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Archive for May 31st, 2013

FiberPlex Introduces “Swiss Army Knife” of SFP Media Transport at InfoComm

 

New this InfoComm, FiberPlex Technologies introduces the “Swiss Army Knife” of media transport. Its new FOI-6010 is a universal SFP/SFP+ (small form pluggable) frame that can take any variety of SFP modules, from optical and HD Video to MADI and Ethernet.

Universal SFP frame.

FiberPlex Technologies FOI- 6010 shown in HD-SDI video configuration.

The FOI-6010 frame has two cages, one an input cage for SFP plug-ins and the other an output cage for SFP plug-in modules. Plug-in SFPs from FiberPlex come in SD-SDI, HD-SDI, 3G-SDI, and the newer 6G-UHD for using and converting between media formats, as well as full duplex and BiDi optical, HDMI/DVI, 10/100/1G Ethernet and MADI. The frame also takes any standard SFP or SFP+ module by third-party vendors. “With so many standards for sound, video, and transport, this provides a way to make it all work together in a plug-and-play frame that’s quick and easy to use in the field,” said Buddy Oliver, President of FiberPlex Technologies, which manufactures digital transport and communications products.

The FOI-6010 supports up to 10 Gbps per slot for high-bandwidth applications. New SFP modules by FiberPlex this InfoComm are MADI, 3G-SDI, and 6G-UHD SFP, all of which can plug into the FIO-6010 frame or into FiberPlex’ popular active wave WDM16 multiplexer.

A ‘uFAC’ micro-USB interface provides full control and reporting of any SFP/SFP+ registers including settings for video interface and link statistics, SFP status, etc.

FiberPlex is targeting its new SFP products for television, live production, conferencing, corporate data and other applications requiring universal use and conversion between media and transport formats.  

For live sound production, for example, technicians can plug in a single-mode optical SFP for the transport feed from the venue back to the remote van and a MADI SFP on the input side of the FOI-6010 for 64×64 MADI compatibility with gear used on location. That same FOI-6010 frame can be used for a video sportscast the next night with just a change of SFP to run HD-SDI from a camera in the stands to the video switcher.

The FOI-6010 can be used to slowly migrate equipment from standard definition to high definition video, or to interoperate multimode fiber optic cable with single-mode fiber optic cabling. This SFP frame works in conjunction with FiberPlex’s popular WDM16 multiplexer, which takes the same SFP modules as the FOI-6010 to multiplex a number of cameras, sound or other media elements.

FOI-6010 conversion and uses include:  

·       Video format conversion

·       Fiber optic repeater

·       Optical standard duplex to single fiber bidirectional (BiDi) transport

·       Multimode to single-mode converter

·       10/100/1G Ethernet to duplex or BiDi optical

·       ASI, SD-SDI, 3G-SDI to duplex or BiDi optical

·       HDMI/DVI to duplex or BiDi optical

·       MADI to duplex or BiDi optical

·       6G-UHD to duplex or BiDi optical

The new FOI-6010 will be at booth 820 during the InfoComm convention, along with FiberPlex’ popular WDM16 and LightViper audio transport as well as its new Live Production Toolbox with all the equipment needed for live applications.

About FiberPlex Technologies, LLC (www.fiberplex.com)

FiberPlex Technologies, LLC is a leader in digital transport and communications technology. The FiberPlex name has been around for a quarter of a century and is known for its secure fiber solutions to the U.S. government. Recently, FiberPlex extended its secure communications and fiber optic products to the commercial and AV sectors. As a fiber optics expert and equipment manufacturer, FiberPlex educates businesses, houses of worship, hospitals, financial institutions, campuses, broadcasters and live production firms on how to leverage fiber optics technology for large bandwidth delivery as well as to lower security risk and increase profits.

