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Archive for February 21st, 2013

NUGEN Audio Announces Stand-Alone LM-Correct Loudness Tool

LEEDS, U.K. — Feb. 19, 2013 — NUGEN Audio, creator of intuitive tools for audio professionals, has released a new stand-alone version of its LM-Correct loudness analysis and correction tool, which was originally only available as an AudioSuite plug-in. For the first time, LM-Correct is available as a file-based program, taking its speed and simplicity beyond the Avid(R) digital audio workstation (DAW) environment.

LM-Correct provides EBU R128|ATSC A/85 (CALM Act)-compliant loudness correction with unmatched simplicity, giving users a rapid two-click solution for loudness normalization and conformance.

“We created a version of LM-Correct with greatly enhanced compatibility to accommodate our customers who use editing software other than Avid’s,” said Jon Schorah, creative director of NUGEN Audio. “Now any editor can use LM-Correct to correct loudness no matter which DAW they use.”

Part of NUGEN Audio’s range of innovative and easy-to-use loudness correction tools, LM-Correct is a faster-than-real-time tool that calculates and corrects for Integrated Program Loudness and short-term maximum loudness. Uniquely, LM-Correct includes an internal true-peak limiter which transparently takes care of any intersample peaks.

LM-Correct’s settings include presets for current loudness standards, short-term loudness, overall integrated program loudness measurement and correction, maximum true-peak level targeting, and “EBU Mode.” The software also supports mono through 5.1 audio.

LM-Correct is available immediately for OS X(R) and Windows(R) operating systems. More information about LM-Correct and other NUGEN Audio products is available at www.nugenaudio.com.

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About NUGEN Audio
NUGEN Audio creates innovative, intuitive professional audio tools for high-end music producers, post-production engineers, and broadcasters. Reflecting the real-world production experience of the design team, the company’s products make it easier to deliver better quality, save time, and reduce costs. NUGEN Audio’s tools for audio analysis, loudness metering, mixing/mastering, and tracking are used by the world’s top names in broadcast, music, and audio production. For more information, visit www.nugenaudio.com.

Photo Link: www.wallstcom.com/NUGEN/LM-CorrectStand-alone.zip

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BTX to Showcase MediaMessenger(TM) Digital Signage Kit in Philips Commercial Signage’s Booth at DSE 2013

Company to Provide Visitor Support at Exhibiting Booths of Philips Commercial Signage, Net Display Systems, and Gefen

HAWTHORNE, N.Y. — Feb. 21, 2013 — BTX Technologies, a value-added distributor and manufacturer of interface, integration, and system products, announced today that it will showcase its MediaMessenger(TM) Digital Signage Kit at DSE 2013 in the Philips Commercial Signage booth 1031. In addition, BTX will be assisting visitors at the Philips Commercial Signage, Net Display Systems (NDS), and Gefen exhibiting booths, where the companies will be displaying a variety of award-winning digital signage products available through BTX. more

Waves Audio Plug-ins Process Passion 2013

Waves Audio, a leading provider of audio DSP solutions for professional, broadcast, and consumer electronics audio markets, is proud to have been the plug-in developer of choice for FOH engineers at Passion 2013. Passion Conferences, founded by Louie Giglio in 1997 “as a means of reaching the 20+ million university students in the world for the glory of God,” has become one of the world’s largest gatherings of Christian young adults. Held in Atlanta, Ga., this past January 1-4, Passion 2013 drew a record crowd of 60,000 college students representing more than 2,000 universities from 56 countries, who packed into the Georgia Dome for four days of prayer, inspirational speakers, worship and efforts to end human slavery (http://www.enditmovement.com/). WavesLive artists Jeff Sandstrom and Stephen Bailey mixed FOH at Passion 2013 using VENUE consoles (two Profile consoles at FOH and one at Broadcast) and the Waves Mercury and Studio Classics Collection bundles. Artists who performed included such acts as Chris Tomlin, Matt Redman, Crowder, Kristian Stanfill, Christy Nockels, Charlie Hall, Jesus Culture, Lecrae and Kari Jobe. Aside from the live music, the event was also streamed live and recorded for a live album, and Waves tools helped the engineers every step of the way.

