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Archive for April 11th, 2013

SYMETRIX TEAM FEEDS THE HUNGRY

SEATTLE, WASHINGTON – APRIL 2013: Symetrix is recognized worldwide as one of the leading manufacturers of high-end professional audio solutions. What most audio professionals don’t know is that the company also has an ongoing program in place to provide up to two hundred meals each month for local families in need. The Symetrix team orders supplies, assembles sack lunches, and delivers them to local food banks and shelters. “Sometimes a good meal can make all the difference and we feel it is important to share our good fortune with others,” said Symetrix CEO Paul Roberts.

There is a great team-building aspect to the mission, as well. Symetrix employees gather together from all departments of the company and participate in packing the lunches and having fun interacting. “It’s fun to help others and to get to know the people we work with a little better,” said Mark Ryals, Symetrix marketing coordinator.

This project started more than ten years ago when a Symetrix employee had an extra holiday ham and decided to turn it into sandwiches for the homeless. After making sack lunches as a family project for several years, the Chairman of Symetrix, Dane Butcher, suggested bringing the project into the company. The response from the Symetrix employees was tremendous and ‘many hands make light work’ has made it easy for us to continue with this important work on an even larger scale.

ABOUT SYMETRIX Symetrix engineers high-end professional audio solutions, specializing in DSP hardware and software. Symetrix products are distributed worldwide, and designed and manufactured in the U.S. at the Seattle area headquarters. Since 1976, customers have enjoyed the benefits of Symetrix’ independent ownership and management. For more information on Symetrix professional audio products, please visit www.symetrix.co or call +1 (425) 778-7728.

DANLEY LOUDSPEAKERS: A PERMANENT SOLUTION FOR BUFFALO STATE STUDENT UNION

BUFFALO, NEW YORK – APRIL 2013: For over sixty years, the Campbell Student Union has been the central campus venue for meetings, relaxation, and events at Buffalo State, the State University of New York. To keep pace with the shifting needs of its students and to take advantage of new technologies, the university secured funds for a $6 million renovation. The centerpiece of the renovation is a vastly improved social hall, where approximately four hundred people can attend a huge diversity of events, from national touring rock bands to fashion shows and from performing arts to lectures. Even roller skating is on the list! Prior to the renovation, Buffalo State rented a PA for the space whenever it was needed at great expense and with imperfect results. Now, a permanent sound reinforcement system comprised of Danley Sound Labs loudspeakers and subwoofers delivers any kind of program material with fidelity and punch.

AVL Designs of Penfield, New York designed the system. “Several people at the school had their hearts set on a line array solution when we first became involved in the project,” said Seth Waltz, owner and chief designer at AVL Designs. “Of course, I want to provide them with the best sounding, most durable solution available. I felt that a Danley system would be best in that regard, but I also knew it would be financially smarter than a line array. To help persuade them, I sent a Danley loudspeaker for a demo. A few days later, I received their short but telling reply: ‘Yeah, we’re fine. We don’t need a line array.’ Once you hear it, you can’t really argue with Danley’s sound quality.” Operating out of its Rochester, New York office, Ronco Specialized Systems handled the installation.

For concerts, DJs, plays, and other stage-based or high-volume events, Waltz designed a stereo system, with identical clusters flown above either side of the stage. Within each cluster, a Danley SH-60P and a Danley SH-50P merge their coverage patterns to provide an even blanket of sound to the main floor. Additionally, each cluster contains a Danley SH-95P for downfill. All six boxes make use of Danley’s optional self-power. Two Danley DBH-218 subwoofers provide abundant bass from either end of the stage. “We had originally designed the system with four DBH-218s,” said Waltz. “But after hooking up just two, we knew four would be complete overkill. With just two, we could deliver a tremendous amount of clean, amazing bass.”

“Our technicians love working on Danley projects,” said Al Colucci, account manager at Ronco Specialized Systems. “Their loudspeakers and subwoofers sound great, and the people at Danley are easy to work with. The pattern control is excellent and as advertised.” Waltz added, “We started incorporating Danley into our designs about three years ago, after hearing them at InfoComm. They are, hands down, the most natural-sounding vocal boxes we’d ever heard. And not only do they sound great, they require little EQ and translate a wide range of musical styles well.”

For dinners and lectures, Waltz specified nine Danley SH-100s, which are distributed around the room and fire straight down. An eight-channel Ashly ne8250 amplifier powers them (with two SH-100s tied together on one of the channels). “When we were tuning the system, I had someone walk around with a Countryman headset microphone,” said Waltz. “For the first time ever in my experience, we didn’t need any filters. The distributed system sounded even and natural right out of the box.”

