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Archive for November 14th, 2012

Paper Composed by Audio-Technica Personnel Receives Best Paper Award at AES Convention

Audio-Technica, a leading innovator in transducer technology currently celebrating “50 Years of Passionate Listening,” is proud to announce that the paper “On the Study of Ionic Microphones” and its writers were selected as the recipients of the “AES 133rd peer review paper award, signifying it as the “best paper of the show.” The paper, composed by Hiroshi Akino, Audio-Technica Corp., Japan, with Hirofumi Shimokawa, Kanagawa Institute of Technology, Japan, and Jackie Green and Tadashi Kikutani of Audio-Technica U.S., was presented at a juried paper session at the 133rd AES Convention in San Francisco, California.

Jackie Green stated, “We are honored and delighted to receive this recognition. Audio-Technica has been at the forefront of many technology paradigm shifts, yet historically we have published very little regarding our research. We look forward to taking a more active role in advancing the art and science of audio technology, and sharing this information with our distinguished peers.”

The paper encapsulates the following research: Diaphragm-less ionic loudspeakers using both low-temperature and high-temperature plasma methods have already been studied and developed for practical use. This study examined using similar methods to create a diaphragm-less ionic microphone. The paper reviews the experimental outcome of two ionic methods, and considerations given to resolve issues revealed by the study.

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Aphex® Expands 500 Series with New Modules

— New Parametric EQ, Optical Compressor and three new Mic Pre units join the acclaimed EX•BB 500™ in the series, forming a comprehensive line of signal processors —

Aphex®, a leader in audio enhancement technology for more than 35 years, has recently debuted its new 500 Series modules. The 500 Series now includes six models: J PRE 500 Mic Pre; EQF 500 Parametric Equalizer; DUAL RPA 500 Mic Pre; A PRE 500 Mic Pre; the COMP 500 Optical Compressor; and the acclaimed, previously unveiled EX•BB 500 Aural Exciter/Big Bottom module. All benefit from the portable and convenient 500 Series format and legendary Aphex sound.

The J PRE 500 mic pre is inspired by the flagship Aphex 1788A remote controlled preamp. They both have the same Jensen JT11K8 nickel input Transformer and Aphex patented Mic Limiter technology. Designed to provide no-compromise audio quality in the convenient 500 series format, the J PRE 500 also features a Jensen JT-11DL nickel output-balancing transformer.

The EQF 500 reissue is a modern take on the classic Aphex EQF-2 500 series three-band equalizer, originally introduced in the 1980s. With a Jensen output balancing transformer and 25Hz to 20kHz operation, the EQF 500 is extremely versatile and will make any program material shine while being punchy and quiet.

The DUAL RPA 500 mic pre is a two-channel solid state/tube hybrid preamp. The solid-state front end provides a fast transient response while the tube back end provides warmth and punch. The DUAL RPA 500 also has the Aphex patented Mic Limiter technology for “no second take” recording.

The A PRE 500 mic pre is inspired by the popular Aphex 188 eight-channel preamp. They both use a custom designed Aphex input Transformer. Like the 188, the A PRE 500 also features a Jensen JT-11DL nickel output balancing transformer. The A PRE 500 is extremely clear sounding yet musical.

The new COMP 500 module is an optical compressor. It features an electronically balanced input and uses a Jensen JT-11DL nickel output balancing transformer. The optocoupler was specified to be as fast as possible and, is produced exclusively for Aphex. The OC-500 features stereo linking, and provides all the transparency of an optical compressor with the flexibility to get aggressive compression when needed.

The EX•BB 500 is a mono, 500 Series module version of the popular Aphex Aural Exciter and Optical Big Bottom processors. Each processor has a dedicated, lighted enable button.

“The expansion of our 500 Series with these five new modules further illustrates Aphex’s commitment to providing a comprehensive range of digital signal processors,” stated Rick McClendon, Aphex’s General Manager. “The addition of three new mic pre’s, a parametric EQ and an optical compressor, which join our highly successful EX•BB 500 Aural Exciter/Big Bottom module, offers audio professionals a wider palette of processing options.”

