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Archive for May 13th, 2013

TSD Video to Represent Hybrid’s Virtual Studio and Robotic Camera Solutions in Canada

TSD and Hybrid Sign Dealer Agreement to Expand Virtual Studio Business Across Canada

Montrouge, France – Hybrid, a leading provider of real-time graphics and robotic camera systems, has entered into a dealer agreement with TSD Video—a leading systems integrator/reseller with offices in Montreal, Toronto, and Nova Scotia—to market Hybrid virtual studios and robotic camera products throughout Canada. The two companies signed the deal during the 2013 NAB Show last month in Las Vegas.

“This is a great opportunity for both companies,” said Maurice Pauzé, principal and co-founder of TSD Video. “We’re both looking to expand the market for the virtual studio business in Canada. We’re always looking to represent exciting, innovative products that can enhance our customers’ studio broadcast and production workflows cost-effectively.”

TSD Video will represent Hybrid virtual studio solutions including Krypton, Hybrid’s flagship 3D virtual studio solution with camera tracking, and the Hybrid Neon trackless 3D virtual studio solution.

Krypton is a high-end HD/SD virtual set system with a powerful realtime 3D engine. It interfaces with XYZ motion tracking devices, including opto-mechanical and pattern recognition, with no video or audio delays.

The Hybrid Neon trackless virtual studio is an affordable, user-friendly system consisting of software running on a PC. Rather than camera tracking and calibration, Neon enables virtual camera movements in realtime from fixed cameras on set. Despite its simplicity, Neon produces 3D virtual scenes that are photorealistic and anti-aliased. Both virtual studios give users the flexibility to import 3D models from popular, third party 3D animation programs.

TSD Video will also represent Hybrid’s broadcast-grade robotic camera technology, including Chrome, Silver, and Titanium robotic jibs and PTZF camera heads. These systems enable precise, repeatable camera moves and tracking—for virtual studio and special effects applications—without introducing video/audio delays or noise during use.

“We’re extremely pleased to join forces with Maurice Pauzé, Jacques Besner, and everyone at TSD Video to expand the virtual studio market throughout the country,” said Olivier Cohen, CEO, Hybrid. “We rely upon our partners to help sell, install, and service our robotic camera and virtual studio solutions. With their extensive experience and knowledge of the pro-video market in Canada, this partnership will be mutually beneficial for both organizations, as well as for customers looking for affordable, high-performance virtual studio and robotic camera tracking solutions.”

About TSD Video

TSD Video was founded in 2004 through the partnership of Tele-Syn Video Inc. and Digitec Inc. Between them, TSD Video Co-Founders Jacques Besner and Maurice Pauzé have over 50 years of experience as systems designers and integrators. As video equipment resellers, they also represent and service high-end broadcast solutions by top vendors, including Boland, Hitachi, Snell, Harmonic, Penta, Chyron, Cobalt Digital, Utah Scientific—and now Hybrid’s virtual studio and robotic camera technology. Visit the company website for more information.

About Hybrid

Hybrid is a leading manufacturer of broadcast production technologies. The company’s mission is to develop solutions and products that allow the digital media market to produce value-added content within an integrated workflow. Our product range includes virtual studio and augmented reality solutions and broadcast robotic camera supports. Hybrid consistently develops new products and solutions that push the limits of content creation while providing a clear rationalization of costs. Further information is available at www.hybridtv.tv.

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Extron Now Shipping Economical DVI Twisted Pair Extenders

Extron DTP DVI 230 SeriesExtron Electronics is pleased to announce the immediate availability of the DTP DVI 230 and DTP DVI 230 D desktop and Decora®-style twisted pair extenders. These extenders transmit DVI-D video, audio, and bidirectional RS-232 and IR control signals up to 230 feet (70 meters) over a single CATx cable. The DTP DVI 230 and DTP DVI 230 D provide an economical and effective means for extending single link DVI-D or HDMI signals. The transmitters are each equipped with a buffered DVI loop-through output to support a local computer monitor. Both models feature remote power capability of either the transmitter or receiver, and can be mixed and matched for installation flexibility.

