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Archive for February 13th, 2013

Very Affordable, High Quality Mini Digital Key Ring Voice Recorder

Only 2½ Inches High, Weighing Less Than 1 Oz., Plays Back Anywhere

Made To Be Hung On A Car Key Ring, Slipped Into A Pocket Or Purse,
Hung On A Hook Beside The Bed, Easily Going Wherever You Go
High Quality Mini Digital Key Ring Voice Recorder

Marietta GA, February 13, 2013 – A very small, simple to use, new digital mini voice recorder is now available from ExackTM LLC that can be played back anywhere. Unlike most small voice recorders, MemClickTM does not need to be plugged into a computer USB port and will still give high quality sound, at controllable levels. It measures only 2½ inches high, 1¼ inches wide and a ½ inch thick and weighs less than 1 oz. And at $29.95, it is very affordable. Using MemClick is also easy. With one finger, it can make a voice recording or playback, up to 8 minutes. Memos can instantly be located in three folders (red, yellow and green) for prioritizing, with lighted buttons and played back. It can record up to 60 memos on a single battery charge that will last for weeks. The MemClick, manufactured in the USA, connects to any USB port for recharging and the rechargeable battery and USB cable are included.

There are basically two types of portable voice recorders, cassette and digital. Digital voice recorders are much easier to use than cassettes, because there‘s no need to rewind them endlessly to find a particular recorded section to play back and there’s no tape to jam or wear out as with other cassette audio recorders. And MemClick records or plays without having to look at it while driving. But what good is any audio recorder, if you don’t have it with you when you need it?

The uses for MemClick are endless.
● Doctor recommended memory help for Alzheimer’s support, short term memory loss, MS or stroke victims.
● Make lists; shopping list, honey-do list, measurements and many more.
● On car key rings, Record driving directions; have detailed instructions all the way; On-the-go memos to yourself; Contact information.
● Never spend time in the rain again hunting for a car in a crowded parking lot. Record the row location.
● Hang it on a refrigerator as a family member locator. Each family member can leave an intended destination and return time.
● In bed, no need to hunt paper and pen, place it on a night-stand for bed-side notes, phone numbers, and ideas.
● Keep it with the TV remote to note TV ad info such as advertised product phone number and web site address.
● The MemClick makes a perfect trade show promotional give-away or gift and is also for people who have everything, but can’t remember where they left it.

To get more information on MemClick, please go to http://www.memclick.biz

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If you’d like more information, please call Michael Sherman at 662-893-8360 or send an email to Michael_Sherman@Exack.biz

About Exack:

Exack is a Christian operated company based out of Marietta, GA. Focusing primarily on electronics, Exack was founded by an engineer who loves to think outside of the box and to find ways to solve problems to help others. The founder is a man who loves Jesus, is an avid photographer, and has an unusual fondness for garlic. Just your typical guy next door . . . who loves to invent things.

MemClick all began with the idea for an easy and quick way to remember all of those little things in life that get lost in the busyness of life. After searching the stores and trying multiple devices out there, he discovered that there wasn’t anything that really helped. So, an experienced engineer and inventor with several patents under his belt began to try to create that very thing right out of his basement. With the input of many other really smart people, MemClick was born and suddenly remembering things became a whole lot easier.

BTX Sponsoring 15th Annual NSCA Business & Leadership Conference

HAWTHORNE, N.Y. — Feb. 13, 2013 — BTX Technologies, a value-added distributor and manufacturer of interface, integration, and system products, announced today that it is sponsoring the NSCA Business and Leadership Conference taking place Feb. 21-23 in Phoenix. more

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Atlona(R) Now Shipping HDBaseT(TM) Distribution Amplifier Family

2×4 and 2×8 Units Reliably Extend HDMI(R) Sources up to 328 Feet With Power Over Category Cable (PoCc) for Connected Receivers