Aphex CEO David Wiener was excited to add, “Remember that our Aphex technologies and products have been used by major artists, engineers and producers through popular music history, from Paul McCartney and Pink Floyd, to today’s Grammy®s, Oscar®s, and the upcoming Soul Train Awards. Aphex has had a huge impact and now, with our new 500 Series, we’re making these powerful tools available to pros and the new talent coming into the audio and entertainment industry. It’s really exciting to see our tech become small, portable and accessible to everyone.”

Pricing:

J PRE 500 $749 U.S. MSRP
EQF 500 $629 U.S. MSRP
DUAL RPA 500 $999 U.S. MSRP
A PRE 500 $629 U.S. MSRP
COMP 500 $629 U.S. MSRP
EX•BB 500 $299 U.S. MSRP

For more information please visit http://www.aphex.com.

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Genelec Active Monitors Keep the Sound Reliable in M3’s (Music Mix Mobile’s) Remote Facility Trucks

— The most advanced remote recording facilities for music and live broadcast continue to depend on Genelec Smart Active Monitors —

NATICK, MA, November 13, 2012 — Genelec, the world’s longstanding pioneer in active monitoring, is pleased to have M3 (Music Mix Mobile), a New Jersey/California-based remote facilities company combining the talents of award-winning production professionals and state-of-the-art audio solutions, as a continued loyal user. Aside from the company’s more conventional clients, which include The GRAMMY®s, The Latin GRAMMY®s, The Daily Show with Jon Stewart, The Colbert Report, Late Night with Jimmy Fallon’s live broadcast from the University of North Carolina, and the upcoming 2012 CMA Awards broadcast, among many others, M3 has recently been putting their Genelecs to good use mixing live 5.1 surround sound for broadcast for challenging, high-energy events.

In particular, two recent jobs for AXS.tv – a new brand combining the tools of AEG Live and AXS (formerly HDnet) – allowed M3 to utilize their full Genelec 5.1 systems, which consist of 8200 Series Active Monitors and 7200 Series subwoofer.

On Sunday, September 9, 2012, at the Home Depot Center in Los Angeles, a double bill of Linkin Park and Incubus brought their unique brands of rock to the stage, and M3 was there to capture the performance for broadcast. In M3’s California-based Horizon truck, Broadcast Mixer Jay Vicari was in charge, carefully mixing the audio for a TV special in 5.1. “Linkin Park’s engineer Ethan Mates was with us in the truck during broadcast, and he was very happy. We’ve worked with him before, and he’s always impressed with our work and the Genelec system,” noted M3 Co-Founder and Chief Engineer Joel Singer.

Weeks later, on Tuesday, September 25, 2012, at the Count Basie Theatre in Red Bank, New Jersey, M3 was on site with their East Coast-based Voyager truck to capture and broadcast the 5.1 audio for Joe Jackson and The Bigger Band featuring Regina Carter. John Harris served as Broadcast Music Engineer for this performance.

“The consistency of sound is very important – that is why we standardize our operations and have the same monitors in each of our three trucks and flight pack systems. We rely on Genelecs because they simply provide a world-class monitoring environment, not only for our lead mixers John Harris and Jay Vicari to reference during recording and broadcast, but for the artists, producers and managers that we work with. With Genelecs, ear fatigue is non-existent, and they deliver uncolored, accurate sound, providing us with the security of knowing exactly what we’re hearing on the night of the broadcast.”

The Genelec 8200 Series Bi-Amplified Active Monitors employ the company’s proprietary Smart Active Monitor (SAM) concept, which includes, GLM™ (Genelec Loudspeaker Manager software) and AutoCal™ (Automated Calibration software) technologies, which together create a self-calibrating monitoring solution that both guarantees accurate audio and ensures a steady-paced workflow. These products and technologies reflect Genelec’s recently introduced SAM concept, which allows monitors to be controlled with digital networking to enable the building of highly flexible computer-controlled systems of monitors.

For more information, please visit www.genelecusa.com.

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GC Pro Helps Southwestern Oklahoma State University’s Fine Arts Center Upgrade Their Lighting

— Lighting products from brands including Martin, Elation and Lightronics are part of a large upgrade package sourced by GC Pro that will help keep this theater a versatile hub for the community and the state —

WESTLAKE VILLAGE, CA, November 13, 2012 — Southwestern Oklahoma State University’s Fine Arts Center has become one of the cultural hubs of the region around Oklahoma City. Intended primarily for the support of university-sponsored activities, the auditorium is designed to serve not only as an instructional facility, but also as a cultural center for the development of quality activities for Western Oklahoma, providing, as its mission statement proclaims, “…diversity in cultural experiences, and developing awareness of and appreciation for the rich cultural heritage of the region.” But the Center’s lighting grew less-than-adequate over the years, failing to keep pace with the changes in lighting technology, such as the introduction of LED light fixtures over the last decade. However, that situation has been entirely remedied, thanks to new equipment and technologies sourced by Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users.

