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Archive for September 9th, 2013

VMP Appoints KLM Marketing New Representative for Mid-Atlantic Region

STEVENSVILLE, Md., Sept. 9, 2013—Video Mount Products (videomount.com), a leading provider of mounting solutions for the security, AV, and communications industries, is proud to announce that it has appointed KLM Marketing its new factory representative for the mid-Atlantic region (MD., VA., DE., and eastern PA) effective Sept. 1. KLM will work primarily with VMP in the security market, and will support other low voltage channels, as well.

“As security continues to be an ever-expanding and increasingly important market for VMP, we needed a representative with a successful and established history in this vital territory,” explained Keith Fulmer, president of Video Mount Products. “KLM has everything we were searching for, and we are looking forward to working with them.”

Mechanicsville, VA-based KLM Marketing was established in 2002 to represent security manufacturers in the mid-Atlantic region. It has a team of six people, of which four are field reps who are based throughout the territory and are available to visit customers in their region. KLM offers system design, sales/technical training, site visits, and strives for total customer support. Much of KLM’s growth has come due to its ability to work closely with end users and fit their needs with solid solutions.

“KLM strives to partner with dealers, distributors, consultants and end users to design and specify best of breed security solutions to make our world a little safer,” said Paul Walter, KLM partner. “We represent top tier manufactures and are consistently recognized by our brands as being one of the best rep agencies in our industry. For example, KLM has been Aiphone’s ‘Rep of the Year’ in 2010, 2011 and 2012. VMP has had a strong presence and has been well respected in the security market for a long time, and we are excited and proud to work with Keith [Fulmer] and his team.”

For more information, please visit www.videomount.com or call toll free 877-281-2169. If you need help choosing the right mount for your application, try the Video Mount Finder at www.chooseamount.com.

About Video Mount Products
Born in 1994, Video Mount Products (VMP) is a leading provider of mounting solutions for the A/V, communications and security industries. VMP products consistently offer the latest designs in safety and flexibility, all at an outstanding value. VMP’s product offering continues to grow by adding mounting systems to address growing segments across many markets.

VMP has become the mounting systems company of choice for professionals and their customers everywhere. All products have been engineered for and installed with confidence in thousands of residences, businesses, hotels, restaurants, schools, hospitals, houses of worship and security applications throughout the world. VMP prides itself on providing the best products in the industry and by supporting those products with knowledgeable professionals who understand that “support” is the core of our business.

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DJ and Producer Mark Sixma Doesn’t Leave Home Without HARMAN’s Lexicon PCM Total Bundle

SALT LAKE CITY, Utah – Dutch DJ and Producer Mark Sixma has several chart-topping tracks to his name and other major DJ’s including Armin van Buuren, Hardwell, and DJ Tiesto have played his music. Currently signed to Armada Music, an award-winning label in The Netherlands, Sixma is touring and playing some of the largest dance festivals in the world. When he is packing his sonic suitcase Sixma includes HARMAN’s Lexicon PCM Total Bundle reverb/effects plug-in.

“This bundle is my first Lexicon product. As I travel a lot, I usually prefer to work “in the box” as much as possible,” explained Sixma. “Carrying around lots of hardware on tour wasn’t an option for me. Luckily there’s no need for that with the PCM Total Bundle.”

Sixma quickly found a use for the PCM Native Reverb plug-ins on many of his different projects. “A lot of other reverb plug-ins out there sound like they just add an extra sound to an instrumental or vocal part, while the PCM Native Reverb plug-ins blend really well with the source. Which results in a very realistic and pleasant sound,” commented Sixma.

For Sixma the best aspect of Lexicon plugins is simply the quality of the sound. “I love how the plug-ins sound on vocals and traditional instruments like strings or piano. In fact I think they sound great on pretty much anything I throw at them.”

Additionally, the popular Dutch DJ relies on the Total Bundle’s cleverly programmed presets to quickly get the sound he is looking for, without impeding his creative process. Sixma also believes Lexicon surpasses other plug-ins with their capability to blend so well with the source.

Commenting on his favorite effect in the bundle, Sixma couldn’t decide, stating, “It’s hard to pick a favorite out of this bundle since all the plugins serve their purpose extremely well.”

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of infotainment and audio 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 14,000 people across the Americas, Europe, and Asia and reported sales of $4.3 billion for the fiscal year ended June 30, 2013.