SAN JOSE, Calif. — Feb. 13, 2013 — Atlona(R) today announced that the company is now shipping its AT-HDCAT line of HDBaseT(TM) HDMI(R) distribution amplifiers. Available in 2×4 and 2×8 configurations, the AT-HDCAT units extend HDMI sources to multiple displays over distances of up to 328 feet over a single category cable. In addition, the distribution amplifiers provide Power over Category cable (PoCc) capabilities for connected receivers, simplifying installations by eliminating the need for receiver power sources. more

Christie Interactivity Kit Provides Digital Paint Palette at Midland Center For The Arts, Michigan

Christie® and Cineviz are tying technology and art together at the Midland Center for the Arts in Midland, Michigan, with a tailor-made experience highlighting the abilities of Christie Interactivity Kit. With its ‘Escape the Ordinary’ theme, the center is unique in that it encourages both participation and appreciation for art, music, science and history.

“This project started when I showed the people at the center a trade show video where Christie displayed a digital paint canvas and they loved what they saw,” said Mike Driedric, vice president of business development, Cineviz. “Then the conversation steered itself to this exhibit space – and having an actual paint wall here. The director of exhibits – who is an artist by trade – really wanted to create an experience for the facility.”

In the main gallery, Cineviz installed four high definition Christie FHD551-X LCD flat panels in portrait mode – two on each side of a four-inch gap. The two canvasses allow participants to engage and interact with a digital paint palette using Christie Interactivity Kit and an application developed by Nytric in conjunction with Baanto™ Touchscreen technology. To reduce wear and tear, Cineviz placed tempered glass over the flat panels with the Interactivity Kit’s modular frame placed around the display.

Christie Interactivity Kit Differentiates Itself
Christie Interactivity Kit lets multiple users interact simultaneously with a rectangular video wall, with the resolution and speed needed to support finger-based gestures such as flicking, pinching, rotating and scrolling with reliable, accurate performance.

Designed in pieces that fit perfectly around Christie MicroTiles, the Christie Interactivity Kit can be configured into 84 different sizes. The kit can accommodate practically any large format display up to 21.33 feet wide and 6 feet high, or up to a 16-units wide by 6-units tall Christie MicroTiles array. The easy-to-use, field-installable kits attach around the display wall perimeter and plug into a computer USB port without any need for drivers.

“In a lot of paint programs, you use a plus/minus sign to control the intensity of the color. However, with the Interactivity Kit, you actually replicate the painting experience because you can use a paintbrush and blend, for example, pink and blue to make purple. You can also push harder to have a larger spot or a deeper shade of purple. Or you could run a thin line off the brush.”

Driedric also said the project shows how ideas can come to life thanks to Christie Interactivity Kit. “This display really showcases interactive visual displays.We tailored the solution specifically to the museum – tying a physical solution with an interactive solution to deliver an experience that people can’t get anywhere else.”

Higher Expectations Met with Cineviz and Christie Interactivity Kit
In today’s rapidly changing world, the technology of yesterday is no longer the draw it used to be for museums – especially for the younger generation who quickly embrace the newest technology.

“The youth of today quickly lose interest in static displays so Cineviz gears its design and engineers its solutions for the museum market to the tweener (ages 8-12) population,” added Driedric.

The reaction has been overwhelmingly positive and, as Driedric pointed out, the staff is just as fascinated as the exhibitors are. “When you hear that, you know the installation is a winner,” he added. “This is the right solution. We are proud of what we have done at Midland and we are proud to work with Christie.

“There is a lot of brand equity with Christie and utilizing that brand for this project was a valuable asset. We love working with Christie and enjoy the experience they bring to the table. We are committed to the Christie solutions because we believe it represents the leading technology in display solutions,” Driedric concluded. “We believe the Christie product surpasses anything else on the market.”