“The addition of the DTP DVI 230 and DTP DVI 230 D to our growing DTP twisted pair extender line provides our customers with valuable tools for digital AV signal distribution,” says Casey Hall, Vice President of Sales and Marketing for Extron. “The DTP DVI 230 provides a low profile enclosure for discreet placement behind displays or beneath tables, while the DTP DVI 230 D increases system flexibility with convenient in-wall mounting that enables AV system designers and integrators to add inputs and outputs exactly where they are needed.”

The extenders support signal resolutions up to 1920×1200 and 1080p/60, and are fully compatible with HDMI signals when used with the appropriate DVI-HDMI adapters from Extron. The DTP DVI 230 and DTP DVI 230 D can transmit HDMI signals, supporting Deep Color up to 12-bit, CEC, and embedded HD lossless audio formats. They also allow a direct connection from devices with an analog stereo audio output, such as desktop computers or laptops, and provide balanced and unbalanced audio output from the receiver.

In addition, the extenders continuously maintain DDC communication of EDID and HDCP between a source and display for reliable operation, ensuring direct compatibility and optimal signal transmission between devices. The DTP DVI 230 and DTP DVI 230 D are compatible with CAT 5e, CAT 6, and CAT 7 twisted pair cable, and can be used as a point-to-point solution or integrated with a switching and distribution system to extend inputs or outputs to remote locations. Extron XTP DTP 24 shielded twisted pair cable is available for optimal performance, providing added protection from outside interference.

Dave McNair Plugs Sonnox Pro-Codec Into David Bowie’s Instant Classic “The Next Day” CD

OXFORD, UK: A mastering/mixing engineer with credits ranging from Iggy Pop and Rod Stewart to Los Lobos and Tina Turner, New Jersey-based Dave McNair most recently lent his technical and aesthetic expertise to David Bowie’s instant classic The Next Day. Warmly embraced by critics and fans alike, Bowie’s first album in ten years has accrued universally positive reviews, strong sales and, extensive YouTube viewing thanks to its avante garde look and sound.

McNair, who has worked with producer Tony Visconti, a long-time Bowie collaborator, on several previous projects, took particular advantage of his Sonnox Fraunhofer Pro-Codec on The Next Day. I’ve been using the Pro-Codec to preview encoded files in real time since it was introduced,” McNair says. “It’s become invaluable in previewing various codecs on the mastered higher resolution files for clients who will be making MP3′s or lower resolution files for digital distribution. I’ve found that the higher the bitrate, the less overs are created when making an MP3 or AAC.”

McNair uses the Pro-Codec via his Sequoia mastering rig. It enables him to hear (and visualize) exactly how an encoded file will sound. “A miniscule amount of red in the NMR (Noise-to-Mask Ratio) display in the FFT window (or, no red at all if I back the Bitstream level down) means there’s less or no audible distortion created in the encode stage,” he explains

The Pro-Codec was particularly useful on Bowie’s The Next Day album. “This recording was captured at 96kHz and also encoded for the Mastered for iTunes format.” McNair reveals. “The CD target level for Bowie was -0.6dB for the 96K session. After sample rate conversion to 44.1 kHz, it probably ended up closer to -0.1dB. Based on what I was seeing with the Pro-Codec and a later check using the Apple Mastered For iTunes software, the 96K files sent to iTunes were delivered at – 0.8dB. Overall, the Pro-Codec is a great tool. It really helps with my workflow. It was an honor and a great personal pleasure to be associated with this incredible project,” McNair concludes.

Photo: Mastering/mixing engineer Dave McNair recently worked on David Bowie’s The Next Day album.

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For detailed information on Sonnox Oxford Plug-ins please visit: www.sonnox.com

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PROFESSIONAL WIRELESS SYSTEMS FREQUENCY COORDINATION KEEPS THE PARTY GOING AT BOTTLEROCK NAPA VALLEY FESTIVAL

On-Site Technical Expertise and Support Ensures
Interference-Free Coverage for Jam-Packed Five-Day Celebration

NAPA, CA, MAY 13, 2013—When the inaugural BottleRock Napa Valley festival, a celebration of music, comedy, food and drink in California’s legendary Napa Valley, kicked off on May 9, Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, was on-hand providing frequency coordination for the more than 80 bands and performers at the event, as well as media in attendance.