DTV Audio Group Forum Debates Contrasting Visions for Television Sound at 135th AES Convention in New York

— DTV Audio Group members, executives, mixers and leading technologists slated to participate in groundbreaking discussion at the AES Convention —

— “The Sound of the Cloud: Audio Implications of Multi-Platform Delivery” will address the future of TV audio as digital distribution model continues to evolve —

New York, NY, September 6, 2013 — The upcoming 135th Audio Engineering Society Convention (October 17 through October 20, 2013, at the Jacob Javits Center in New York City) will feature an open forum discussing the shifting landscape in TV audio brought about by the transition to multi-platform mobile and fixed streaming content delivery.

Produced by the DTV Audio Group – an organization of senior-level broadcast network executives promoting best practices and successful strategies for digital television audio production and delivery – in association with the Sports Video Group (SVG), the forum, titled “The Sound of the Cloud: Audio Implications of Multi-Platform Delivery,” will take place 2:30 p.m. to 5:30 p.m., Friday, October 18, 2013, at the Javits Center, and will be open to all registered AES attendees. Participants will include technology leaders from major networks, content owners and distributors, and key technology providers.

The Forum will explore the opportunities and challenges presented by advanced audio encoding schemes and debate whether ubiquitous mobile and “over-the-top” streaming content delivery provides an opportunity for greater audio enhancement or demands a retreat to more limited audio options. The discussion will also address the long-term implications of mobile data’s annexation of available broadcast spectrum and the resulting impact on wireless production. Finally, the forum will again take up the subject of producing live music content for television including some key insights on properly managing 5.1-to-Stereo compatibility for entertainment television.

“The transition from traditional broadcasting to a largely stream-based model opens up a lot of possibilities but potentially adds to confusion as different entities pursue a range of formats and encoding solutions,” says Roger Charlesworth, Executive Director, DTV Audio Group. “The demand for more sophisticated interactive and object-oriented services on next-generation streaming appliances, and the transition to streaming of highly sophisticated cinema formats at the very high end, are directly at odds with the common perception that television audio now needs to be ‘dumbed down’ for mobile and desktop streaming. This disconnect between competing visions creates a strategic dilemma for live content producers who are looking for universal delivery standards and workflow practices across a range of delivery platforms.”

“The Sound of the Cloud: Audio Implications of Multi-Platform Delivery” will address these issues with insight from the very figures shaping the future of content delivery – providing an invaluable look into the issues faced in this evolving model that attendees simply cannot get anywhere else. Confirmed sponsors for the DTV Audio Group forum include Dale Pro Audio; Dolby Laboratories; DTS, Inc.; and Linear Acoustic.

Visit the DTV Audio Group web site for information on the organization’s leadership and advisory board. For further information on the 135th AES International Convention, please visit http://www.aes.org/events/135/.

Photo Caption: Roger Charlesworth, Executive Director, DTV Audio Group

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Education Sponsorship Provides K-20 Students the Opportunity to Attend the Women Tech Awards

Listen Technologies joins Utah businesses in support of the Women Tech Council’s commitment in nurturing students’ interest in science and technology careers.

Listen Technologies is proud to announce its participation in the Education Sponsorship program for the upcoming Women Tech Awards. The Women Tech Awards, directed by the Women Tech Council (WTC), recognizes women who are leading technology companies, promoting innovation in their industry, and are making contributions to the community.

Over the past six years, the WTC has had the opportunity to honor 90 amazing women working in various technology fields and 15 university students. They’ve also sponsored over 100 high school students for the awards in order to inspire the next generation of young women.

Current Education sponsors include; Patent Law Works LLP, Holland & Hart LLP, Nelson Laboratories, Listen Technologies, Symantec, and Truenorthlogic.

When asked why it was important to be an Education Sponsor for the Women Tech Awards, Schaeffer stated, “I wanted to make it easier for young women to attend the Women Tech awards. I’m a firm believer that when these young women see and interact with the many women who’ve been nominated for awards, as well as, have the opportunity to network with other women in technical fields, they’ll see a career path for themselves in technology. The technology field needs and wants more talented, smart, young women and there’s no better way to get them involved than getting them to attend WTC events.”

Halle Veysey, a student at Lone Peak High School noted, “This year I plan to start my own club at Lone Peak High School to interest female students in science and technology. I want to spread the word to other teens that a career in technology can be fun and exciting.”

The Sixth Annual Women Tech Awards will honor 17 women in the technology field. The Women Tech Council is looking to continue its success of hosting over 125 STEM students at the awards. The awards will be announced at the Grand America Hotel in Salt Lake City, Utah on September 12, 2013 at a luncheon.