An Ashly ne24.24M processor handles all of the input and loudspeaker conditioning. “I put an Ashly processor in almost every job I do,” said Waltz. “In terms of functions per dollar, Ashly can’t be beat. And the audio path is clean and nice sounding, which is of course critical. Here, it handles all of the system equalization and dynamics.” An APB DynaSonics console provides a versatile analog front end, and a collection of Shure and Countryman microphones supply the primary inputs.

Recently, Buffalo State celebrated the completion of the Campbell Student Union renovations with a ribbon-cutting ceremony attended by university officials, state lawmakers, faculty, and students. Multiple events, including a live band and a fashion show, demonstrated the new system’s ability to work across styles for maximum effect.

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology. www.danleysoundlabs.com

PLEASE STOP BY AND SEE US AT INFOCOMM BOOTH #143, DEMO ROOM #W203B

Dealers Name AVAD 2013 Industry Leader in Tech Support, Website Functionality and Shipping Freight Programs

Custom electronics distributor takes top honors in CE Pro’s Quest for Quality Awards

LOS ANGELES, Calif. – April 1, 2013 – AVAD LLC, the leading provider of innovative solutions to the residential and commercial custom installation markets, has been awarded the top honor, a Platinum Award, in three specific categories–Tech Support, Website and Shipping–based on the results of the 2013 CE Pro Quest for Quality Awards. The renowned distributor is the biggest recipient of distributor honors this year with awards in five of the six categories, also winning Gold Awards for Training and Sales/Marketing Assistance.

The CE Pro Quest for Quality Awards, which is now in its third year, honors manufacturers and distributors based upon results of a readership survey conducted by CE Pro in early 2013. Looking beyond products, the survey contained open-ended questions and asked respondents to evaluate the quality of services provided by the manufacturers and distributors within the industry.

“Far exceeding the norms of a customer service team behind a 1-800 number, AVAD has always sought to put together a full package of value-added benefits to enable our dealers to grow their businesses,” said Jim Annes, vice president and general manager of AVAD. “Our dealers put in long hours, and we want them to know that AVAD is there when they need us for help designing, configuring shipping, and beyond. The success and growth of our business is dependent on the success of our customers. AVAD will continue to invest in services that enable our customers to grow and be industry leaders.”

While many distributors rely on third-party technical support, AVAD has invested in its dealers’ business by providing an in-house team of product and systems experts that make up the service team that is now Platinum award winning two years running. Whether they’re in the office or the field, AVAD offers support tailored to all of a dealer’s needs, from solution design to post sales support.

At the AVAD website, www.avad.com, dealers can find resources on AVAD events, current promotions, product information, brands and information on AVAD’s national freight policy, which enables customers to pick up, ship or fast track orders as necessary to streamline their operations and timelines.

AVAD University’s educational programs, acknowledge with a Gold award in 2013, have long been recognized as one of the leading training programs in the industry and previously won a Quest for Quality Platinum Award in 2011 and 2012. Held throughout North America at AVAD branches, as well as online, these educational programs are tailored to increase dealers’ industry IQ and business acumen, allowing them to stay a few steps ahead of the competition. Online and classroom product and business training, technical certification and complete system coursework is offered at the convenience of the dealer to accommodate their schedule.

Earning the second Gold award, AVAD’s sales and marketing efforts are customer-focused to raise dealer awareness of a continuum of promotions and incentives that are designed to make it easier to do business in the industry.

For more information on AVAD, please visit http://www.avad.com in the US or http://www.avadcanada.ca in Canada. Connect with AVAD on Facebook, Twitter and YouTube for news on the latest promotions and news.

About AVAD LLC
As part of the Specialty Solutions Division, AVAD, a wholly-owned subsidiary of Ingram Micro, provides integrators access to the industry’s top products and integrated solutions for residential and commercial video, audio, lighting control, content management, whole-home and business automation and control, as well as digital signage and commercial solutions and design services. AVAD offers the broadest consumer electronics and home and business automation portfolio in North America. Further differentiating its services, AVAD invests in the business tools and technical support and services integrators need to grow their businesses. With 24 locations throughout North America, AVAD offers local, hands-on access to the latest products and trainings, as well as free support services including system design and technical support.

About CE Pro
CE Pro (Custom Electronics Professional) is the leading trade publication for businesses that specify, install and integrate technology for homes and light commercial, including audio, video, automation, security, lighting controls, energy management, motorized shades, assistive devices and more. CE Pro magazine is published in print, and as a digital issue. Leading industry Web site CEPro.com generates roughly 700,000 page views per month. CE Pro can be found at http://www.cepro.com and on Twitter @ce_pro.