In its debut year, BottleRock Napa Valley featured a lineup of more than 80 artists, bands and performers from a variety of genres, including rock, soul/R&B, country, hip‐hop, comedy and more. In addition, more than 30 iconic restaurateurs shared the culinary stage with 40 superstar vintners. Close to 200,000 people attended the extravaganza.

“With five stages and more than 800 frequencies for the week, pre-planning is key in helping to avoid any interference issues, allowing us to react to any potential frequency problems ahead of time,” says Jim Van Winkle, general manager, PWS. “As this was the first year for the event, we tried to get as much information as possible ahead of time from the vendor, artists, engineers and media so that when our team arrived on-site, we were ahead of the game. This way, we kept any potential challenges or issues to a minimum. In addition, as with any event this size, we worked closely with the audio vendor, Delicate Productions.”

PWS was brought on to support the festival by Delicate Productions and Production Manager Chris Sorlie. One of the initial concerns in planning for the event was the close proximity to one of Pacific Gas and Electric Company’s (PG&E) power stations from the festival’s stages. “We worked closely with George Edwards and Sergey Bailleul at Delicate Productions and we all did our due diligence to ensure that there would be no frequency interference or signal issues associated with the plant.”

Four PWS staff members were on-site throughout the five-day celebration. “We stationed a dedicated frequency coordination expert at each of the three stages to mitigate any issues that may have presented themselves. In addition we regularly checked in on the other two stages,” adds Van Winkle. “We also used spectrum analyzers during the festival to determine occupied bandwidth and track interference sources, putting them on a safe frequency once we located them. An event of this size is always challenging, but once again, the PWS team did a fantastic job and the show went off as expected.”

An added benefit of PWS’ frequency coordination services is its hand-on approach. Although the company was only charged with providing frequency coordination services at the festival, PWS always brings backup equipment and gear to handle any issues that may arise.

For more information, visit www.professionalwireless.com.

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The Music Industry Gathers to Remember Phil Ramone

— Visionary, producer, engineer, composer and audio technologist was remembered by his peers, his family, and artists in whom he helped bring out the best —

NEW YORK, NY, May 13, 2013 – With those in attendance underscoring the breadth and depth of a remarkable career in music, family and friends of multiple GRAMMY® Award-winning music producer Phil Ramone came together on May 11, 2013, to celebrate and honor his singularly amazing life. Ramone, who passed away on March 30, 2013, was most noted as an inspired record producer, crafting recordings that have sold into the hundreds of millions of copies for artists including Billy Joel, Barbra Streisand, Frank Sinatra, Tony Bennett, Natalie Cole, Paul McCartney, Paul Simon, James Taylor and many others. But Ramone, a classical violin prodigy who studied at the Juilliard School, was as deeply interested and gifted in the technology of music production, and it’s telling that in addition to his 14 GRAMMY Awards (out of 33 nominations) Ramone was the recipient of a Technical GRAMMY, for his many contributions to the science and art of recording. Such contributions include the establishment of A&R Recording, the Manhattan studio Ramone co-founded in 1958 that set the bar for the industry nationally; his production of Billy Joel’s 1982 52nd Street LP, the first CD album ever commercially released; the Frank Sinatra Duets series of recordings, with which Ramone pioneered recording techniques in which vocalists – in some cases thousands of miles apart – were paired in the studio via fiber-optic technology; and countless more. An early advocate of digital music technology, Ramone also founded one of the first record labels focused on digital music, N2K Encoded Music.

The event, titled Phil Ramone, Music Memorial Celebration, was held at the Centennial Memorial Temple, a landmark Art Deco auditorium inside the Salvation Army’s Greater New York Division Headquarters. The choice of venue held a particularly special meaning, since in November 2011 Ramone founded The Salvation Army Phil Ramone Orchestra for Children — the result of Phil’s lifelong dream to touch the lives of less fortunate children in challenged communities by giving them access to music education. The program currently serves children ages 7 to 12, and teaches these students how to play instruments through group and full orchestra lessons.