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RedNet Runs The Killers’ FOH System

Systems Engineer Philip Reynolds chooses RedNet for FOH audio

Los Angeles, CA, May 31, 2013 – Thanks to its flexibility, Focusrite’s RedNet audio I/O technology is being implemented in a diverse range of applications. From single-unit laptop recording setups to multi-room studio environments, RedNet is proving to be a popular audio interface system. One of the highest-profile implementation of RedNet to date is the front-of-house rig for The Killers’ world tour, where a RedNet 1 eight channel A-D/D-A, and RedNet 4 eight-channel Mic preamp perform a number of duties for Systems Engineer Philip Reynolds. He made the decision to use RedNet in order to maintain the audio within the digital domain — A-D conversion takes place side-stage as soon as the mics plug into the stagebox — for as long as possible before conversion to analog. It’s this, says Philip, that keeps the audio quality world-class.

His key responsibility is to set up the tour’s state-of-the-art sound system to perform as well as possible, and, because the venue changes on an almost daily basis, this is no mean feat. In order to do this, he uses audio analysis software coupled with a reference mic, to match the sound system response as closely as possible to the output of the front-of-house desk. RedNet handles all his inputs and outputs to facilitate that process. RedNet 1 plays a crucial role, routing audio to and from his test system, but also to the FOH desk for house music playout and the drones that are used during the show’s encore. This material comes from a pair of Mac Minis, one primary and one backup, which all connect to the RedNet network using the Dante Virtual Soundcard (DVS) driver. RedNet also handles the press and video feeds, as well as any venue needs, such as the hearing assist system for the hard of hearing.

For his test rig, Philip was amazed by the RedNet 4′s preamp performance, having previously used the on-board preamps in a conventional Firewire audio interface. “I was blown away. The RedNet 4’s preamp is flat, and the phase coherence is perfect.” Having this accuracy is of utmost importance for Philip, as his ability to make fine tweaks to the loudspeakers relies on the analysis software’s precision.

Because Philip uses his own gear on tour — rather than rental equipment — the RedNet system represents a significant personal investment. But the fact that he chose to use RedNet over other Dante-enabled gear reinforces RedNet’s sound quality prowess “Because it’s mine, I know it works and that I’m going to have it where I go. RedNet does everything I want it to do, and the expandability is endless with this setup. I rely on my system 100%, and it just works.” Over time, Philip intends to expand his RedNet system with an additional RedNet 1 and a RedNet 3 digital I/O, the latter of which will enable him to drive the front-of-house PA from the RedNet network. “RedNet units have allowed me to design a system to bring a fully digital system on the front end. With the RedNet 3 providing primary digital connection and RedNet 1 acting as my analogue backup, we can bring the latency down and keep the quality of audio the same, which has been a goal of mine for the last year.”

To learn more about RedNet and other new installations, head to www.focusrite.com/rednet.

PRESS KIT: http://www.focusrite.com/media/pr_images/RedNet_Killers.zip

For further information, head to www.focusrite.com or contact:
USA: Hannah Bliss +1 (310) 322 5500 // Hannah.Bliss@focusrite.com
Robert Clyne +1 (615) 662-1616 // robert@clynemedia.com

About Focusrite
The Focusrite brand was established in 1985 and the founding principles of the company were to develop products that sounded more musical, in addition to just measuring well – today, we still carry these founding principles forward in our class-leading and award-winning designs. We measure our success by the success of you, our clients, and you will find Focusrite product prominent in professional and project studios throughout the world. Based just outside of London, we work with the best design talent throughout the world to bring you the tools to enhance the way you work. Our product is made with pride and principle in a highly automated ISO 9002 factory with significant level of test by engineers who themselves are musicians and understand the part our product plays in your process.

Pro Tools is a registered trademark of Avid Corporation

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RelampIt Sponsors TeachMeetNJ

RelampIt is pleased to announce that they have joined together with TeachMeetNJ as a Silver Sponsor for the TeachMeet “unconference.” This event is scheduled for August 22nd, 2013 at the Richard Stockton College of New Jersey. TeachMeetNJ is devoted to K-12 educators sharing and discussing different technology ideas, methodologies, products, and resources for education.

Tech “unconferences” are fast moving, tech sharing, friend making, never boring gatherings of people sharing web 2.0 tools for education. This event is free to attend but attendance is limited to the first 400 individuals who sign up. It can be a valuable resource for persons in both the education and education technology fields. Partner, Gina Sansivero, says of the sponsorship opportunity, “RelampIt recognizes the value in being part of this new style of efficient and informative collaboration and is excited to support the productive collaboration of regional educators.” RelampIt will also have a table on the exhibit show floor to inform attendees about the multiple benefits of relamping.