Snell Partners With Danmon Svenska AB and Twentyfourseven to Deliver Groundbreaking Distance Outside Broadcasting Service

Snell’s Kahuna 360 Switcher, IQ Modular Solutions, and Sirius Routers to Drive Production Company’s New Service Offering Low-Cost Alternative to Mobile Production Vehicles

READING, U.K. — April 11, 2013 — On the show floor at the 2013 NAB Show today, Snell announced that it has formed a three-way partnership with its Swedish reseller, Danmon Svenska AB, and Twentyfourseven, one of Scandinavia’s largest providers of production and broadcast services and equipment. Through Danmon Svenska, Snell has sold a suite of its next-generation Kahuna 360 production switching, IQ Modular, and Sirius routing systems to Twentyfourseven for its upcoming Distance Outside Broadcasting (DOB) service as well as for two new fixed control rooms.

Twentyfourseven has recently announced its DOB service to provide broadcasting clients with a high-quality, lower-cost contribution alternative to expensive and high-maintenance mobile production trucks and equipment. With DOB, broadcasters are able to produce live international sports and other multi-camera productions from a single control room with full signal and communication control and no degradation in video quality. Through its partnership with Telia Sonera International Carrier, Twentyfourseven provides a fiber link from the broadcaster’s remote set to the control room at unlimited distance and with low latency.

“Twentyfourseven’s DOB service is truly groundbreaking because it not only reduces broadcasters’ production costs and gives them tremendous flexibility for producing multiple remote, live events, but it also offers the potential for ‘greener,’ more environmentally friendly operations,” said Tim Banks, global sales director, Snell. “DOB is one more example of Twentyfourseven’s thought leadership and visionary thinking in the field of distance live production and broadcasting, which aligns well with Snell’s technological capability and product solutions.”

The DOB service successfully completed a proof-of-concept exercise last summer during the London Games, when Twentyfourseven provided a remote workflow solution for one of its leading broadcast clients that linked the broadcaster’s London studio with its control room in Stockholm. The fully deployed service will be available to Twentyfourseven customers by summer 2013.

“Snell and Danmon Svenska are the ideal strategic partners to help us successfully launch our DOB service. Snell broadcast infrastructure equipment is well-known for being future-proof and highly flexible, and Snell is leading the way on emerging technologies such as 4K and fiber for long-distance signal transport,” said Kent Lundgren, CEO, Twentyfourseven. “With Snell, we know we have chosen a trusted partner to provide the technology infrastructure for this highly strategic new offering.”

More information about Snell’s full broadcast infrastructure product line is available online at www.snellgroup.com.

# # #

About Twentyfourseven:
Twentyfourseven delivers technical solutions for TV, film, sports, and event productions. The company provides its customers with the knowledge and equipment they need to succeed with their productions, at any location in the world. Twentyfourseven was founded in 1996 and today operates in Sweden, Denmark, Norway, and Finland. In its years of business, the company has built an invaluable knowledge base of production expertise in challenging environments and with extreme climate conditions. For more information, visit www.twentyfourseven.se.

About Danmon Svenska AB:
Based in Stockholm, Danmon Svenska AB is one of four companies within the Danmon Group in Scandinavia. The company is a distributor of professional video and audio equipment and represents some of the world’s most distinguished broadcast manufacturers. Danmon Svenska supplies single products or complete turnkey systems with a philosophy to provide the highest levels of technical pre-sales advice and after-sales support. For more information, visit www.danmon.se.

About Snell:
Snell is a leading innovator in digital media technology, providing broadcasters and global media companies with a comprehensive range of solutions for creating, managing, and streamlining the distribution of content for today’s multi-screen world. Specializing in TV Everywhere and Live TV applications, Snell provides the necessary tools to transition seamlessly and cost-effectively to 4K UHDTV, file-based, and 3Gbps operations, while enabling broadcasters to monetize and deliver their media assets across multiple distribution platforms. Headquartered in the U.K., Snell serves more than 2,000 broadcasters, post facilities, and global media companies in more than 100 countries through its worldwide team of sales and support personnel. More information is available at www.snellgroup.com.

All trademarks mentioned herein are acknowledged as property of their respective owners.

Photo Link: www.wallstcom.com/snell/Danmon-Twentyfourseven.zip

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DiGiCo/Optocore System Streamlines Complex 2013 TED Conference

Leading thinkers and doers from around the globe recently gathered in Long Beach, California, for the annual TED Conference. The topical event, which was held February 25-March 1, 2013, was structured around a theme: “The Young. The Wise. The Undiscovered.”