The event read like a Who’s-Who in the music industry. It drew a stream of luminaries who recalled Ramone’s gifts as a person and music professional, including Tony Bennett, engineer Ed Cherney (Bonnie Raitt, the Rolling Stones), Josh Groban, Dave Grusin, Billy Joel, Quincy Jones, Shelby Lynne, Matthew Morrison, Paul Simon, Kevin Spacey, Noel Paul Stookey, Nikki Yanofsky and Peter Yarrow. In attendance were family members Karen, BJ, Matt and Simon Ramone, who shared the stage and the love everyone felt for Ramone.

An all-star backup band accompanied many of the artists who performed and included such renowned musicians as Rob Mounsey (musical director/piano), Steve Gadd (drums), Bashiri Johnson (percussion), Ben Butler (guitar), Henry Hey (keyboards), Zev Katz (bass), Vaneese Thomas (background vocals) and Jill Dell’Abate (background vocals and music coordinator).

After a performance of “When the Saints Come Marching In” by The Salvation Army Phil Ramone Orchestra for Children, some of the attending artists performed songs paying tribute to Ramone. Billy Joel performed “Where’s the Orchestra”; Tony Bennett sang “Fly Me To The Moon”; keyboardist/composer Dave Grusin performed “Sun Song”; Peter Yarrow and Noel Paul Stookey (Peter, Paul and Mary) performed “Day Is Done”; Shelby Lynne performed “You Don’t Have to Say You Love Me”; actor Kevin Spacey evoked memories of Ramone’s work with Sinatra and performed a medley of “By Myself,” ”When Your Lover Has Gone” and “The Curtain Falls”; Nikki Yanofsky performed “You’ll Have to Swing It (Mr. Paganini)”; and Matthew Morrison performed a medley that included “Come Rain Or Come Shine” and ”Basin Street Blues.” Finally, renditions of “Slip Slidin’ Away” and “Fifty Ways to Leave Your Lover” by Paul Simon, and “Smile” by Josh Groban, brought the event to a gentle and wistful conclusion.

“Phil Ramone was a lovely person and a very gifted musician and producer,” said Tony Bennett. “It was a joy to have him work with me in the recording studio on so many projects, as he had a wonderful sense of humor and a deep love of music.”

Billy Joel added, “I always thought of Phil Ramone as the most talented guy in my band. He was the band member no one ever saw onstage. So much of my music was shaped by him and brought to fruition by him. I have lost a dear friend – and my greatest mentor.”

The 3-hour event was produced by longtime friend and former manager Nancy Munoz (Anami Music, Inc.), who also worked with Phil producing The Songwriters Hall of Fame Awards.

Photo File: PhilRamoneMemorial.JPG
Photo Caption: Pictured L-R, seated: Paul Simon, Quincy Jones, Karen Ramone, BJ Ramone, Simon Ramone; L-R, standing: Steve Gadd, Josh Groban, Dave Grusin, Ed Cherney, Nikki Yanofsky, Kevin Spacey, Noel Paul Stookey, Shelby Lynne, Peter Yarrow, Matthew Morrison. Photo by Johnny Richie Photography. (This photo is the property of Johnny Richie Photography and may be used by the press only for the purpose of one-time reproduction. Unauthorized use, alteration or reproduction of this photograph is strictly prohibited.)

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HARMAN’s AKG Exclusively Mics The Stage At Las Vegas Hotel As “Raiding The Rock Vault” Revisits Classic Rock In 31st Century

VIENNA, Austria – On the same stage where Elvis Presley set the Las Vegas record for consecutive sold-out shows, a collection of classic rockers from decades past are revisiting rock music 1,000 years in the future for “Raiding The Rock Vault” at the Las Vegas Hotel (LVH). Boasting “the greatest set list ever,” the show is exclusively miked with HARMAN’s AKG handheld, wireless and in-ear monitoring systems for the perfect sound to pay homage to rock’s greatest bands and songs.