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Nominations Open For Music Producers Guild Awards 2014

Nominations for the Music Producers Guild Awards 2014 will open today, Monday 9th September, as the most prestigious event recognising the UK’s top producers, engineers, remixers and mastering engineers prepares for its biggest year to date.

Set to be hosted at the Park Plaza Riverbank Hotel in Vauxhall, London, on Thursday 13th February 2014, the MPG Awards 2014 will award fifteen different categories of music production including the UK Producer of the Year, International Producer of the Year, Breakthrough Producer of the Year and Outstanding Contribution to UK Music.

Now in its sixth year, the MPG Awards celebrate the best and brightest talent in the history of music recording, along with the industry’s rising stars. The MPG Awards count the likes of Paul Epworth, Al O’Connell, Plan B and Sir George Martin CBE amongst previous winners and the winner of the UK Producer of the Year category will automatically win a BRIT Award for Best Producer.

The nominations process, running until Monday 14th October, allows anyone to put the names of any worthwhile recording professional forward for many of the fifteen MPG Awards 2014 categories. Nominations can be made via www.mpgawards.com with producers and engineers being actively encouraged to nominate themselves.

The MPG 2014 Awards categories are:

UK Producer of the Year
International Producer of the Year
Breakthrough Producer of the Year
Recording Engineer of the Year
Breakthrough Engineer of the Year
Mix Engineer of the Year
Mastering Engineer of the Year
Re-mixer of the Year
UK Album of the Year
UK Single Song Release of the Year
Studio of the Year
The A&R Award
The MPG Innovation Award
The MPG Inspiration Award
Outstanding Contribution to UK Music

Nominations can be made at www.mpgawards.com

MPG Chairman Steve Levine said: “The Music Producers Guild Award brings those responsible for the creation of music loved around the world into the spotlight to give them the recognition they deserve. With a bigger venue and new categories, the MPG Awards 2014 is going to be the best yet and I would encourage everyone to make their nominations for one or all of the categories and then join us in February for a celebration of the very best of production talent.”

Held in a larger venue for the first time due to the high demand of previous years, the MPG Awards 2014 is expected to be a star-studded event with every aspect of the industry represented. Attendees in previous years have included: Laura Marling, Plan B, Mark Ronson, Jamie xx, Muse, Alex Kapranos (Franz Ferdinand), Jamie T, Dizzee Rascal, Florence Welch, Brian Eno, Calvin Harris and many more.

Tickets for the MPG Awards 2014 are also available to order through the website, including an early bird discount offer:
MPG Full Members: £175 plus VAT, reduced to £150 plus VAT with early bird discount.
MPG Non Members: £199 plus VAT, reduced to £175 plus VAT with early bird discount.

Sponsorship opportunities are still available for the MPG Awards 2014 and any company that would like to be part of this exciting event should contact Joe Edwards at FM First Monday. Telephone: +44 (0) 7701 030 513 / Email: joe@fmfirstmonday.com.

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About Music Producers Guild (UK):
The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers.
www.mpg.org.uk

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iZotope at IBC: New RX 3, Complete Audio Repair Suite, to Debut at CPUG SuperMeet on September 15

September 4, 2013 · Amsterdam, NetherlandsiZotope, Inc., a leading audio technology company, will be showcasing the new RX 3 audio repair suite at the CPUG Amsterdam SuperMeet during IBC on September 15th. In addition to personalized demos at the iZotope demonstration stand, Post Production Specialist Mike Thornton will conduct a 20-minute main stage presentation Rescue Bad Audio from the Cutting Room Floor.

Using real-world examples, Thornton will show how RX 3 can resolve common audio problems in post-production and broadcast applications, highlighting features like the new real-time Dialogue Denoiser, the revolutionary new Dereverb module, and RX 3’s powerful spectral audio editor.

Presentation Details:
• WHAT: iZotope RX 3 product demonstrations and main stage presentation during CPUG SuperMeet
• WHO: Presented by iZotope and Post Production Specialist Mike Thornton
• WHERE: CPUG SuperMeet, Grand Hotel Krasnapolsky, Amsterdam, Netherlands
• WHEN: Sunday, September 15th, from 19:00- 23:00 CEST, with product demonstrations starting at 16:00

iZotope RX 3 is an industry-leading audio repair solution for audio engineers, post produc-tion professionals, broadcasters, podcasters, archivists, forensic specialists, videographers and more. Work up to six times faster than before thanks to processing enhancements and a redesigned user interface. Remove or reduce reverb, clean up dialogue on the fly, recall session details with the new RX Document format, and much more with the new RX 3.