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A.C.T Lighting Supports Luke BryanTour with Clay Paky, grandMA2 and MDG Products

When Luke Bryan launched his “Dirt Road Diaries Tour” FadeUp Design Group and tour Production Manager Pete Healey made sure the country singer was outfitted with an inventory of cutting-edge lighting, control and atmospheric gear supplied by Elite Multimedia Productions. Elite provided Clay Paky’s new A.LEDA Wash K10 and K5 LED moving heads, grandMA2 consoles and MDG theONE digital fog/haze atmospheric generators and MDG ICE FOG Q generators for the 20-city tour. A.C.T Lighting is the distributor in North America for all of the brands.

“These brands are all leaders in their fields,” notes Tom Wilson, vice president of event productions at Elite. “MA consoles, MDG foggers and hazers and Clay Paky fixtures are all viewed as the high end of the business. We’ve been thrilled with Clay Paky Sharpys over the last year and have now supplied A.LEDAs. With Clay Paky it’s all about the quality of the build. The equipment is fully engineered and ready to go when it comes out of the box. We haven’t had any failures at all. As a company owner that’s a huge thing to me. The MAs and MDGs are also rock solid. The output from the MDGs is simply stunning.”

Justin Kitchenman of FadeUp Design Group, who acts as lighting designer for the tour, was challenged with fulfilling Bryan’s desire to put on a big show for his fans while maintaining an intimate interaction with the audience. “That was the balance we aimed for throughout the design process,” he says. “We figured the best way to accomplish this would be to give Luke plenty of performance space out among the audience. As for the lighting aspects, we wanted a big, powerful rock ‘n roll lighting rig.”

The tour is using 12 A.LEDA K10s and 36 A.LEDA K5 fixtures. “We chose them after seeing them at LDI 2012,” Kitchenman explains. “We went looking for the next-generation LED moving light and feel we found the best the industry has to offer.”

Kitchenman doesn’t like the “gum-ball dish” look that shows many RGB LEDs at the source. “For the most part LEDs are faster, have nice beams, and are energy and heat efficient. All those things are a plus. But as soon as I look on a monitor and see the source I want to shut them off! They become almost a distraction. But A.LEDA fixtures don’t have that problem – they’re a beautiful source.”

He’s also a fan of the ability to pixel map the cells of the fixture, which enable him to incorporate them into the show’s video content. And he likes the color correction channel, too. “It allows me to closely match my color temps with the rest of the lighting rig so my LEDs don’t look so LED-ish,” he says.

Selecting the grandMA2 was “a no-brainer for me,” Kitchenman reports. “I have been using the grandMA for more than six years now, and this tour was the perfect opportunity to make the upgrade. It’s proving to be a powerful tool for us: We’re currently running three networks during our show – MA-Net, Art-net, and Kling-Net via the Arkaos media severs.”

He’s “really happy” with the “seamless transition” from grandMA. “Most of the functions, labels and even the button grouping remained the same. The biggest thing I had to get used to was retraining my muscle memory to execute key strokes. I love the large touchscreens, backlit keys and, in my opinion, the improved effects engine. I’m still really diving into the grandMA2 and feel like I’m learning something new about the console every day.”

Kitchenman gives kudos to the grandMA2′s CITP/MSEX thumbnail exchange, which allows him to upload thumbnail files from the media server and “keep media a bit more organized at my end.” He also finds that playback during shows “feels a little more natural” with an array of assignable buttons and faders conveniently placed for right and left hand operation. “All too often in the past I’d find myself doing cross- handed ‘button slaps,’” he recalls. “I’m looking forward to growing with this and future generations of the MA family.”

Kitchenman chose MDG theONE digital fog/haze atmospheric generators and MDG ICE FOG Q generators to showcase the beams from the powerful lighting rig. “The large rig means very little if you can’t see the beams,” he explains. “We selected MDG theONE for three reasons: output, output, output! The first time we turned it on in rehearsal we fogged the room so thick we couldn’t see the video wall. That was an indication that atmosphere would not be an issue on this tour.”