RelampIt provides relamping services for the projection display industry. RelampIt has developed a process that allows projection lamps to be reclaimed and re-newed at a reduced cost without compromising lifetime or performance. RelampIt also offers a no charge projector lamp recycling service. The RelampIt Projector Lamp Recycling Center focuses on reducing waste and environmental contamination from the lamps found in projectors. For more information about relamping and recycling or to become a RelampIt dealer, call 1(631)244-0051, email gms@relampit.com or visit our website at www.relampit.com.

DPA Microphones is Cinderella’s Fairy Godmother

NEW YORK, MAY 30, 2013 – The best Broadway musicals transport audience members into the world of the show, making it as real to them as the neon lights and towering buildings of nearby Times Square. That’s why staff members working on the new Broadway production of Rodgers + Hammerstein’s Cinderella turned to DPA Microphones’ Miniature. Not only do the mics provide a transparent sound for the show’s cast and orchestra; their compact size keeps them hidden from the audience, allowing spectators to enjoy the show without being distracted by the sight of bulky equipment. more

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A.C.T Lighting Announces Leadership Changes

A.C.T Lighting, a leading importer and distributor of lighting products, has announced title changes and a promotion among its top tier leadership. Effective June 1 President and CEO Bob Gordon assumes Chairman and CEO duties. At the same time Ben Saltzman will be named President and COO.

The changes come at a time of unprecedented growth for A.C.T Lighting and ensure the company’s continuing success. The company, which is the exclusive North American distributor of Clay Paky lighting and MA Lighting among others, recently added Chromlech’s innovative LED matrixes to its product inventory. Earlier this year, A.C.T Lighting posted the highest sales volume in Clay Paky history for the second consecutive year marking a tripling in North American sales for Clay Paky in less than three years.

Bob Gordon founded A.C.T Lighting in 1993 with the mission to identify leading high-technology products, gain exclusivity, and stock, support and service those products as if they were their own. The company has offices in New York, Los Angeles and Toronto. “I’m extremely proud of all our accomplishments as we celebrate our 20th anniversary year,” Gordon says.

Ben Saltzman joined A.C.T Lighting in 2007 after successfully launching and running Scharff Weisberg Lighting. A graduate of SUNY Purchase with a BFA in Lighting Design, he spent time touring and working on Broadway before joining the highly renowned systems group at Production Arts Lighting. While at Production Arts he was involved with a wide range of projects, from the construction of the Bellagio hotel in Las Vegas to the 1998 renovation of Radio City Music Hall in New York City.

“In the seven years that Ben has been with A.C.T Lighting he has put his indelible imprint on the company,” says Bob Gordon. “Ben has more than earned this new position and title.”

Saltzman says, “I’m excited to take on this new role, and it’s a privilege to be surrounded by the exceptional team and extraordinary partners at A.C.T Lighting. Bob continues to inspire all of us as the company sets new records and pursues new strategies with the brands we represent.”

About A.C.T Lighting

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

For more information call 818-707-0884.

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WorldStage Provides Video Support for Multi-Tony Award Nominee “Lucky Guy” Starring Tom Hanks

Joining the long list of Broadway credits for WorldStage is “Lucky Guy,” Nora Ephron’s play about tabloid journalist and Pulitzer Prize-winner Mike McAlary, which stars Tom Hanks in his Broadway debut. WorldStage provides video support for the drama, which has garnered six Tony Award nominations for best play, lead actor, featured actor, director, scenic design and lighting design.

Video projection plays a key role in the play helping to establish a sense of time – it spans a 12-year period – and location, including newsrooms, bars and the streets of New York during the 1980′s and ’90s. Projection designer Robin Silvestri, creative director/partner in Batwin + Robin, worked with director George C. Wolfe to develop images composed of film noir-style fragments, shadows and elements rather than literal video clips.

The video system was comprised of a multitude of display devices and screen surfaces encompassing the stage, each of which were fed from a centralized Dataton WATCHOUT media server system. Each of the projection surfaces was atypically sized and oriented, which presented a number of difficulties. One such challenge was designing the projector array for the header banner that flies in and out landing at various predetermined trim heights each time. Measuring approximately 24 feet wide x 3 feet high and running across the top of the back wall, the header banner displays various newspaper headlines during the show.