For more information on RX 3 and RX 3 Advanced, please visit: http://www.izotope.com/rx3.

About iZotope, Inc.

iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony.

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A.C.T Lighting Supports Stagecraft Institute Las Vegas 2013 with Clay Paky Fixtures and grandMA2 Consoles

Sometimes what happens in Vegas leaves Vegas. Just ask the participants of Stagecraft Institute Las Vegas 2013 (SILV) who left town with valuable knowledge about live entertainment production they didn’t have before. Once again, A.C.T Lighting, the exclusive distributor of Clay Paky and MA Lighting in North America, was pleased to be among the representatives involved with SILV providing equipment and participating in sessions.

SILV annually strives to fill a need that traditional schools cannot provide. In a full range program made up of a series of eight independent one-week summer sessions, which begin in early June, students receive valuable training for employment in state-of-the-art live entertainment production. SILV takes a hands-on approach to education with working professionals sharing their knowledge and experience about what it takes to develop today’s skills.

“SILV is a great program that attracts some really talented young people who have a future in the industry,” says George Masek, vice president of automated lighting at A.C.T Lighting. “The event helps create a solid knowledge base and trains future users of Clay Paky fixtures and grandMA2 consoles. It also strengthens our bonds with the designers and programmers who staff the classes.” Many instructors hail from Disneyland, Disney Imagineering, Cirque du Soleil, anddomestic and international concert tours, he notes.

Chaos Visual Productions provided a large complement of Clay Paky fixtures to SILV 2013: six Sharpy Washes, 18 Sharpys, 18 Alpha Spot HPE 1200s, six Alpha Spot HPE 300s and 12 Alpha Profile 700s. On the control side A.C.T Lighting supplied three grandMA2 consoles.

“SILV 2013 was the biggest I’ve seen yet in terms of equipment and participation,” says Masek. “The response to the quality and performance of the largely Clay Paky rig was very positive. The gear worked exceptionally well, especially considering the heat of the venue and the fact that everything ran all day for weeks.”

Accoridng to Director Jane Childs “Watching the students go from bad (watch your finger) typists on a console to full-out on-the-fly-touch-typing while watching the images they were producing was truly amazing. This is the kind of hands-on learning experience that my husband Donald envisioned when we started SILV!”

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DPA Brings Out The ‘Wood’ and ‘Air’ In Dave Swift’s Bass

The first time bassist Dave Swift used a DPA d:vote™ 4099 Instrument Microphone to amplify his double bass, he was so blown away by the sound that he decided to make the d:vote his only microphone.

“The sound coming out of my bass monitor was simply incredible,” he says. “The d:vote captured every little nuance of my playing and I could really hear the “wood” and “air” in the notes. I was so impressed that I decided to buy one and it is now the only microphone I would consider using. What’s interesting is that everyone has commented on how brilliantly it performs. Sound engineers have the biggest smile on their faces when they discover I have a DPA and they all say the same thing: ‘well done for using the best clip-on mic on the market’. Every engineer tells me it is now the industry standard mic, particularly for amplified strings, and it makes me very happy and extremely confident to know that I’m using the best product available for my needs.”

Dave Swift has been the bassist for Jools Holland’s Rhythm & Blues Orchestra since 1991 and during this time he has played with an enormous range of artists including Al Jarreau, George Benson, Chaka Khan, Eric Clapton, Paul Weller, BB King and many more. Swift has also toured across the globe with Jools Holland, as well as performing on his hugely popular ‘Later…with Jools Holland’ TV show, which attracts millions of viewers on BBC2. Swift is also the bassist on ‘The Jools Holland Show’ on BBC Radio 2 and has recorded several multi-platinum selling albums and DVDs with Jools and his band.

When Swift is not playing with Jools Holland he works as a freelance session musician. Over the summer he is touring with comedian, game show host and singer Alexander Armstrong, but he will be back with Jools Holland by the end of the year for a tour that will feature guests such as Roland Gift and former Spice Girl Melanie C.

Dave Swift believes his DPA d:vote 4099 Instrument Microphone has made an enormous difference to both his live and his recorded sessions. He was introduced to the microphone by DPA’s UK distributor Sound Network while he was recording ‘Later….With Jools Holland’. At the time he was using Fishman pickups, but he wanted a microphone that could capture more of the acoustic quality of his double bass so he decided to try a DPA because he had heard such good things about the brand.