Among the new systems purchased by the University from GC Pro are an MA grandMA2 ultra-light lighting console, 20 Martin Stagebar 2 Long RGBW fixtures, 12 Elation Platinum Wash ZFX PRO fixtures, three Lightronics AC-1109 8-scene push-button scene remote stations, eight Lightronics RA-122 12-channel 2400-watt dimmers, and a Tripp-Lite SR42UB Smart Rack. It’s a lighting systems array that will light up the Center’s performances, which range from the school’s ballet and dance companies to touring theatrical productions and other performance arts. “The old lighting systems just bit the dust,” says Kyle Bartel, Director of the Fine Arts Center. “It was time to upgrade, and GC Pro had what we needed.”

David Almanza, Sales at GC Pro’s office in Oklahoma City, says the Center’s wish list included a new grandMA console, which several regional suppliers simply couldn’t source in time for the University’s needs, with new shows scheduled for the start of the new school year. Almanza called dozens of vendors around the country, seeking both availability and price. And the console was originally supposed to take weeks if not months to get. “We had one on the way here in less then a week,” he says. The same applied to other products. For instance, the manufacturer said that Elation’s moving-head fixtures were back-ordered for as much as two months, but Almanza was able to call on his supply chain to get them delivered within two days. “GC Pro has huge resources,” he explains. “That results not only in competitive pricing but also the ability to obtain a breadth of products that is second to none. That’s why customers come to us and stay with us.”

For more information, please visit www.gcpro.com.

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Bose® RoomMatch® Sound System Allows The New Gymnasium At Webster City High School To Host Sporting Events As Well As Live Concerts

Bose RoomMatch® RM12060 modules are the backbone of a system that also includes Bose PowerMatch® PM8500 power amplifiers, RoomMatch RMS215 subwoofer modules and a Bose ControlSpace® ESP-00 processor

Framingham, Massachusetts, November 13, 2012 – Can you make a gymnasium sound like a concert hall? That’s what Electronic Sound Company (ESC), a Des Moines, Iowa AV systems integrator, was able to do at the newly constructed gym at Webster City High School, thanks to the RoomMatch® RM12060 array module from Bose® Professional Systems Division. ESC chose Bose Professional components as part of their sound and acoustics strategy for the new gymnasium, including eight RoomMatch RM12060 array modules, three Bose PowerMatch® PM8500 configurable professional power amplifiers, two RoomMatch RMS215 subwoofer modules, and a Bose ControlSpace® ESP-00 processor. This system, along with acoustical treatment design, also by ESC, allowed the high school to move an upcoming fundraiser concert by Iowa-born operatic basso-baritone vocalist Simon Estes from the school’s auditorium, which seats only 650, to the new gymnasium, which can seat up to 2,500.

“RoomMatch is the best speaker that I have ever used for control over the sound,” proclaims Al Osborn, CEO of ESC. “It is a highly controllable speaker. In this situation, we needed to keep the sound away from very specific parts of the room, such as the lower parts of the walls, because as a gym we couldn’t put acoustical treatment materials on the first 16 feet of the wall height. So we had to have a sound system that was precisely controllable and highly directional. That system includes Bose RoomMatch array module loudspeakers.”

Osborn also has praise for the Bose ControlSpace ESP-00 processor, which is used on this project as both a DSP processor and a router. The ControlSpace ESP engineered sound processor provides control and audio processing in a single, expandable unit and offers eight expansion card slots accommodating a range of input/output options, including control via RS-232 and serial over IP, analog audio, AES-3, Dolby Digital®, DTS® and PCM digital stream formats, as well as CobraNet® network audio. The ControlSpace ESP-00 features an asymmetrical I/O matrix capability where up to 64 digital channels or 32 analog channels can be routed and processed, a function that Osborn used to allow the sound system to operate in specific zones as needed. This further helps control the sound energy in the room, supporting the intelligibility of the sound, by minimizing reverberation.