The fast-paced format of 50+ TED Talks and musical performances presented a dizzying array of talent exploring science, business, the arts and global issues facing our world, and introduced attendees to people who are collectively shaping the future. The production was recorded live, simulcast throughout the Long Beach Performing Arts Center and a satellite location in Palm Springs, and also mixed down for broadcast via webcast to a worldwide audience.

McCune Audio TED Crew: Pete Bender, project manager, McCune; Nick Malgieri, monitors/head of audio (SD10); Erik Sandberg, Front of House mixer/System Tech (2x SD10); Louis Adamo, assistant broadcast mixer/Pro Tools (SD5); Bill Knight, head broadcast mixer (Stage Tec Crescendo fed via MADI from SD5); Matt Chavez, grounds mixer (SD8-24); John Wolcott, Technical stage manager; Chris ("Crimson Avenger") de la Fuente, wireless mic wrangler; David Roth, RF/asst com; Mike Breckenridge, com/asst RF

McCune Audio/Video/Lighting, one of the oldest and largest rental/sound service companies in the country, has been handling TED’s production since the first Conference was held in 1984. McCune is responsible for cameras, live sound/broadcast mixes, amplification, graphics and video projection, and simulcast.

For the 2013 event, McCune’s Nick Malgieri, with cooperation (and console support) from Hi-Tech Audio’s Louis Adamo and freelance FOH engineer Erik Sandberg, undertook the massive task of retooling the audio footprint to handle the ever-growing demands of the multifaceted conference. The decision to go with an all-DiGiCo/Optocore network offered speed, flexibility and a streamlined infrastructure for the elaborate production. Preproduction alone for the event took nearly a week.

The overall audio system was comprised of two SD10s for FOH, an SD10 for monitors, an SD5 that handled live music mixes for broadcast, an SD8-24 for submixing/distribution, four D racks, and an SD-Rack for all I/O, complemented by an extensive, 12-zone Meyer PA and McCauley wedges.

“The TED Conference is the most technically challenging project that I’ve ever had the privilege to be a part of,” says McCune Project Manager Pete Bender, who has been involved since TED3 back in 1992. “It has become the conference by which all others are measured, and every year they raise the expectations on content and quality. There is such a wide variety of content, and so many different audiences and recording needs that need to be managed, that it requires an extremely flexible audio system. The DiGiCo and Optocore system was an enormous improvement over previous years. The flexibility of the networked DiGiCo consoles, as well as the Stage Tec console in the TV truck, gave us the ability to route submixes and outputs to virtually any location on the stage or in the truck. This streamlined the system and allowed the engineers to respond to every last-minute request that we could possibly throw at them. And we threw them a lot. Additionally, the fiber network contributed to savings in time and manpower on both the install and strike days.”

At FOH, a pair of side-by-side DiGiCo SD10s helmed by Erik Sandberg handled the live audio mix—approximately 200 inputs, including 26 channels of wireless, 24 channels of stereo playback devices (primarily video sources), 48 inputs allotted for guest artists and bands as well as a number of submixes for the other consoles.

One SD10 was set up specifically for the corporate production inputs, while the other managed all the live music inputs. A third monitor SD10 console was housed in a rolling road case and wheeled on and offstage to accommodate six ear mixes and a dozen wedge monitor mixes, as well as backstage monitors and production monitors. At FOH, a D Rack handled all FOH inputs and outboard gear inserts, and an additional two D racks at the A2 position onstage handled production inputs such as wireless mics and outputs to the PA system or monitors. An SD-Rack in video world served all of the I/Os, and a fourth D rack was mounted in the thrust staging to manage on-the-fly presenter and artist inputs, mainly for the musical performers.

“As we started doing rehearsals, I was able to cover all my bases with this setup and jump between the two consoles,” says Sandberg, who has handled TED’s FOH for the past eight years. “I had the console split with mics on the left bank and playback devices on the right – with a show this fast-paced and complex, it’s important to keep the structure of the consoles as simple as possible. On the production console, I pretty much ran it from one snapshot and relied instead on presets for each presenter’s EQ. On the music console, every act had its own snapshot. Often bands will show up [at the conference] with their own engineer, and it made life easier to have a separate console so that they could check PFLs, and check channels before they went on. I had it set up like a typical nightclub system, simple and similar to what they’re all accustomed to: kick, snare, hat, rack, floor, right down the line, effects and delay. We had two foldback lines from FOH but a vast majority of onstage monitoring was done backstage by Nick [Malgieri].”