Written by GRAMMY®-Award-winning producer David Kershenbaum and John Payne of Asia, “Raiding The Rock Vault” takes the audience back to Earth, which was destroyed by a meteor. A search team, whose families were saved by a lottery system centuries before, are searching for time capsules left behind by today’s humans. They quickly stumble on the “Rock Vault” and an energetic flashback ensues with music from the 1960s through the ‘90s.

The all-star rocker cast is comprised of Howard Leese [guitar] (Heart), Tracii Guns [guitar] (LA Guns, Guns n’ Roses), Robin McAuley [lead vocals] (MSG, Survivor), John Payne [lead vocals and bass] (Asia), Paul Shortino [vocals] (Rough Cutt, Quiet Riot), Jay Schellen [drums] (Hurricane, Asia), Andrew Freeman [lead vocals and guitars] (Lynch Mob, The Offspring) and Michael T. Ross [keyboards] (Lita Ford, Hardline, Angel).

A full range of AKG microphones and wireless systems are deployed throughout the entire stage. Sixteen channels of AKG DMS700 V2 wireless run through the venue for all of the guitars, which are connected through PT700 V2 transmitters. WMS4500 wireless systems are used for vocalists – 12 channels in all – with HT4500 D5 and D7 capsules for the singers and PT4500 transmitters for the four actors. Twelve channels of IVM4500 are used for in-ear monitoring, with AKG’s new HELICAL antennas for transmission.

“We’ve been impressed with the entire line of AKG, especially the wireless systems. We have a multimedia show here and AKG is the perfect choice for every application,” stated Keith Marks, production coordinator for Rock Vault. “With our intricate setup and the amount of frequency traffic in Las Vegas, the AKG systems are seamless, easy to scan and provide us with a fantastic sound. AKG makes it easy – anything you put into them will sound great!”

Lesse’s mics include two AKG D40 microphones and a D7; Guns uses two D40’s and a D7; Payne’s guitars are miked with C214’s and C4500’s, with a D7 mic for vocals; Shortino uses the HT4500 D5 capsule and McAuley and Freeman rely on the HT4500 D7 capsule for vocals.

Schellen, who mixes his own mics and in-ears for his performances, has been a member of the AKG family for 20 years. He wanted to continue ensuring his sound was nothing short of perfect when he signed up for the show. “It’s a true drum sound through the mics,” he said. “That’s why I’ve been with AKG for so long.”

Schellen’s mics include two D112’s for outer kicks, two D12 VR’s for inner kicks, six D40’s on toms, a D40 on the timbales, two C214’s for overheads and a C214 on the hi hat.

“I’ve been a lover of AKG as both a producer and performer, touring for the last 30 years, while experimenting with a myriad of other, less-impressive microphones,” stated Payne. “This show is an educational experience – a ‘rockumentary’ of sorts – and it’s important to express the significance of the music of each era with an amazingly developed sound rig. These songs are the inspiration to rock and roll and AKG has been essential, helping us pay tribute to our colleagues and friends.”

For more information about AKG, please visit http://www.akg.com and http://www.youtube.com/AKGacoustics. For more information on “Raiding the Rock Vault,” please visit http://www.raidingtherockvault.com

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of audio, lighting and infotainment solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson®, and leading-edge connectivity, safety and audio technologies. 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 14,300 people across the Americas, Europe, and Asia and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

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White Mark Designs A New Audio Facility For Extreme Music

Studio and design consultancy White Mark Ltd has completed a major project for Extreme Music to design and install an entire audio complex at the company’s new headquarters in London. The complex includes a large mastering studio, a mixing studio that can also be used for tracklaying and three self-contained audio editing suites.

Extreme Music, the production music arm of Sony ATV, was obliged to move premises to accommodate its rapid business growth.

The company’s Senior Vice President, Dan Pounder, says: “We have been growing at a rapid rate and needed more space to accommodate staff and to provide more audio facilities. Fortunately we were able to take over offices vacated by another Sony company and the move gave us the opportunity to re-design the space so that it exactly suited our workflow. The open plan design is now split between work stations for marketing and administrative staff and the audio suites. Thanks to the exceptionally high standards employed by both White Mark and BNP Paribas, which handled the design of the non-technical space, we now have a working environment that exceeds our expectations and has the wow factor we were looking for.”