He notes that, “by controlling [the units] from the console I can ramp the output up or down as needed during the show. And when we play outside I know I have a fighting chance to keep a steady flow of haze moving across the stage.” The MDG ICE FOG Q is on hand for its ability to produce maximum low-lying fog with zero residue, he adds.

Kitchenman says he’s “always been amazed at the level of support I get from the A.C.T staff. Phone calls are always returned promptly. The support staff is always patient and polite and never gives off the vibe that ‘you’re just doing it wrong and I can’t help you.’ My hat’s off to them for having in-depth knowledge and real-world experience of their products. They have saved me from impending doom on more then one occasion! The support that comes from A.C.T is a major factor why I will always look to their products first.”

Elite’s Wilson echoes Kitchenman’s praise. “Across the board we are really happy. Support from A.C.T has been great. They’re staffed with people who are familiar with the equipment and can speak intelligently about it.”

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

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MASQUE SOUND KEEPS THE MUSIC OF THE NIGHT PLAYING AS THE PHANTOM OF THE OPERA CELEBRATES 25 YEARS ON BROADWAY

Audio Equipment Provider Commemorates Silver Anniversary
With Longest-Running Show in Broadway History

NEW YORK, FEBRUARY 13, 2013—When The Phantom of the Opera celebrated its 25th anniversary on Broadway on January 26, becoming the first show on the Great White Way to achieve such a milestone, Masque Sound, a leading theatrical sound reinforcement, installation and design company, joined the festivities as the show’s legacy audio equipment rental provider for the past quarter century.

One of the first of the great British musicals to hit America, The Phantom of The Opera rocketed Andrew Lloyd Webber to the pinnacle of success. From an equipment standpoint, it was also one of the first truly elaborate shows on Broadway. Phantom’s quantity of sound equipment, along with the distinctive way that gear was used, helped change the industry’s perspective of sound. It also helped Masque Sound grow into the company it is today.

“When Phantom first opened on Broadway 25 years ago, Masque Sound was operating out of a brownstone on West 51st Street, with barely enough space to put together one company of Phantom,” says Geoff Shearing, president, Masque Sound. “As Phantom has grown, so has Masque Sound, and today we operate out of a 70,000-square-foot facility. These days, we are capable of doing multiple companies of Phantom at the same time.”

The Opera Ghost first haunted the Broadway stage at the Majestic Theater on January 26, 1988, where Masque Sound worked with Sound Designer Martin Levan to bring a unique audio experience to the audience. One of the first musicals to use the Cadac A-Type console, from an audio perspective, The Phantom of the Opera was a groundbreaking show.

“The Cadac was an automated A-type,” says Dennis Short, director of sales for Masque Sound. “Prior to Phantom, mixing was a little more hands on. The A-type on Phantom was now able to automate the VCA and mute functions on a scene by scene basis. You didn’t have to make the changes yourself and that proved to be a game changer for the sound operator. For the 20 years the A-type was used on Phantom, it proved itself as the most enduring element within the sound system, requiring no more than regular maintenance to maintain its performance night after night.”

Since Phantom’s debut in 1988, sound technology has seen many advances. In 2008, to coincide with Phantom’s 20th anniversary, the show’s producers saw the need to bring the production’s sound design technology into the 21st century. This culminated in a retrofit with Masque Sound, which provided a Yamaha PM1D digital console at the front-of-house position. In addition, digital playback systems replaced reel-to-reel tape deck sound effects.

“We also changed the PA,” adds Short. “A selection of Meyer speakers and subwoofers replaced the existing Tannoy speakers and Bose subwoofers. Along with the digitalization of the show, when we changed the console and speakers, we also provided the Meyer Galileo 616 speaker management system, which replaced a rack full of discrete processing.”
Designed by Olivier Award-winner Mick Potter, the new surround sound system consists of more than six miles of cable and an incredible 155 speakers. The digital system upped the number of microphones used in the show from 58 to 76, and The Phantom himself now has three dedicated microphones.