Sandstrom, who has worked as FOH for Chris Tomlin, Passion City Church, Israel Houghton and New Breed, stated, “Thanks to Waves for supporting my work at Passion 2013. Waves LoAir enabled me to get great separation between the kick drum and the bass guitar, despite being in a huge space like the Georgia Dome. The ability to dial in those low frequencies really helped add clarity and definition to the bottom of my mix. Also, Vocal Rider was an ideal solution in an environment where several worship leaders sing at the same time, and back off their mic’s frequently, allowing the audience to take over. Vocal Rider takes a lot of the guesswork out of it for me, helping to automate some of those fader moves, so I can concentrate on the main vocal.”

Bailey, who mixed as FOH Engineer for Matt Redman, added, “Waves makes it easy for me to get where I want to be much faster, giving me more time to focus on the musicality of what I’m mixing.”

Visit www.waves.com and www.waveslive.com for more information.

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The Recording Academy® Producers & Engineers Wing® Announces Sponsors for GRAMMY® Week Event “An Evening Of Jazz” Honoring Multiple GRAMMY Award Recipients Quincy Jones and Al Schmitt

Audio Industry Leaders Support the Sixth Annual P&E Wing GRAMMY® Week Celebration at The Village Recording Studios in West Los Angeles

Annual Gathering Recognizes Achievements and Contributions of the Music Industry’s Production Community

The Recording Academy® Producers & Engineers Wing® will celebrate its sixth annual GRAMMY® Week event, titled “An Evening of Jazz,” honoring 27-time GRAMMY® winner and multi-talented music producer Quincy Jones and 18-time GRAMMY-winning engineer and producer Al Schmitt for their commitment to excellence and ongoing support for the art and craft of recorded music. The invitation-only event will be held on Wednesday, Feb. 6, 2013, at The Village Studios in West Los Angeles. GRAMMY Week culminates with the 55th Annual GRAMMY Awards® on Sunday, Feb. 10, 2013, airing live on the CBS Television Network, at 8 p.m. ET/PT.

Premiere sponsors of the event from the Professional Audio and Musical Instrument market sectors include industry leaders Avid®, HARMAN® Professional brands (AKG® Acoustics, JBL® Professional and Lexicon®), iriver, Iron Mountain, Music Marketing, PMC, Ltd., Presonus, Shure Incorporated, and Ultimate Ears by Logitech. Additional sponsors will be announced soon.

“The Producers & Engineers Wing provides a voice for the producers, engineers, remixers, manufacturers, technologists, and other related creative and technical professionals who work, often behind the scenes, in the recording field,” states Maureen Droney, Senior Executive Director of the P&E Wing. “This year’s honorees, Quincy Jones and Al Schmitt, are legendary in the music industry for their commitment to excellence, and we are very proud to be able to celebrate their achievements. The contributions of our sponsor partners, all of whom support the art and craft of recorded music and are dedicated to excellence in their areas of expertise, make it possible to produce this event. Thanks to them, we are again looking forward to presenting the kick-off evening for another exceptional GRAMMY Week.”

For updates and breaking news, please visit www.grammy.com, and The Recording Academy®’s social networks on Twitter and Facebook: www.twitter.com/thegrammys, www.facebook.com/thegrammys.

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Auralex® Helps Producer Glenn Rosenstein Control Sound for the Best-Selling Advent at Ephesus Album by the Benedictines of Mary, Queen of Apostles

— Producer Glenn Rosenstein faced a critical noise transmission issue when he went on location to the Benedictines of Mary, Queen of Apostles priory to record Advent at Ephesus, and Auralex® Acoustics had the exact isolation solution, allowing a perfectly noise-free recording —

Advent at Ephesus has become a true phenomenon – the recording by the Benedictine sisters of the Mary, Queen of Apostles priory – has reached number one on both the Billboard and Barnes & Noble Classical music charts and number four on the Amazon chart. These flawless recordings of traditional chants and carols, which were made at the Catholic sisters’ monastery near St. Joseph, Missouri, by Producer Glenn Rosenstein and engineered by David Schober, presented a unique acoustical challenge – one that was easily overcome thanks to a unique product from Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments and currently celebrating its 35th anniversary.