The show consisted of 26 channels of wireless; the first 12 were DPA 4088 headset mics. “TED is known for using the headset mics,” Sandberg explains, “and it’s become part of the look of the TED Talks. The DPAs worked well for that. We also had a series of handheld mics that floated around the audience for Q&As. Onstage, there were five rolling podiums with audio that presenters could plug into with their laptops, plus there was an incoming feed from Palm Springs via Polycom. A lot of playback originated at FOH and I was able to send that as a console send into the network. This made it really easy for everyone to customize their inputs based on what they needed. In the past when we’ve had analog splits, it’s been a challenge because I’d end up with more inputs at FOH and I’d have to do separate snake runs to all the other consoles so they could get what I was getting. It’s one of the reasons we decided to go with the DiGiCo/Optocore network—and it’s made a big difference. It sounds good and it’s easy to use and flexibility is key. Setup time was a fraction of what it used to be.

“The SD10 is a very easy console to navigate. The surface is extremely intuitive, so I was able to organize the desk the way that made sense to me from where I physically sat; I was able to put anything I wanted anywhere, which was invaluable. I was able to put all headset mics on the left side of the console near the Dugan auto mixers, which I inserted on all the channels for panel discussion or multiple mics. They helped to get a clean, lower noise floor. I used a WAVES server on the production console. The plugin was a WNS Noise Suppressor that I inserted into each of my headset mics. It’s a giant, wooden and very reverberant room; the plugin helped knock down reverb. I relied on those noise suppressors quite a bit and they certainly help with intelligibility.”

Backstage, Malgieri found that the Optocore network allowed his monitor console to be mobile and also cut down the amount of gear needed to do the gig. “All risers, band equipment, scenery, grand piano, and whatever else they decided to put onstage went in and out through there, so real estate was a really big deal on stage left,” he explains. “Not running copper snakes this year was huge, and was another benefit of the DiGiCo consoles because I got rid of three split racks and a rat’s nest of cable. We’ve shrunk the footprint from about 50 feet down to half that, to sharing mic pres, no splitters and a lot of fiber—and I was able to leave six to eight large boxes at our warehouse. Also, we used to have this enormous hod [bundle] of cables, and it was a 12-guy, eight-hour ordeal to pull it through the PVC conduit to FOH… This year, with just the two fiber cables and two guys, we were able to save a lot of labor and man-hours. And because I was able to keep the monitor desks tethered down to a loom, it was easy to roll on and offstage for soundchecks. We only had one-and-a-half hours between sessions and, in that time, we had to rehearse four speakers and soundcheck a band in 20 minutes.”

In addition to mixing wedges and in-ear monitors for all the bands and presenters, Malgieri handled Announce from the truck for monitors onstage and off. “I was like the production switchboard for anything around the stage,” he laughs. “Anyone that showed up and needed a temporary speaker, that was me. The stage Announce output from the trucks’ communication system came in and through some creative sidechain-ducking programming I built a Program Interrupt to the backstage monitors, which were time-aligned to the video monitors but fed from the FOH mix, not the broadcast mix. So when anyone was speaking from the truck it cut the monitoring to all the backstage monitors like a TV studio. The flexibility of the console allowed me to do that. I can’t think of any other console that’d allow me to do that in the same way. Another huge thing was that I was able to program a macro to undo that interrupt function without having to get back into my layers and figure out the complicated routing and processing I did. One button press undid it and I didn’t have to think about it on the fly. I just hit the button as an emergency bailout.”
Situated between the venue and the truck, an SD8-24, run by mixer Matt Chavez, with optics on optical loop, served as a distribution hub, routing to lobbies, tents, the plaza, the loge and the balcony. It also broadcast TED’s Walk-in Music at the beginning of each session, and controlled the announcement system that covered the entire venue.

Inside the mobile truck, an SD5 run by Adamo served as an interface between the venue’s audio consoles and truck, running more than 200 I/Os. All channels from the venue were routed over Optocore into the truck and were tied into the main broadcast console via MADI. Additionally, Adamo mixed the musical acts and sent them to the truck, and multitracked to a 128-channel Pro Tools rig via two MADI streams.

A few of the conference highlights were the Kinshasa Orchestre Symphonique (introduced by Ben Affleck), a choir that consisted of 100 members onstage and many more coming in via 32 live Skype feeds, Amanda Palmer and her punk rock ukulele, and Wang Li, the extraordinary master of the Jew’s harp. “The awesome DiGiCo EQ shined during the Jew’s harp performance,” Sandberg recalls, “as he was going for loud volume, which (surprisingly) really put my subs to work. There were lots of small notches under 80hz! The Optocore network was amazing. Because we used very little copper this year, we never had a problem with strange buzzes and hums that have popped up during install and rehearsals in years past. Also, the ability of all five consoles to grab any and all inputs was invaluable. All in all it was great, and DiGiCo shone as expected.”