“When my father first saw The Phantom of the Opera in the U.K., before it came to the U.S., he knew it was something special. He wanted Masque Sound to be a part of when it arrived on Broadway,” says Shearing. “Masque Sound has been fortunate enough and extremely grateful to be part of the show since its Broadway debut 25 years ago. We cherish the relationship we have had with the show’s producers over the past quarter century and look forward to providing the show with audio equipment and services for another 25 years and beyond.”

Phantom became the longest-running show in Broadway history on Jan. 9, 2006, when it marked its 7,486th performance, surpassing another Lloyd Webber musical, Cats. Phantom crossed the 10,000 -performances mark on Feb. 11 this year. To date, the musical, which has been mounted at the Majestic Theatre since its Broadway debut, has grossed more than $800 million and consistently remains strong at the box office amid tough competition from other Broadway contenders.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies” and “Once” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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Anaheim Convention Center’s New Grand Plaza Outdoor Stage Kicks Off Winter NAMM 2013 With HARMAN Professional Live Sound System

A full HARMAN live sound system featuring AKG microphones, Crown VRack amplification systems, JBL VTX line arrays and Soundcraft Vi Series digital consoles was deployed at the Grand Plaza Main Stage during Winter NAMM 2013.

NORTHRIDGE, California – Winter NAMM 2013 marked the debut of the Anaheim Convention Center’s new 100,000-square-foot Grand Plaza outdoor space, where Herreman Productions coordinated a HARMAN-equipped stage to present numerous acts including Tower of Power, The Living Legends Jam and CTA. Rental sound specialists Meeting Services Inc. of San Diego and VER (Video Equipment Rentals) collaborated to field a comprehensive HARMAN Professional concert sound system for all performances held at the temporary production facility during the NAMM show.

In its fifth decade of entertaining crowds around the globe, Oakland-based Tower of Power entertained an enthusiastic convention crowd of approximately 5,000 persons at the Grand Plaza main stage while kicking off activities as the tradeshow’s opening headline concert. Veteran front of house mixer Mike Droke was at the controls of a Soundcraft Vi6 digital mixing console.

“This is my first time mixing on both Soundcraft’s Vi6 and JBL’s new VTX line array system,” noted Droke. “This system has plenty of punch and tons of low end. This band has a lot of low-mid energy with our 5-piece horn section, particularly the baritone sax, and the system handled it with ease. I particularly noticed the extended high frequency response and the musical detail in the VTX rig.”

Headed by independent engineer Eric Stahlahmmer, the audio crew deployed nine JBL VTX V25 line array enclosures suspended from each side of the Stageline SL320 mobile stage, with 10 VERTEC® VT4886 subcompact line array elements arranged on the lip of the stage for front fill. Twelve VTX S28 cardioid-arrayable subwoofers were ground-stacked for extra low-frequency reinforcement. Eighteen JBL STX812M stage monitors were distributed across the stage for the performers, while six STX835 loudspeakers and five STX818S subwoofers handled side fill requirements. Eighteen Crown I-Tech 12000HD amplifiers in VRacks utilizing BSS Omnidrive HD processing powered the loudspeakers, while the SoundcraftVi6 was complemented by a Vi1 digital console at the monitor position, manned by independent engineer Clayton Green.

HARMAN’s AKG vocal and instrument microphones blanketed the stage: 10 C518m clip-on mics for toms, two D12 VR’s on bass drums, two C430’s, four C451’s, six C214’s for overheads, two C414’s, 10 D40’s, 10 D5’s, two C3000’s, four C5’s, two C4000’s, three C4500’s, two custom gold-colored DHT 700 C5’s, one C411, and numerous gooseneck microphones were in use, with two HELICAL long distance range-extending wireless antennas located at the FOH position.

“Taken together, the AKG mics, Vi consoles, Crown VRacks and the JBL VTX line arrays make a really powerful combination,” observed Stahlhammer, who with his crew manned the stage system for up to 12 hours a day. “With JBL HiQnet Performance Manager™ software tying it all together, the process of configuring the system and monitoring its performance during the show has really been streamlined. The application has been laid out to follow our normal workflow processes, and it really saves me time and effort.”