“I’m really impressed with this microphone, especially with the way it fits so easily and simply onto the strings beyond the tailpiece,” Swift says. “It doesn’t involve any ‘clamping’ to the actual body of the bass, so it allows the instrument to resonate to its full potential. It is also very quick and easy to remove the mic without causing any damage whatsoever to the instrument – and another feature I really like is the extension gooseneck attachment. This allows even greater placement range for the mic itself, giving many options of where to position it, which is very useful as players tend to have different ideas about where best to position a mic on a Double Bass for their particular requirements. In my case, for example, I tend to position my DPA an inch or so from the central ‘belly’ of the bass, but I’ve seen other players have the DPA mic above the bridge, hovering over the strings themselves. That’s what is so great about this mic and its mounting system. It’s just so flexible and accommodating.”

Fellow musicians, including Jools Holland, have been equally impressed with Dave Swift’s DPA microphone.

“Jools is very particular when it comes to the sound of a double bass – he loves the true, vintage ‘old school’ sound of the instrument, which is why I use Pirastro gut and synthetic strings on my Double Bass,” Swift says. “However, it was only when I started using the DPA mic that Jools’ eyes lit up because he was finally hearing the full potential of the bass, and could really hear the ‘gut’ in those strings. He loves my DPA mic and on every gig and session he asks if I’ve brought it with me. I always tell him not to worry because the DPA never leaves my bass under any circumstances – I couldn’t play without it now.”

Swift adds that the DPA d:vote 4099 microphone has not only transformed his amplified sound, but has also significantly enhanced the whole process of performing and recording.

“Any musician who needs to amplify their instrument should check out DPA microphones,” he says. “They really are the industry standard and I have never encountered a better product.”

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information on DPA Microphones, please visit www.dpamicrophones.com

Renkus-Heinz Helps Prairie Meadows Cut to the Chase

Renkus-Heinz Helps Prairie Meadows Cut to the Chase

Altoona, IA – September 2013… In 1989, Prairie Meadows Raceway opened its doors with the goal of giving central Iowa residents a horse racing facility of their own. Twenty-five years later, Prairie Meadows has grown to include a 168-room hotel with state-of-the-art amenities, live and simulcast horse racing, a massive casino with table games and more than 2,000 slot machines, restaurants, lounges, and a busy concert venue.

Among the horse racing community, Prairie Meadows has gained considerable recognition as an exceptionally well-designed and well-run facility, drawing racing fans from across the state and the region. Among the Raceway’s many amenities is a massive four story glass pavilion that offers comfortable indoor seating on multiple levels. It’s a treat for spectators but with all the makings of a sonic nightmare, explains Mike Pedersen, Senior Staff Engineer at Marshalltown, IA-based Mechdyne, the audio video integrators behind this state-of-the-art project.

“It’s a challenging venue,” says Pedersen. “It was built in phases over 20-plus years, and has a mix of seating styles, with stadium seating on one level, grandstand seating on another, as well as a multi-tiered dining area with tables. The original sound system has been expanded in a piecemeal fashion throughout the years, and had become untenable — coverage was inconsistent and intelligibility was next to nil. They were actually cranking up the volume on each individual TV monitor just so people could hear the race.”

“They originally came to us with concerns about the quality and coverage of the tiered seating areas overlooking the racetrack,” explains Mechdyne Designer Tim Taylor. “But they were also in the process of mapping out an expansion of the entire casino, which was going to require an audio system too. At that point it made far more sense to suggest that they implement a larger system with networked distribution and processing.”

“It made sense from a budgetary perspective, certainly,” adds Pedersen. “There was very little by way of documentation on the existing system, so just identifying where things were would have been very time consuming. We were able to design them a networked system that would give them DSP control, monitoring, and expandability, as well as providing them with full documentation going forward.”

The 70V distributed audio system is based around more than 40 TRX-121 two-way Complex Conic loudspeakers, with DSP and amplification handled by Biamp Tesira and Vocia networks. As Pedersen explains, one of the objectives behind the complex signal processing is to increase intelligibility and directionalize the sound source.

“When things get exciting, when the announcers get excited, we want the spectators to be turning their heads toward the direction of the audio,” he says. “The goal was to draw the ear, and the eye, toward the racing action. So even though the speakers are mounted where the glass and ceiling meet, we needed to create the sonic impression that the sound was coming from down on the track.”