And finally, the two RoomMatch RMS215 subwoofer modules that Osborn incorporated into the system design play a very special role at Webster City High – the school’s sports mascot, a lynx, needed its own sound effect for games played in the gym. Osborn found a recording of what he called “an appropriately angry lynx” that provided the full-throated roar the school was looking for. “The two RoomMatch RMS215 subwoofers are just what they needed to get that extra level of excitement across,” he says. From opera to wild lynxes, the Bose RoomMatch sound system offers everything you need for a wide range of applications.

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Audio-Technica Unveils New System 10 Digital Wireless System

— Operating in the 2.4 GHz range, System 10 avoids TV and DTV interference, offering a cost-effective, high-fidelity wireless solution for houses of worship, musicians/hobbyists, karaoke, corporate applications and more —

STOW, OH, November 13, 2012 — Audio-Technica, a leading innovator in transducer technology currently celebrating “50 Years of Passionate Listening,” recently debuted its new high-fidelity System 10 2.4 GHz Digital Wireless. Perfect for a wide range of applications – houses of worship, singers and guitar players (hobbyist to professional), karaoke, corporate/presentation etc. – the System 10 wireless offers reliability and ease of use at an economical price point, along with features and functions comparable to those of systems costing thousands of dollars more.

Operating in the 2.4 GHz range, immune to TV and DTV interference, System 10 makes frequency hunting a thing of the past. System 10 offers amazingly accurate sound and extremely easy operation with instantaneous channel selection, sync and set-up. Up to eight channels may be used together without any frequency coordination problems or group selection issues. System 10 receivers and transmitters offer an easy-to-read digital ID display.

System 10 wireless ensures clear communications by providing three levels of diversity assurance: frequency, time, and space. Frequency Diversity sends the signal on two dynamically allocated frequencies for interference-free communication. Time Diversity sends the signal in multiple time slots to maximize immunity to multipath interference. Finally, Space Diversity uses two antennas on each transmitter and receiver to maximize signal integrity.

The single-channel System 10 includes the ATW-R1100 single-channel receiver and either a body-pack transmitter or handheld microphone/transmitter. The ATW-R1100 is a diversity digital receiver offering volume control along with AF Peak and Pair indicator lights.

Multiple system configurations are available, with handheld vocal microphone/transmitters and UniPak® body-pack transmitters designed for use with lavalier, headworn and instrument microphones as well as electric guitars.

System 10 Products:

ATW-1101 UniPak® Transmitter System $489.95
ATW-1101/G Guitar System $524.95
ATW-1101/H Headworn Microphone System $614.95
ATW-1101/H92 Miniature Headworn Microphone System $664.95
ATW-1101/H92TH Miniature (beige) Headworn Microphone System $664.95
ATW-1101/L Lavalier Microphone System $614.95
ATW-1102 Handheld Microphone System $524.95

Audio-Technica’s System 10 packages will be available November 2012. For more information, please visit www.audio-technica.com.

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Atlona at GovComm 2012

Company Quote
“Atlona has a strong portfolio of products designed to support the government with A/V connectivity in mission-critical installations. At GovComm 2012, visitors to our booth will experience a wide range of advanced digital connectivity products, including matrix switchers and splitters with HDBaseT technology, HDMI extenders, plenum HDMI cables, audio amplifiers, and much more,” said Mike Grubb, senior sales manager, the Americas, Atlona. “In addition to the booth products lineup, Atlona will also be taking its solutions off the show floor with a manufacturer’s training session: Extending, Splitting, and Connecting in the Digital Age.” more

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UBS Takes First HARMAN’s Soundcraft Si Performer in the Baltics

RIGA, Latvia — UBS (Universal Baltic Sound) of Latvia has purchased the first new HARMAN Soundcraft Si Performer console in the Baltic region.

The rental company had originally been invited by Soundcraft’s Latvian distributor Audio AE to test the Si Compact 24 console on the recent tour of top local rock act Brainstorm, as the FOH mixing console for support band, The Sound Poets.

After using it on various shows they were highly impressed with the feature set. Although USB senior sound engineer Maris Liepa had never previously worked on the desk he was surprised at how easy it was to navigate. “I instinctively knew how to use it without referring to the manual,” he smiled. “The tour was a great test for a new product and we were able to run both FOH and monitors from a single Si24.”