“The difficulty was in trying to project imagery onto the banner in two different positions,” says Lars Pedersen, Director of Emerging Technology with WorldStage. “We used an edge-blend solution to fill the width of the banner and overshot the banner screen top and bottom so we had enough raster to provide coverage for the different trim heights. The accuracy of the automation system allowed us to pre-program the position of the content within the raster so it fell in the exact location of the physical screen.” Double-stacked Panasonic HD 6.5K projectors supplied the required resolution, brightness, and redundancy.

In a serendipitous moment Silvestri discovered that the black scenic slider panels that move across the front of the LED wall, allowing the wall function as a full piece or be sectioned off, could also be used as a projection surface. By using the header banner projectors and manipulating the media in WATCHOUT – including elevated train track elements and a subway animation -the design team was able to accomplish projections on another surface with using the same toolset.

An additional technical challenge was posed by the forced perspective ceiling panel above the set, which offers additional display surfaces: It starts as a slightly raked flat ceiling, then drops down to become an angled display for the NY Post newsroom and finally is lowered to serve as an almost vertical backdrop for the end of Act One.

“In its default position the panel, which is on an articulated arm, is laid almost parallel to the stage floor. Then it moves to a 45º angle to the audience and finally lowers to be perpendicular to the projectors,” Pedersen explains. He positioned two Christie DS+10K-M projectors side by side at the middle of the balcony to hit the panel and deliver maximum brightness and redundancy. He partnered with WATCHOUT programmer Bill Lyons to determine how to warp and map the imagery onto the panel as it travels to and assumes the various positions.

As a way to deal with the endless understudy possibilities WorldStage provided a separate control system comprised of a Coolux Widget Designer Pro package. The user interface, designed and programmed by WorldStage Technology Specialist Raul Herrera, afforded the operators a quick and efficient method of accessing and launching the appropriate Watchout show file. Comprehensive projector and playback control and status monitoring were included in the user interface as an added bonus.

Silvestri, who first worked with Pedersen 25 years ago, reports that, “he never lets us down. WorldStage was fantastic. It’s important to have confidence in a supplier, which I do in WorldStage.”

WorldStage Inc., the company created by the merger of Scharff Weisberg Inc and Video Applications Inc, continues a thirty-year legacy of providing clients the widest variety of entertainment technology coupled with conscientious and imaginative engineering services. WorldStage provides audio, video and lighting equipment and services to the event, theatrical, broadcast and brand experience markets nationally and internationally.

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ASHLY TAKES OFF AT THE MEMPHIS AIRPORT

MEMPHIS, TENNESSEE – MAY 2013: Elvis Presley, Johnny Cash, Jerry Lee Lewis, Carl Perkins, Roy Orbison, Otis Redding, Isaac Hayes, and B.B. King are just a few of the world’s great musicians who got their start in the very musical city of Memphis, Tennessee. In honor of that heritage and in recognition of the fact that future stars are currently establishing themselves in this city, the Memphis International Airport decided to brand its recently-constructed, $122 million, seven-level parking structure with music playback to cover its 4,000 economy parking spaces and 2,500 rental car spaces. With characteristic reliability and rock-steady performance, thirteen Ashly ne8250.70 eight-channel amplifiers power the new sound system.

McClure Engineering of St. Louis, Missouri designed the sound system, and Audio Communications of Memphis installed it. “Memphis is known for its deep musical traditions,” said Walt Wilhelm III, owner of Audio Communications. “This is where Elvis launched his career. This is the home of Stax Records. The airport authorities wanted to celebrate that heritage and to emphasize that Memphis is a contemporary music hotspot. They mostly play music from active local musicians.” Added David Bick, systems engineer with McClure Engineering, “They wanted to create an atmosphere for the airport, and the parking garage is often the point of entry and exit. They wanted the parking garage to have a signature.”