The audio complex flows along one side of the building and consists of a large mastering room with natural daylight that is equipped with a Pro Tools system, PMC monitors and a range of audiophile processing equipment from Analaogue Tube, Avalon, Manley, Weiss and T.C. Electronics. There is also a secondary multipurpose room equipped with Universal Audio, Sonnox and T.C. Electronics processing with PMC monitors capable of mixing, tracklaying and mastering duties. The two rooms can work in tandem for larger tracklaying projects, with the mastering room doubling up as a live space. The complex also houses three self-contained edit suites of varying sizes, all of which are linked to a common DDP audio server in a separate machine room so that work can easily be transferred between any of the five audio rooms.

Extreme Music’s Chief Mastering Engineer Nick Cooke says: “We chose White Mark for this project because we had worked with them in the past and knew they could deliver the results we wanted. As our new premises are located in a mixed tenancy building, we had to ensure that all of the studios and edit suites were really well isolated to avoid causing noise nuisance to our neighbours. White Mark was able to completely isolate all of the rooms and ensure that the completed facilities sounded great and were acoustically accurate.”

White Mark’s previous involvement with Extreme Music involved upgrading the mastering studio in its old premises to improve the sound of the room and create more space. That project, which was completed in just four weeks in order to minimise downtime, involved the use of White Mark’s Fast Studio construction method that allows producers, composers and studio owners to build high performance facilities in far less time and at far less cost than would normally be anticipated. This unique system uses properly constructed and individually specified acoustic modules that are assembled off-site, making them very quick and easy to install. Fast Studio panels are ideal for rooms using free-standing monitors and in which there is no need for full isolation.

White Mark’s managing director David Bell says: “Although Extreme Music’s new facility required a more traditional approach to studio building to achieve adequate isolation, we were able to incorporate the company’s existing Fast Studio panels into our design for the acoustic treatment of the edit rooms.”

Established in 1997, Extreme Music is renowned for the quality of its production music and is committed to delivering an unrivalled roster of talent. Among its stable of Award-winning producers and composers are Timbaland, Hans Zimmer, Quincy Jones, Snoop Lion, Vince Clarke, Xzibit and Steve Jablonsky.

“All of our mastering is handled in-house and because we are committed to excellence, we need audio facilities that reflect this philosophy,” Nick Cooke adds. “White Mark has achieved remarkable results with our studios and we are delighted with them. Being able to feed work between all five rooms has significantly improved our workflow and increased flexibility. The additional space has also made it possible for composers to come in and be truly involved in the mixing and mastering process.”

Dan Pounder adds that the move has not only given Extreme Music the extra space it needed, but also helped integrate the audio side of the business. “The layout works really well,” he says. “Everyone enjoys working here and the look and feel of the new premises also creates a very good impression for visitors because they can literally see our workflow in action.”

-ends-

About White Mark:

Established in 1997 by David Bell, John Dunnill, Derek Buckingham and Alan Cundell, White Mark Ltd specialises in production facilities for music recording and the film and television industries. Over the last fifteen years it has designed and supervised the construction of over 500 production suites worldwide. The company’s impressive client list encompasses some of the world’s most famous music recording facilities including Peter Gabriel’s Real World Studios in the UK, Germano Studios in New York, Hit Factory/Criteria Recording Studios in Miami, Strongroom in London and private studios for producers and musicians such as William Orbit and Damon Albarn. In the area of audio post production, White Mark has completed over 140 audio studios and many broadcast and video editing facilities for more than 60 companies in Soho alone. The list of clients includes Grand Central, Hackenbacker, Envy, De Lane Lea, Scramble, Lipsync, Molinare, DeLuxe, 750mph, NBC/Universal, Wave, Unit and Boom. Advertising agency clients include worldwide facilities for Hogarth International and AMV/BBDO on four continents.www.whitemark.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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