“The system worked fantastically,” Malgieri adds. “We had no failures or issues; no hums or buzzes. This year was the easiest TED conference so far, due in large part to the DiGiCo/Optocore system. It was also the fastest load-out in the history of the show… by a lot! Every year TED gets a little bit bigger and they request a new technology or infrastructure. Every year, with new changes, we add more gear to our inventory to keep up with the changes, and it’s grown at just the right pace so that we can keep up. This gig ended up raising the expectations for our other clients because they see the benefits of the new gear and systems we’re adopting and implementing. This is the first time I’ve done more than two consoles on an Optocore network so anytime this scenario ever comes up again, it will become a new standard for a large McCune show.”

Cerwin-Vega! Introduces P-Series at Musikmesse/Prolight + Sound 2013

Powerful, portable speaker system with legendary Cerwin-Vega! Bass

Cerwin-Vega!® introduces its new P-Series professional PA system at Musikmesse/Prolight + Sound 2013 (Hall 5.1, Stand B65). Comprised of two active speaker products, the P1500X and the P1800SX, this latest offering delivers a new standard in power and bass punch, suited for any sound reinforcement application, from live concerts to public speeches.

The heart of the P-Series is the P1500X, a two-way, bi-amped, full-range bass-reflex speaker. It employs a 15-inch woofer and high-frequency compression driver, powered by a custom Class-D amp. With a rating of 1500W, the P1500X is the most powerful PA product in its price class. A proprietary hemi-conical horn provides enhanced sound clarity over an even and wide coverage area. A built-in mixer with I/O connections allows for simple and fast setup, while enhanced EQ, VEGA BASS boost and high-pass filters enable exact tuning and exceptional performance for any event. The P1500X is a versatile product that can be used as a single speaker for a small venue, set in pairs for a larger venue needing more coverage and SPL, or side mounted as a floor monitor for a band.

The P1500X’s lightweight, robust polymer enclosure includes a two position pole cup with an adjustable mounting point, as well as comfortable ergonomic handles. These features provide users with versatility and comfort. Built-in rigging points and remote volume port make the P1500X ideal for suspended installation.

The muscle of the P-Series is the P1800SX, a powered subwoofer, employing an 18-inch woofer with a custom 2000W Class-D amp. The large woofer and amplifier are enclosed in a hardwood cabinet, the combination of which provides a high level of bass punch and extreme low-end response, both Cerwin-Vega! trademarks. Like the P1500X, the P1800SX has frequency-shaping controls, a VEGA BASS boost and a high-pass filter switch (as a built-in crossover). This ensures that the user has the right amount of bass for a particular venue. While designed for use with the P1500X, the P1800SX can be used for bottom-end extension with competitive products. Additionally, the THRU and MIX output options allow for system expandability and fast daisy-chain connections between components.

The suggested list price for a P1500X is $1199 USD and the P1800SX is $1499 USD.

About Cerwin-Vega!
Cerwin-Vega!, part of the new Gibson Pro Audio division, is a leader in the design, manufacture, and distribution of loudspeakers for the home and professional audio markets. Designed in the pursuit of dynamic, accurate sound reproduction since 1954, Cerwin-Vega! products are distributed throughout the world via a network of distributors and dealers in more than 75 countries. For additional information on all Cerwin-Vega! products, please visit us online at www.cerwin-vega.com.

About Gibson Guitar Corp.
Gibson Guitar Corp. is known worldwide for producing classic models in every major style of fretted instrument, including acoustic and electric guitars, mandolins, and banjos. The Gibson Les Paul Guitar is the bestselling guitar of all time and is a tribute to the late, famed musician of the same name. Collectively, the Gibson Robot Guitar, Gibson Dark Fire, Gibson Dusk Tiger and the Gibson Firebird X represent the biggest advances in electric guitar design in more than 75 years. Through the Gibson Foundation, Gibson Guitar Corp. has become equally known for its philanthropic efforts on behalf of music, education, health and human services. Founded in 1894 in Kalamazoo, MI, and headquartered in Nashville, TN, since 1984, Gibson Guitar Corp.’s family of brands includes Epiphone, Dobro, Kramer, Steinberger, Tobias, Echoplex, Electar, Flatiron, Slingerland, Valley Arts, Maestro, Oberheim, Baldwin, Sunshine Piano, Take Anywhere Technology, J&C Fischer, Chickering, Hamilton, Wurlitzer and Gibson Pro Audio. Visit Gibson’s website at www.gibson.com. Follow Gibson Guitar at www.twitter.com/gibsonguitar and www.facebook.com/gibsonguitar.