They were all set to purchase the desk and add it to their extensive inventory of Soundcraft analogue boards…until the Si Performer hybrid desk, which is based on the same platform, was announced.

“When we learnt of the Performer 3, we were particularly impressed with the bigger channel count, the two option slots, which allow I/O expansion…and the more attractive appearance,” said Maris. “And so we didn’t hesitate to place the order for this instead.”

As touring veterans, experienced in running Soundcraft legacy consoles, they are familiar with the legendary signature audio and desk ergonomics. They have seen how easy it is to retain the feel of analogue within a digital board—a tradition that continues with the Si Performer 3.

The Si Performer is the first digital audio mixer with integrated DMX for lighting control. With a total possible capacity of 80 inputs, it takes the popular Si Compact platform as its base but provides almost twice as much DSP power and increased functionality. The Si Performer 3 itself offers 32 mic and eight line inputs, offering 14 aux/group mix busses, as well as four FX return channels; and with the aforementioned input cards it is possible to patch up to 80 inputs.

In addition, the integration of a DMX512 port offers core lighting control, with the initial release of software providing four scene masters (A-D) with associated slave channels on the ALT fader layers. This makes the desk thoroughly unique.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,900 people across the Americas, Europe and Asia, and reported net sales of $4.4 billion for year ended June 30, 2012.

Sound Devices Brings Array of Audio and Video Production Solutions to CCW 2012

NEW YORK, NOVEMBER 14, 2012 — Sound Devices, experts in portable audio and video products for field production, showcases its latest audio and video production gear for content creation professionals at this year’s CCW (Booth 946). The company is exhibiting the recently upgraded PIX 240i and PIX 260i Audio/Video Recorders, as well as the 664 Production Mixer.

Sound Devices’ PIX 240i Audio/Video Recorder features a five-inch, IPS-based LCD panel with accurate color rendition and consistent off-axis viewing response. The upgraded display is essential in the field, providing users with immediate confirmation of framing, exposure, focus, audio-metering and setup menu selections. It also offers higher contrast and better off-axis viewing. PIX 240i users can monitor an image’s exposure with Exposure Assist, a feature that depicts either false-color or multilevel zebra stripes. It comes equipped with Focus Assist, which includes a peaking filter and 1:1 pixel zoom. Monitor brightness, contrast and chroma adjustments are also now available. PIX 240i provides standard definition recording (NTSC and PAL) and support for using simultaneous analog and SDI/HDMI audio inputs.

Users can connect the PIX 240i to cameras with HDMI (plus SDI with the PIX 240i) and record directly to QuickTime using Apple’s ProRes or Avid’s DNxHD codecs. Use of these codecs enables files recorded in the field to be used directly in post production, making the workflow simple and fast. The audio circuitry on the PIX 240i is based on Sound Devices’ award-winning 7-Series Digital Audio Recorders. The low-noise (-128 dBu EIN), high-headroom, high-bandwidth inputs are mic/line switchable and include limiters, high-pass filters and phantom power.

Also on display is the Sound Devices PIX 260i Production Audio/Video Recorder. Based on the field-proven PIX 240i recorder, the rack-mounted PIX 260i is a file-based audio/video deck that seamlessly replaces tape-based video decks in production and post-production environments, while offering 32 tracks of audio record/playback. Using the Apple ProRes or Avid DNxHD codecs, the PIX 260i records and plays files at up to 220 Mbps in high-quality, 10-bit 4:2:2 video. It also records 32 tracks of 48-kHz audio. Files from the PIX 260i are ready for direct import into the Avid and Final Cut Pro editing platforms, eliminating time-consuming transferring and transcoding. Files can also play out of the PIX 260i for real-time applications.

The PIX 260i has a built-in, five-inch 800 x 480-pixel IPS video display that allows users tto view video and setup-menu selections. With its extensive control capabilities, the PIX 260i is a flexible video playback source, compatible with Final Cut Pro 7, Final Cut Pro X and Avid Quicktime files. The PIX 260i can be controlled by both external RS-422 and via Ethernet through its embedded Web server, allowing for machine transport control over Ethernet-based networks.

Up to four SATA drives can be connected to the PIX 260i simultaneously. For RAID-type redundancy and to eliminate the need for post-record copying when multiple copies are required, users can record to all four drives simultaneously.