Rosenstein realized that the sisters’ remote abbey would have noise transmission issues as vibrations traveled through the wooden floors and into the microphone stands he was using to hold carefully matched pairs of Sony, Neumann and Miktek microphones. To solve the problem, Rosenstein looked to Auralex’s ISO Series™(Instant Sound Optimizers) PlatFeet II microphone stand isolation pads. The PlatFeet II are the most effective tool to “float” a microphone stand, improving clarity while reducing feedback and preventing structure-borne vibrations before they transfer to the microphone.

“I like to look for projects that are outside of my box,” says Rosenstein, whose eclectic range of work has earned him three GRAMMY® Awards, five GRAMMY nominations and both an OSCAR® and a Golden Globe award for production, engineering and mixing for artists including U2, Madonna, Talking Heads, Livingston Taylor, Ziggy Marley, James Taylor, Carly Simon and more.

Eric Smith, Auralex’s Founder & President, had stopped by Rosenstein’s Nashville recording studio several months before he was called to work on the Benedictines of Mary project. He was intrigued by the challenges of the project and proceeded to show Rosenstein Auralex’s recently expanded line of acoustical control products, including the new PlatFeet II.

“The priory is an incredible building and has a great natural sound, but I knew immediately that those Auralex pads were what I would need to make sure the microphones were completely isolated,” Rosenstein explains. “And that’s exactly what they did – the sound was recorded flawlessly, no mechanical noise at all through the microphone stands. These are products that are simple yet effective, and that I’ll be using again on projects in the future.”

Eric Smith added, “I was very eager to show Glenn our new acoustic isolation offerings. I knew he would appreciate what they can accomplish and immediately put them to good use. I am not surprised that his work on such a unique project – the Advent at Ephesus album – has turned into such a phenomenon, and I am thrilled that Auralex could help solve the recording’s special challenges.”

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

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Aphex® Model 188 and 1788A Mic Pre’s Shape the Sound of 12-12-12 Concert for Sandy Relief

— Longtime Aphex® users Music Mix Mobile (M3) choose Aphex as the backbone of the audio
system at all-star benefit —

The 12-12-12 Concert for Sandy Relief raised in excess of $30 million, according to its non-profit charity organizer, the Robin Hood Foundation, and delivered more than three hours of music by some of the biggest names in the business to a global television and streaming audience of two billion. Every single note of music performed onstage at New York’s Madison Square Garden passed through Aphex® Model 188 and 1788A eight-channel remote controlled microphone preamplifiers, provided by Music Mix Mobile (M3), the New Jersey/California-based remote recording, mixing and production company that supplied the music mixing trucks and expertise for the 12-12-12 event.

The 12-12-12 Concert for Sandy Relief featured musical talent from both sides of the Atlantic, including Paul McCartney (who performed a tune with the surviving members of a reformed Nirvana), Bruce Springsteen and the E Street Band, Bon Jovi, Roger Waters, Eric Clapton, the Rolling Stones, The Who, Kanye West, Billy Joel, Chris Martin with surprise guest Michael Stipe, and Alicia Keys. Celebrity announcers included Kristen Stewart, Billy Crystal, Chris Rock, Jon Stewart, Stephen Colbert and Jimmy Fallon, among others.

According to Pete Gary, Engineer-in-Charge, M3 fielded two trucks: “Voyager”, based on the East Coast, and California-based “Horizon”. Music mixers John Harris and Bob Clearmountain mixed alternate performances throughout the evening, aided by Jay Vicari, who mixed Billy Joel and Bon Jovi. M3 partner Mitch Maketansky was audio coordinator for the event, which was delivered to the audience at the Garden by Red Hook, NY-based Firehouse Productions and in the U.S. was broadcast over 37 television networks, live streamed from numerous web sites and simulcast into movie theaters nationwide.