Clear-Com Announces New HelixNet Network Linking At Prolight + Sound 2013

Extended Digital Partyline Communications Offer More Capabilities and Options

FRANKFURT, APRIL 11, 2013 ─ Clear-Com®, a global leader in critical voice communications systems, will unveil version 1.1 of the HelixNet™ Partyline Intercom System to the live sound community at Prolight + Sound 2013 (Hall 8.0, Stand L51). Included in this new product release is a system-linking capability, allowing users to cost-effectively and efficiently extend their digital partyline intercom communications over a network to multiple production spaces.

The HelixNet Partyline Intercom System is the industry’s leading digital network partyline intercom, combining the simplicity of a traditional analog partyline intercom with the advanced network management capabilities of a matrix intercom. Because it uses a single-pair shielded cable for supporting all audio channels, program audio and power for beltpacks, it is ideal for live sound applications that require quick setup and configuration.

Expanded functionality under version 1.1 includes the ability to link up to five HMS-4X Main Stations via Ethernet and support up to 100 HBP-2X Digital Beltpacks to build larger and more sophisticated partyline intercom systems. With the linking function, users significantly expand the channel count on their intercoms. They can now select from up to 20 partyline channels and five programs by simply dialing up the channels they need on their beltpack. Since all these channels are running off a single mic cable, users no longer need to physically re-locate several cables for new configurations, utilize expensive source-assign equipment, or rely on multiple power supply units.

Up to five Main Stations are connected via the new HLI-ET2 Ethernet Module in HelixNet’s station-to-station networking. The Main Stations can connect directly over fiber or through a LAN using standard IT switches. A new HLI-FBS Fiber Module is also available for linking stations over long distances. The Fiber Module has two fiber ports using SFP modules for simple exchange of fiber transceivers. It also allows linking to four other Main Stations in a fiber daisy-chain. The standard connection is Single-Mode, with Multi-Mode offered as an option.

“With HelixNet Partyline 1.1, production teams are able to take advantage of a decentralized, distributed intercom architecture in a theater or concert venue,” says Simon Browne, Clear-Com’s Director of Product Management. “Regardless of their location, electricians, stage managers, carpenters, lighting and audio technicians and any other digital or analog beltpack user can utilize HelixNet over an IP connection to quickly connect and communicate to other crew members. On top of this improvement in workflow, this new version of HelixNet easily integrates with other wireless or two-wire systems to create a complete intercom setup. ”

About Clear-Com®
Clear-Com, an HME company, is a global provider in professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analog & Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.

134th AES Convention Rome – Sound for Pictures Track

Skyfall Music Production – Moscow’s 1st Atmos Theater – Critical Standards

ROME: “The early filmmakers classic term ‘MOS’ is virtually obsolete,” states 134th AES Convention Chairman, Umberto Zanghieri. “Most audio produced today is directly associated with cinema, TV, Internet, streaming broadcasts, video games, and mobile. It is almost inconceivable to imagine pictures ‘Mit Out Sound.’ This Convention’s Sound For Pictures Track Chair, Brian McCarty, has developed a particularly compelling program of Papers, Tutorials and Workshops,” Zanghieri adds.

Scheduled for May 4-7, 2013 at Rome’s Fontana di Trevi Conference Centre, the Convention will explore emerging trends in 3-D Sound, Large Room Reproduction Systems and Acoustics. Leading international and Hollywood-based sound mixers and designers will discuss techniques and critical standards issues facing today’s sound for picture professionals.

Sound For Picture Track Presentations Include:

Music Production For Film: Presenter, Simon Franglen – Co-producer of the main theme song from Titanic with Celine Dion, Franglen has been an integral collaborator on the music production of such blockbuster hits as: Avatar, Spiderman, and Skyfall. Utilizing clips from all three films, Franglen’s Tutorial will illustrate the construction of a film soundtrack from inception, temp track and recording through final mix.

Design and Construction of The First Atmos-Equipped Dubbing Theater: Presenter, Philip Newell – Prolific author, and 35-year veteran designer of such celebrated studios as The Manor and Townhouse, Newell’s book “Recording Studio Design” (2003) is considered the definitive guide to a successful project. A Fellow with the Institute of Acoustics – Newell’s Workshop will document his latest cinema sound project, construction of the first new, Dolby Atmos Theatre in Moscow, finished just weeks ago.