For more information on Meeting Services Inc, visit http://www.msiprod.com.

For more information on Video Equipment Rentals, visit http://www.verrents.com/

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 13,400 people across the Americas, Europe and Asia, and reported net sales of $4.4 billion for the twelve months ending June 30, 2012.

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John Delf Needs No Plan B with HARMAN’s Soundcraft Vi6™

LONDON, United Kingdom — Highly experienced sound engineer John Delf, has exchanged the HARMAN Soundcraft Vi1 he has been using recently on club duty, with fast emerging London girl trio Stooshe, for the larger Vi6 for the edgy soul/hip hop of Plan B (Ben Drew) on the arena circuit.

Supplied as part of a complete PA package by Dave Shepherd’s BCS Audio, the UK arena shows have been split into two distinct sections, featuring Plan B’s 2010 album, The Defamation of Strickland Banks in the same track order, followed by the soundtrack of his hardcore London gangland movie Ill Manors in the second (complete with harrowing visuals).

Supported by six projectors—firing onto three screens plus IMAG at London’s O2, where a DVD was also being recorded—it was an exacting challenge for Delf, his system tech Dave ‘Boxx’ Cann and Shepherd himself (who assumed production management duties). Aside from the mix, the FOH engineer was using time code to sync to the screens, supplying click tracks and recording to multitrack from the Vi6’s optical MADI onto hard disc recorder.

This task was made easier by the Soundcraft mixing platform that Delf first experienced at KOKO in London (where a Vi6 is installed). Although experienced in all digital operating systems, he says the Vi6—with stage rack giving a 96-channel capability—is perfect for many bands, Plan B being one.

“I have liked the Vi6 since the first time I used it,” Delf said. “I know it’s a popular thing to say, but I am very impressed with the preamps. The Vi6 just gives a bit more crunch and edge, which suits this kind of gig more, particularly with the hip hop section. It has a real clarity to it. A creative sound engineer realises that not all desks sound the same—it’s like a guitarist choosing a Fender Strat for one type of sound and a [Gibson] Les Paul for another.”

In addition, Delf loves the fact that he can get a complete visual reference of the show across the top page of his board—particularly useful on this show, which carries a 10-piece ensemble, including percussion, acoustic guitars, drums, bass, keyboards, two BV’s and two rappers.

John is running 42 inputs on this tour. “You can spend your whole time mixing with the mouse [on some desks] but because of the Vi6’s 32 faders your whole show is in front of you. I only turn to the second page once in a while.”

Most of the system dynamics are straight off the board. “I use a subtle amount of reverb and a lot of EQ and some compression on the mix.”

But again the Soundcraft Vi6’s unique FaderGlow provides the wizardry. “It is extremely useful; with everything in front of you it is possible to see what has EQ on it and what has compression, you can see if the inserts are on. When you hit the graphic all the faders become EQ and change to red, so you know you are in graphic mode.”

John Delf started his career in the studio world, and still runs Edge Recording Studios in Cheshire (http://www.theedgestudios.co.uk). His first tour of duty many years ago was with Mark Burgess and the Chameleons — and he’s not looked back since, working with many big names along the way, including Lily Allen and The Script.

He landed the gig with Plan B after working with Eliza Doolittle and supporting him at the O2. She was also asked to support American dates and John was asked to double on Plan B for a seven-day stint. “But it turned into six weeks,” he chuckled. “The first gig was at Coachella [Coachella Valley Music and Arts Festival] and I was thrown right in at the deep end. Plan B is a perfectionist and wants everything to be right.” They also played some festivals in the Balearics, including Mallorca Rocks.

“He’s quite a dynamic singer but I was told to make sure his vocal was audible, with no feedback, because his in-ears are turned up really loud. It was a challenge.”