“Every input that you heard on the show hit an Aphex,” stated Harris. Gary added, “Voyager had 120 channels of Aphex 188 mic pre’s, and Horizon was running 112 channels of 1788As. Our main infrastructure for the show was built around Aphex. They’re reliable and they’re clean. We didn’t want the sound to be drastically different between acts and trucks, and they don’t color the sound too much, unlike other mic pre’s, so you can do a lot with that front end. The Aphex pre’s made everything easy — like always!” says Gary, noting that M3 originally adopted the Model 188 in time for the 2009 GRAMMY® Awards broadcast, shortly after it was introduced.

At Madison Square Garden, artists were set up on a rotating turntable divided into stages A and B, alternating from one performance to the next. “We had two guys per stage dialing all of the mic pre levels independently, storing them, and making sure the recalls came back exactly as saved,” Gary continues. “When the table would turn for the next performance, we would flip over to the other truck.”

Harris observes that the recall abilities of both models of Aphex preamp were critical to the delivery of a consistent mix throughout the evening. “Over the days of soundcheck and rehearsal, once we got all the mic gains set perfectly we were able to store settings in the units. Each time the stage turned around we would hit the recall button and—boom—all the settings come back exactly the way they were stored at rehearsal. We were on the air in seconds with the exact same settings that we had from days before.” Harris further notes that every signal not only passed through an Aphex mic preamp but also through each unit’s A-to-D converters.

Gary elaborates, “All of the inputs from the stage were fed via analog splits and fanned out to our Aphex racks. We then changed the Aphex Toslink into a MADI stream and transmitted everything over fiber to the trucks. It’s the absolutely cleanest signal path that we could produce to get to the trucks 1,500 feet away, five floors down and out on Eighth Avenue. The networking protocol made it super easy to integrate into our systems and network the entire infrastructure together. On one network, from one master computer, I could view the entire network of mic pre’s from the truck, because of their TCP/IP addressing.”

Aphex CEO, David Wiener, was on hand, both in the M3 mobile studios and backstage lending support. “John, Joel, Mitch and the rest of the M3 crew did a fantastic job as usual. Their talent and mobile technology is really impressive – that’s why they do all the big jobs – and it’s a real compliment that Aphex is the backbone of so many of these major events and broadcasts.”

With so much production equipment on the deck and a constant stream of backline gear being staged for each performance, the compact size of the Aphex Model 188s, at just a single rack space per eight channels, was also beneficial, according to Harris. “As well as being so great sounding, the 188s are so small that we were able to get all 120 channels into just one corner of monitorworld there on the floor of the Garden. Sometimes it can be important to get everything into a small footprint.”

More importantly, concludes Harris, “The Aphex mic pre’s have always been 100 percent dependable. You’ve got to have that on a show where you’re broadcasting to two billion people. Aphex is the sound of 12-12-12!”

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Dream Big! HARMAN’s Soundcraft™ Vi6 Console Handles Mixing Duties for Salesforce.com’s DreamForce 2012 Meeting

SAN FRANCISCO, California — Engineer Michael Jackson of BPIAudio recently used a HARMAN Soundcraft Vi6 digital mixing console for Salesforce.com’s annual meeting at DreamForce 2012 in San Francisco.

Salesforce.com is a leading enterprise cloud computing company that offers social and mobile cloud technologies that enable companies to connect with customers in entirely new ways. The company made a big splash at DreamForce 2012, the world’s largest vendor technology conference—its annual meeting, billed as “The Cloud Computing Industry Event of the Year,” was held at DreamForce 2012 in the entire South Hall of San Francisco’s Moscone Center.

Jackson handled the front of house mixing for the meeting and chose a Soundcraft Vi6 console supplied by the Los Angeles office of multinational sound contractor Creative Technology. Maurice Dozal of Creative Technology served as the audio lead for the event.