As with the PIX 240i, the PIX 260i includes a built-in Ambient Clockit time-code generator/reader with genlock output for rock-steady, multi-camera and double-system sound applications. In addition to generating ultra-stable time code, time codes can be read from the SDI stream, the HDMI stream or from an external source.

Sound Devices will also be featuring its 664 Production Mixer at CCW 2012. The 664 was designed to build upon the powerful features of the company’s best-selling line of field and production mixers and offers expanded input/output connectivity and recording capabilities, along with greater flexibility and ease-of-use. The flagship recorder’s six input channels have dedicated controls for trim, fader, pan and PFL. The inputs and four output buses are all recordable, for a total of 10 tracks of recording.

The 664 contains six ultra-low noise, high-dynamic range and transformer-less preamps, which accept mic- or line-level signals and include analog peak limiters, high-pass filters, input trim control and direct outputs on every channel. Featuring full analog audio paths for high-performance audio and superb power efficiency, the 664 also has numerous digital capabilities. Inputs 1 and 6 can be selected as AES3 or AES42 inputs for digital microphones, each with its own SRC for simplicity in system clocking.

The 664 can record up to 10 tracks of 16- or 24-bit broadcast WAV files to SD and/or CompactFlash cards. All inputs and outputs are individually selectable for recording, enabling the mixer to record all 10 channels of audio. With the 664’s dual card slots, content can be recorded to either or both cards simultaneously, with the added ability to assign different tracks to each memory card.

Sound Devices is also highlighting a companion accessory, the CL-6 Input Expander, for the 664 Production Mixer. It is designed specifically to add six analog line-level inputs to the mixer. With the CL-6 attached, the direct output connectors are available as inputs, controlled by faders located on the CL-6 front panel. The CL-6 also offers additional LED output metering and duplicate-recording transport controls. With the 664 Production Mixer connected to the CL-6 Input Expander, users can now record all 12 input channels and four outputs, for a total of 16 tracks.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The fourteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

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VMP Debuts New ER-1-4PKIT Rack Expansion Kit

STEVENSVILLE, Md., Nov. 14, 2012 — Video Mount Products (videomount.com), a leading provider of mounting solutions for the commercial, residential, security, and pro audio/video markets, is proud to announce its will debut the new ER-1-4PKIT Expansion Kit for the ER-1 Equipment Rack during ISC East 2012, held in New York from Nov. 28-29 at the Jacob Javits Convention Center, booth 1622. The ER-1-4PKIT is now shipping with an MSRP of $124.95.

“The ER-1-4PKIT is an easily installed expansion kit for the ER-1 rack to convert our most popular two-post rack to a four-post rack,” explained Keith Fulmer, president of VMP. “VMP offers numerous solutions to help answer thermal and cable management concerns by providing easy-to-assemble, vented, functional, and compatible racks, shelves, brackets, mounts and accessories. Designed to meet the challenges faced in such tight and component-laden A/V and other low voltage installations, the ER-1 with expandable ER-1-4PKIT is an example of just such a valuable tool.”

Features of the ER-1-4PKIT Expansion Kit include:
• Standard 10-32 threading in expansion posts
• Includes side stabilizing bars
• Steel construction
• Black static resistant powder coat finish

The ER-1 is an EIA compliant, 40-rack space, 19-inch headend equipment rack with a 400 lb. load capacity.

For more information on the ER-1-4PKIT, please visit www.videomount.com or call (410) 643-6390 or toll free 877-281-2169. If you need help choosing the right mount for your application, try the Video Mount™ Finder at www.chooseamount.com.

About Video Mount Products
Born in 1994, Video Mount Products (VMP) is a leading provider of mounting solutions for the video, audio and security industries. VMP products consistently offer the latest designs in safety and flexibility, all at an outstanding value. VMP’s product offering continues to substantially grow by adding several mounting systems to address the increasing popularity of flat panel technology, both LCD and Plasma, as well as other growing segments across many markets.

VMP has become the mounting systems company of choice for professionals and their customers everywhere. All products have been engineered for and installed with confidence in thousands of residences, businesses, hotels, restaurants, schools, hospitals, houses of worship and security applications throughout the world. VMP prides itself on providing the best products in the industry and by supporting those products with knowledgeable professionals who understand that “support” is the core of the business.

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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