Bick continued, “I specified the Ashly ne8250.70 amplifiers because they’re quiet, reliable, and a tremendous value. I know it can happen every now and again, but I have yet to experience a single Ashly failure. The fact that Ashly amps are so quiet wouldn’t be a huge factor in a parking garage, but it is in all the auditoriums and theaters where we place Ashly amps.”

Inputs to the system include a Denon CD changer with an iPod dock. Those feed a BSS Blu-series processor, which in turn outputs to the rack of thirteen Ashly ne8250.70 amplifiers. A total of 742 One Systems 103IM-70 loudspeakers dot the ceilings of the seven-story structure, providing coverage of approximately ten cars per speaker. In addition there are 38 One Systems 108IM-70 speakers and 12 TIC Gs3 in ground speakers located in the pedestrian plaza.

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 37-year old company is headquartered in Webster, New York U.S.A. www.ashly.com

PLEASE STOP BY AND SEE US AT INFOCOMM BOOTH #335

dB AUDIO AND VIDEO INTEGRATES A/V AT FORWARD-THINKING HALL COUNTY SCHOOLS

ATLANTA, GEORGIA – MAY 2013: Exceptional by any standard, the Academies of Discovery and the Da Vinci Academy are pioneering schools in Hall County, just northeast of Atlanta, Georgia. The Academies of Discovery is dedicated to multi-cultural and language education, whereas the Da Vinci Academy is dedicated to the arts, technology, and science. The schools occupy opposite sides of the same building and share a common area between them. A/V integration firm dB Audio & Video also of Gainesville recently helped the schools update their educational technologies. The classrooms now possess innovative instructor and student computer displays, and the common area now possesses theatrical, musical, and distributed audio, broadcast video, control/automations, a video wall, and multifunctional tabletop connectivity for various laptop and wireless tablet usage. Each component of the renovation has a specific purpose, yet all function within an integrated whole.

At first glance, each classroom looks like any other classroom. However, a closer inspection reveals a 65-inch Samsung ME65B with touch screen overlay and two “input stations,” one for the student and one at the teacher’s desk. These inputs go to the FSR CB-22 ceiling box with both a Pocket Navigator VGA with audio switching device, as well as a HDMI switcher. From these devices, a user can display laptop content and annotate over, save, and recall any document or video from the school’s server.

The commons area is a unique combination of black-box theater, corporate presentation center, and public transportation hub. Its most obvious attraction is a huge video wall composed of Samsung’s ultra-thin bezel UD55A HDTV monitors. This video wall content is fed from multiple input locations around the wall via the Crestron DM-MD8x8 Digital Media matrix switcher. These inputs include multiple HDMI and VGA with audio inputs, as well as the school’s Safari streaming media systems, a Samsung BD-E5700 Blu-ray player, and a mixed camera feed from a Panasonic TV Studio. All the resources are controlled from a Crestron Pro2 via a TPS-6X dockable wireless touch panel. Audio resources include a Tascam CD-200i CD player and iPod dock, two wired microphone inputs, and two Sennheiser wireless microphone systems. A 64-channel Allen & Heath GLD digital mixer comes on line in theatrical mode.

The commons area audio speaker system consists of a single Danley SH-100B full-range loudspeaker for the main content, two Danley SH-100 loudspeakers for fill, and a single Danley TH-112 subwoofer. The unparalleled performance of the Danley boxes delivers tremendous gain before feedback (a must in black box theater performances), as well as unmatched frequency response and phase coherency. The net effect is increased intelligibility in the vocal range and heart-pounding low end. The speaker system is driven by a complement of Crown amplifiers and Bi-Amp Nexia CS DSP. In the theatrical mode, the commons area uses the Allen & Health GLD-80 digital mixer with full automation and scene recall. The ZED mixer and Genelec monitors are used in the TV production studio with their own mix of all the audio inputs and sources.

The all-LED Elation EAR495 theatrical lighting system provides for numerous scenes of display as well as colors, while delivering the school’s request for low power consumption efficiency. Included in this “green” initiative project are also two Design Spot 250P moving lights for programmed lighting effects, as well as spot light positioning for the talent anywhere on the floor. Two options for controlling these LED lights are from either a simple DMX Operator192 light board or a more involved computer-based CompuLive program.