Multichannel Immersive Audio Formats for 3-D Cinema and Home Theater: One of the most well attended workshops of 133rd AES Convention in San Francisco was a presentation by the four leading proponents of Immersive 3-D sound systems. Iosono, Auro3D, Dolby, and NHK. Representatives from all four of these pioneering companies will return to the Workshop stage in Rome to continue their discussion on the relative merits in each of their proposals.

Additional Sound For Picture Presentations will be posted on the preliminary program will be posted at www.aes.org soon.

In a related announcement, Sound For Pictures Track Chair, Brian McCarty, reports that two newly initiated AES Standards Committee projects are in development. AES-X218: Measurement and Calibration of Sound Systems in Rooms, is scoped to identify tools and procedures for measuring the performance of a loudspeaker system in a room, and support accurate, reliable calibration of this system to a specified performance. AES-X219: Method of Measurement for Frequency and Impulse Response of Sound Systems in Auditoria, is scoped to specify a method of measurement for frequency and impulse response of sound systems in auditoria. It is intended to produce a Standard, and the development discussions are expected to draw on modern measurement techniques.

Photo: Music Production for “Skyfall,” the recent James Bond blockbuster will be discussed at the upcoming 134th AES Convention in Rome in May.

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

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NEXO GEO S12 Boosts Sound in College Concert Hall

BUENA PARK, Calif.—Built originally as a private high school located in a residential neighborhood of Montreal, the school has transitioned to College Regina Assumpta, recently designing a 705-seat concert hall as part of the revitalization of the college. “An interesting feature of this project is that the concert hall is found inside a courtyard,” states Guy Desmarteaux, main designer and consultant, GO multimedia inc. “This offers the advantage of having the sound of city noise insulated. Specialized in music and dance education, the school now has a powerful tool for development and improvement.”

The Director of the College, Pierre Carle, was on a mission to make the venue a place where the sound quality could compete with the best concert halls. The team of GO professionals listened to the requirements and combining their knowledge, Carle, accompanied by the Director of the Equipment Christophe Bancilhon, and Eric Brunet, responsible for the audio-visual, worked in obtaining the desired result.

Desmarteaux was assisted by Julie Quenneville, architect and scenograph, with Simon Lemieux, Éric Berteau and Pascal Malenfant Tremblay as the consultant team from GO multimédia inc. The architectural firm for the project was Architectes Gagné & Villeneuve. Electrical and structural engineers collaborated with great ease, and always in the interest of the client, to create a professional level concert hall. “From the beginning of the project, the architects and engineers were happy to work with us to achieve a unique space,” says Desmarteaux. “The design was a team effort. The shape, volume, and parameters of the hall were the results of our discussions and proposals.”

“Technologically, it seemed normal and unequivocal to install digital,” notes Desmarteaux. “The scale of the challenge was mainly in the integration of clusters of speakers; quite a challenge to integrate the main sound system in a non-apparent way at higher proscenium.” The main PA consists of four NEXO GEO S1230, eight NEXO GEO S1210, and two RS18 Ray Subs. Three NEXO NXAMP4x4 amplifiers, allowing an active configuration, power the entire system. A set of loudspeakers provides the surround sound reproduction as well as front fills. All signal processing is accomplished using a digital controller with several adjustable settings via a control and management system using a touchpad. Solotech, Montreal, completed the system installation under the supervision of Charles Cadieux and Gilles Côté.

The clusters are installed with a charge differential between the top and bottom speakers. An important physical exercise was necessary in order to integrate them so as to sonically cover the entire audience. NEXO NS-1 software that determines the methods of possible hanging was suggesting that it was an off-standard or impossible installation. Michel Trépanier and his team at Yamaha assisted in facilitating the integration of the clusters. The optimal positioning of the cardioid subwoofers was determined after several tests and measures to match the acoustic phase and frequency response. “The sound image is an important factor not to be neglected,” adds Desmarteaux.

During the concert hall’s construction, interest was raised from internationally known conductor Yannick Nézet-Séguin. Once the project was completed, the venue’s acoustics charmed him, and a three-year agreement was signed between the College and the Montreal Metropolitan Orchestra, conducted by Nézet-Séguin, for the concert hall to be used as their practice space.

For more information on Collège Regina Assumpta, visit http://www.reginaassumpta.qc.ca.

For more information on GO multimedia inc. visit www.gomultimedia.net.

For more information on NEXO products, visit www.yamahaca.com.

-END-

About Yamaha Commercial Audio Systems, Inc.:
Celebrating 125 years of Passion and Performance, and 25 years in the manufacturer of high quality digital audio consoles, Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

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