“This event was more like a theatrical production or rock concert than a typical sales meeting with a bunch of people in a ballroom,” Jackson said. “The South Hall of the Moscone Center takes up a city block. The Salesforce.com event was staged in the round and held 14,000 people. The activities included everything from intimate conversations where the speakers used lavalier and head microphones, to motivational speakers, to DJs, dancers and hip-hop artists where the volume exceeded 105dB.”

Jackson used the Soundcraft Vi6 for all front of house duties, which included mixing the audio for a number of presentations, interactive Internet demos and other activities. “This was one of the most varied and challenging programs I’ve ever had to mix, and I had to get ready for it on a very short installation and preparation schedule,” Jackson said.

Not only was Jackson faced with a hectic program schedule, but he also had no room for error. “The Soundcraft Vi6 was a great choice for such a major sales event, where the client had one chance to make a big impression,” he said. “The Vi6 was extremely flexible and its large number of inputs and outputs were able to accommodate the extremely demanding requirements of DreamForce 2012.”

“The Vi6 sounded wonderful and performed perfectly,” Jackson concluded.

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.

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Guitarist John 5 Endorses Audio-Technica

— Currently on tour with Rob Zombie, John 5 relies on A-T’s Artist Elite® 5000 Series wireless for live performance —

STOW, OH, January 14, 2013 — Audio-Technica, a leading innovator in transducer technology for over 50 years, is proud to be endorsed by acclaimed guitarist John 5. A key part of John 5’s setup is his Audio-Technica Artist Elite® 5000 Series UHF Wireless System, which gives him great signal and free range of movement for his various performances. An in-demand collaborator, John 5 has contributed to the work of such artists as Rob Zombie, Marilyn Manson, Lynyrd Skynyrd, k.d. lang, Ricky Martin, David Lee Roth and many more.

John 5’s 5000 Series system is the AEW-5111a configuration, which includes the AEW-R5200 dual receiver and two AEW-T1000a UniPak® transmitters, with the AEW-DA660D UHF Antenna Distribution System, ATW-A49S UHF Wide-band Directional LPDA Antenna and AT-GRcW PRO Professional Guitar Input Cable for Wireless.

John 5 states, “I wouldn’t go on stage without my Audio-Technica wireless; it’s simply the best on the market. You can’t tell the difference between the wireless and a wired configuration. The performance is dependable every time.”

Roxanne Ricks, Audio-Technica Artist Relations Manager, noted, “John 5 is one of the most innovative guitarists on the scene today in any genre. He is skilled and versatile as a performer, player and writer. We are pleased that he continues to rely on his A-T 5000 Series wireless system, and we are proud to add him to our growing roster of artist endorsers.”

For more information, please visit www.john-5.com and www.audio-technica.com.

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Take 1 To Support Event Safety Alliance And Distribute The New ESA “United States Event Safety Guide” To Clients

Reinforcing the growing importance of advancing event safety to all live event producers and organizers, Take 1 Insurance, the entertainment industry’s forward looking insurance solutions provider, today announced its full support of the Event Safety Alliance (ESA) and that it will begin distributing the ESA’s new United States Event Safety Guide, which is now open for peer review and comment on the ESA web site www.eventsafetyalliance.org.

“We have all seen the horrible consequences of what can come from a live event that goes terribly wrong,” said Scott Carroll, Executive Vice President and Program Director of Take 1 Insurance. “And, while we cannot control weather or the suddenness of an unforeseen event, we can learn how to plan better for these events. This conviction led Jim Digby and other far-sighted industry professionals to form the Event Safety Alliance. Take 1 supports their efforts 100%. You can’t take a chance when it comes to safety. The consequences are simply too great.”

According to Carroll, Take 1 will begin distributing copies of the new U.S. Event Safety Guide to its clients as soon as the final edition becomes available. “We plan to include the guide, in digital form, in all of our presentations to prospective live event producing clients and we will also provide digital copies to our current clients who request it as part of our ongoing policy review and education efforts. We will also make the brochure available for download at our web site.”