The school’s full HD broadcast television studio rivals many higher education facilities. Primarily a Panasonic project, this system touts two AG-AC160 studio HDSDI cameras and two AW-HE50SN pan/tilt/zoom cameras with AW-RP50 controller connected via a router to the AWHS50 sub-compact HDSDI live switcher with multi-viewer output. An AJA KI-PRO-Ro provides digital file recording on Apple ProRes 422 format, allowing students to shoot nearly any program, presentation, or theatrical performance, stream it live to the school’s Safari system, and then edit for archival or streaming later. A Clear-Com MS-232 two-channel communications system allows the producer to communicate with the video camera operators and the audio production team. The audio production team uses an Allen & Heath ZED22FX mixing console and two Genelec 8030a studio monitors.

“This has been an incredibly challenging project,” stated Neil Philpott, dB Audio & Video’s Systems Advisor for the entire project. “We spent countless hours discussing the project with Aaron Turpin, Hall County’s technology director, working through construction and infrastructure issues, and determining exactly what functionality would be required to meet the vision of the schools’ and county Administrators’ expectations. All in all, this was a project that raises the bar, not only for dB as a company, but also for the entire state. I believe this is the blueprint for many schools to come.”

ABOUT dB AUDIO AND VIDEO dB Audio and Video is a Gainesville, Georgia-based design/build technologies integrator specializing in audio and acoustics, broadcast and presentation video, digital signage, and control automation for houses of worship, schools, sports arenas, government and military. For more information visit: www.dbaudioandvideo.com

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

SEE DANLEY AT INFOCOMM BOOTH #143 • COME TO HEAR THE OS80 IN DEMO ROOM W203B

CARVER SPORTS COMPLEX HITS A TRIPLE: ASHLY PROCESSING, ASHLY AMPLIFICATION, AND ASHLY USER CONTROL

NEOSHO, MISSOURI – MAY 2013: Neosho, Missouri serves as the western gateway to the Ozark Mountains. Recently, the Neosho R-5 School District initiated a multi-phase plan to convert an open field adjacent to Carver Elementary School into a sports complex with two baseball/softball diamonds and a soccer field. Lance Brummett at Warren Smith & Associates, Consulting Engineer P.C. (Tulsa, Oklahoma) designed the electrical infrastructure for what will be known as the Carver Sports Complex. Nate Pugh, project supervisor and Vince Hightower, installation foreman of Total Electronics Contracting (Joplin, Missouri) oversaw its installation. In order to provide the district with reliable, affordable sound reinforcement for the sports complex, Ashly Audio processing, amplification, and user control forms its core.

“Although they only have the first softball field completed, we have already installed the audio systems that will cover both ball fields,” said Pugh. A pair of Community R.5 loudspeakers covers each field (four loudspeakers total) from atop a concessions stand that resides between the two fields. A single Ashly KLR-2000, rated at 1000W on each of two channels, powers the system, one channel per field. An Ashly ne24.24M processor handles all of the input management, signal processing and routing logic for both fields. Because it has a modular I/O design, the ne24.24M is perfectly tailored to the complex’s needs. Twelve inputs collect six identical sources from each field, and four outputs feed the amplifier with two spares.

“This was my first experience using the Ashly ne24.24M processor,” said Hightower. “After just an hour with it at the shop, I felt completely comfortable and ready to take it to the field. It went in easily and without a hiccup. The fact that it’s modular is nice; we were able to give them what they needed without wasting a lot of untapped potential. The Ashly KLR-2000 is a great sounding amp. It’s nice and clean and promises to deliver reliable sound for a long time to come.”

A pair of Ashly FR-8 Network 8-Channel Remote Faders provide simple, intuitive user control of source volume and muting, as well as output volume for each field. Because the FR-8 connects to the ne24.24M with just a simple Ethernet jack, installation was a snap. Input sources are identical for each field and include a tuner, a Marantz CD/iPod player, an ElectroVoice wireless microphone, a Shure wired announcer microphone, and an additional microphone jack. Furman sequencing provides power to the system in a Middle Atlantic rack.

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 37-year old company is headquartered in Webster, New York U.S.A. www.ashly.com

STOP BY AND SEE ASHLY AT INFOCOMM BOOTH #335

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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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