mr. Michaelis comes to NanoLumens from Brite Media Group, where he served as Senior Vice President of Sales & Marketing. Prior to this he held senior sales management positions at Prime Point Media, Pathfire, and The Weather Channel.

“Having worked closely with Dana at Prime Point Media, I appreciate his considerable talents in building large scale advertising networks, which is a strategic priority for this company,” Robinson emphasized. “Dana will be very effective in presenting our breakthrough LED display technology to owners of convention centers, stadiums, and other facilities where place based advertising vehicles are deployed.”

First introduced in 2010, NanoFlex™ digital displays remain the only solution of their kind. They conform to fit any surface, are thin, lightweight, and energy efficient, and can be mounted as easily as a work of art. The revolutionary NanoFlex display shattered the traditional usage limitations of large format digital displays. NanoLumens is the only company in the world able to reliably manufacture ultra-thin and lightweight, easy-to-install and maintain, seamless 6mm pixel pitch flexible LED displays in virtually any shape or size to meet each customer’s unique requirements.

In addition to being ultra-lightweight and energy efficient, NanoLumens displays feature a seamless, edge-to-edge picture quality (up to a brightness of 5,000 nits) that can be viewed from any angle or any distance without color shift or picture drop-off. Designed and engineered to be energy efficient, NanoLumens displays consume significantly less energy per-square foot than conventional digital displays. Further underscoring their commitment to eco-friendly technology, the NanoLumens displays are composed of up to 50% reclaimed materials, and are completely recyclable. What’s more, some new NanoLumens displays can be serviced from the front, making maintenance easier than ever before possible.

Designed and assembled entirely in the United States, NanoLumens displays are now available in both flexible and non-flexible frames in four product lines: NanoFlex™ and NanoWrap™ flexible displays; NanoSlim™ non-flexible rectangular displays; and NanoShape™ non-flexible round, square, and triangular displays.

The company’s technology has been recognized by Entrepreneur magazine as a 2011 future-proof tech trend and was cited by The Wall Street Journal in its 2010 Technology Innovations Awards. NanoLumens’ technology also received the 2011 Breakthrough Technology of the Year Award at the American Technology Awards.

Headquartered in Norcross, Georgia, NanoLumens, Inc. is a privately held corporation engaged in the research, product development and component design for unique flexible displays that address a yawning technology gap in the $14 billion digital display industry. Since its founding in 2006, NanoLumens has built a portfolio of more than 20 international families of issued and filed patents on its flexible display technology that effectively address the commercial market void between relatively small flat-panel displays and huge, limited application LED boards. NanoLumens technology is not constrained by standard sizes and shapes, or by the size, noise and cost issues associated with commercial LED products.

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L-ACOUSTICS Provides Voice from Above on The Book of Mormon

Nine-time Tony Award winner benefitting from LA8-powered dV-DOSC arrays
.
NEW YORK CITY — Since its official March 24 debut at Manhattan’s Eugene O’Neill Theatre, The Book of Mormon quickly proved to be 2011′s hottest Broadway hit. Written by South Park‘s Trey Stone and Matt Parker with Avenue Q‘s Robert Lopez, the hilariously irreverent musical was nominated for 14 Tony Awards earlier this year, ultimately taking home nine of them in June, including one for Best Sound Design. more

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