Commenting on Take 1’s plans, Event Safety Alliance Executive Direct Jim Digby noted that, “We appreciate the support of Take 1 as we begin to expand our educational outreach to the live event community. All of us need to do more to be better prepared for any on-site eventuality. Our guide is one step forward in this effort and the more professionals we can get to implement the recommendations in this guide the safer all future live events will be.”

To find out more about the initiatives of the Event Safety Alliance, register to become an ESA member, and to provide valuable feedback on the new Guide, please visit www.eventsafetyalliance.org.

Take 1’s specialty program has designed inland marine coverage, among other specialty coverages for the entertainment industry, that automatically applies everywhere in the world, without the need for additional riders or endorsements. It eliminates co-insurance, thus protecting 100 percent of the insured value of the equipment covered; provides automatic replacement cost valuation; allows for separate limits in key individual coverage areas like owned equipment, equipment rented from others, equipment in the insured’s Care Custody and Control (CCC), and equipment in transit; flood coverage for equipment in transit; and blanket limits that eliminate the need for clients’ to itemize each and every piece of equipment, cable, LED panel, etc. being covered.

About U.S. Risk Insurance Group
U. S. Risk Insurance Group, Inc. (www.usrisk.com) is a specialty lines underwriting manager and wholesale broker headquartered in Dallas. Operating 11 domestic and international branches, it offers a broad range of products and services through its affiliate companies, which include U.S. Risk Underwriters, U.S. Risk Brokers, Oxford Insurance Brokers, Ltd. (London), Advocate Reinsurance Partners, LLC, and Unisource Program Administrators.

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Stampede Kicks Off 2013 Big Book of AV Tour Today in New Orleans!

The 2013 Big Book of AV Tour kicks off today in New Orleans, Louisiana, and it promises to be nothing short of a blockbuster start to the new roadshow season with the announcement that Stampede Presentation Products, Inc. is teaming up with the International Technology Rental Association (ITRA), the world’s largest technology rental association.

According to Stampede President & COO Kevin Kelly, “By partnering with the ITRA our goal is to provide their members and our manufacturer partners with an unprecedented opportunity to meet and discuss the latest Pro AV products and technologies. The ITRA is holding their annual membership meeting in New Orleans, at the Crowne Plaza Astor New Orleans, at the same time as our tour stop. By partnering with the ITRA we are therefore able to schedule an ITRA Members Only afternoon session at no additional cost to our exhibiting partners.”

According to Kelly, over the course of the 2013 BBOAV tour Stampede will partner with other vertical market associations and organizations in order to take the impact of our shows to the largest possible audience of dealers and end users. “Our goal is to expand the size of the overall ProAV market by identifying and reaching out to new vertical markets that can immediately benefit from the products and systems solutions offered by our manufacturing partners. Our commitment to expand the size of the overall market for ProAV solutions is, I believe, unmatched by any other distributor in the industry today.”

The New Orleans BBOAV event will take place at the New Orleans Crowne Plaza Astor Hotel (739 Canal Street). The regular exhibit hours will run from 9:00AM until 1:30PM. The ITRA exhibit hours will run from 2:00PM until 5:00PM, which will be followed by an ITRA Member Reception that all BBOAV exhibitors are invited to attend. To find out more about the event, and the 2013 tour season, visit www.bigbookofavtour.com.

About Stampede
Known for its value-added distribution, Amherst, New York-based Stampede is the leading distributor of presentation equipment including LCD/DLP projectors and flat panel displays. Stampede provides a complete range of brand name presentation equipment to a variety of audio/video, computer, and home theater resellers and integrators in the United States, Canada and Latin America. These resellers rely on Stampede for value-added services in distribution, marketing and solution- based sales. Stampede annually produces the “Big Book of AV,” a 1000-page catalog and companion website (www.BigBookofAV.com) providing hundreds of sales, installation and spec tips for Stampede’s dealers in addition to product details on more than 5,000 SKUs. For more information on Stampede, log onto www.stampedeglobal.com.

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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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