John Delf does not use snapshot or scene recalls, but prefers to mix live over his show file. Via the multitrack hard disc, the sound engineer is able to use the console’s virtual sound check facility, but overall he says, “It’s the workflow and sound quality that make the Vi6 special; it’s as near to an analogue desk in layout as anything I have used.”

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 13,400 people across the Americas, Europe and Asia, and reported net sales of $4.4 billion for the twelve months ending June 30, 2012.

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Video Mount Products ER-148-4PKIT Rack Mount Expansion Kit Now Shipping

STEVENSVILLE, Md., Feb 13, 2013 — 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 that its new ER-148-4PKIT 2-post expansion kit for its popular ER-148 equipment rack is now shipping.

“Space is at a premium in many commercial, residential, pro, and security applications,” explained Keith Fulmer, president of VMP. “Thermal and cable management issues also continue to lead the list of complaints for professionals installing rack-mountable electronics in small or enclosed spaces, and VMP offers numerous solutions to help answer these concerns. By providing easy-to-assemble, vented, functional, and compatible racks, shelves, brackets, mounts and accessories, VMP meets the challenges faced by such tight and component-laden commercial, home theater, and other low voltage installations. The ER-148 is an example of just such a valuable tool.”

The ER-148-4PKIT is an easily installed expansion kit for the ER-148 rack that converts VMP’s popular two-post rack to a four-post rack and adds even more versatility.

Features of the ER-148 19-inch Headend Equipment Rack include:
• Rail Height – 48 inches
• 400 lb. load capacity
• EIA Compliant
• 27 Rack spaces
• Standard 10-32 threading
• Includes 32 rack screws
• Steel construction
• Black static resistant powder coat finish
• MSRP: $169.95

Features of the ER-148-4PKIT Expansion Kit include:
• Standard 10-32 threading in expansion posts
• Steel construction
• Black static resistant powder coat
• MSRP: $111.95

“Now shipping, the ER-148 and ER-148-4PKIT are durable and practical solutions installers have come to expect from Video Mount Products,” Fulmer concluded.

For more information on the ER-148 and ER-148-4PKIT, 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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Multi-Platinum Engineer Young Guru Profiled In AES Convention Doc

NEW YORK: Multi-Platinum engineer/producer Young Guru was highly visible at the recent 133rd AES Convention in San Francisco. In addition to participating in the SRO Platinum Producers/Engineers Panel with super hit makers Jack Douglas (John Lennon, Guns N’ Roses) and Narada Michael Walden (Aretha Franklin, Whitney Houston), he also made an impressive presentation at the Convention’s highly successful Project Studio Expo.

A prolific producer/engineer/A&R wizard, Young Guru has amassed credits for more than a dozen Platinum hip hop classics including Jay-Z’s The Black Album, Life & Times of S. Carter, and The Blueprint; Kanye West’s The College Dropout; Ghostface Killah’s FishScale; Nellyville, Drake’s Thank Me Later and Beyonce’s Crazy In Love. In 2011 he was a Grammy nominee for his work on the Alicia Keys/Jay-Z Empire State of Mind smash hit.

A highlight clip of Young Guru’s AES Convention experience may be viewed at:

http://www.aes.org/blog/2013/2/young-guru

With over a decade of Grammy-winning projects for Roc-A-Fella and Def Jam Recordings, Young Guru is committed to sharing his knowledge, and experience. He lectures extensively, and has established the Young Guru Scholarship Fund for students pursuing careers in Communications, Audio Engineering, Music Education and Music Business.

Photo: Young Guru at 133rd AES Convention

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About Young Guru Revered as “The Sound of New York,” Young Guru has over a decade of experience in sound engineering, production, and A&R for the acclaimed Roc-A-Fella Records and Def Jam Recordings. Most recognized for shaping some of the biggest talent in hip hop, he has mixed 10 of Jay-Z’s 11 albums, and officially became Jay-Z’s tour DJ in 2010. For more information on Young Guru visit: www.djyoungguru.com

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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