In the casino area, several dozen TRX81 loudspeakers are flown from the ceiling to provide music and paging coverage. “It’s a very high, open, unfinished ceiling, which limited our choices of loudspeakers,” says Taylor. “The TRX81 has a very tight, controlled dispersion pattern, and by mounting them in a grid pointing straight down, we were able to achieve seamless coverage across the entire open seating area, with no overlap or dead zones.”

The system is designed for flexibility, providing everything from background music and paging to zoned functionality. “We’ve set up a number of snapshots, enabling them to zone off various meeting rooms and ballrooms,” says Taylor. “And of course, the Vocia amps are rated for emergency paging functions as well.”

The decision to go with Renkus-Heinz and the TRX series was an easy one, says Pedersen, based on past experience with the brand. “We have for many years seen Renkus-Heinz as one of the leading companies in quality and service, so when the time came and it was clear they were interested in a high-quality product, we didn’t hesitate to recommend it.”

For Mechdyne, the Prairie Meadows project was something of a departure; the company is known for its expertise in Virtual Reality and 3D visualization technology, as well as complex IT and networking projects. “It’s true that our company crew out of a certain niche in virtual reality and simulation type systems,” says Pedersen. “And typically we find that clients and designers of VR systems tend to consider audio a lower priority, which is unfortunate considering how much a part of the overall experience audio represents. For us, Prairie Meadows was an exciting project, because it enabled us to design an audio-only system where the sound pretty much disappears into the experience. That would have been far more difficult without the pattern control of the TRX loudspeakers.”

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Headquartered in Foothill Ranch, California, Renkus-Heinz, Inc. is the worldwide leader in the design and manufacture of audio operations networks, digitally steerable arrays, powered and non-powered loudspeakers, system specific electronics and fully integrated Reference Point Array systems.

PreSonus Supports LSU’s College of Engineering

Pledges $200,000 to Support Innovation in Audio Signal Processing and Digital Media

Jim Odom at LSU Engineering 01 copyBaton Rouge, LA – September 2013…  To support education and research in the Division of Electrical and Computer Engineering, PreSonus Audio Electronics has pledged $200,000 to establish a digital signal processing (DSP) laboratory.

DSP is a specialized branch of mathematics that performs analysis and processing of binary representations of analog signals. Advances in digital technology have enabled DSP systems to accomplish tasks inexpensively and efficiently that are difficult or impossible using analog technology. The DSP laboratory will provide LSU College of Engineering students a state-of-the-art environment for learning those skills required in industry settings.

“As a graduate of LSU Engineering and a Louisiana entrepreneur, I believe that investment in our home-grown technical workforce is essential in our efforts toward economic growth,” comments Jim Odom, co-founder, PreSonus. “Our intention for this grant is to assist LSU Engineering in becoming a top ten destination for technical education. The burgeoning industry of digital everything will require highly skilled and trained individuals, and LSU is perfectly positioned to meet this challenge.”

PreSonus, cofounded in 1995 by LSU electrical engineering alumni Jim Odom and Brian Smith, is one of the world’s leading manufacturers of audio electronics and software used in TV and radio broadcast, live-event sound reinforcement, and professional recording studios.

“Jim and Brian provide an exemplary case of entrepreneurial spirit present in LSU’s electrical and computer engineering graduates,” said Pratul Ajmera, interim chair, LSU Division of Electrical and Computer Engineering. “We thank PreSonus for this significant investment that enhances our educational program and helps us produce world-class graduates competitive in the digital media and digital audio industries.”

A global company, PreSonus is an active recruiter of LSU students for both internships and post-graduation employment. Currently, an estimated 16 LSU alumni are employed there, including 7 engineers.

Jim Odom at LSU Engineering 02 copy PreSonus CEO Jim Mack, “We are committed to supporting LSU in their efforts and believe that keeping the curricula current and in sync with industry will support the near- and long-term strategic needs of not only the university, but the community as a whole.”

Headquartered in Baton Rouge, Louisiana, PreSonus currently has a staff of 122, with additional offices in Ireland, Hamburg, and Hong Kong. The company is currently building a new 43,000-square-foot headquarters and R&D facility in Baton Rouge.

LSU’s ECE Division currently enrolls 350 undergraduate students and 102 graduate students. During the past five years, the division has, on average, granted more than 80 bachelor’s degrees, 25 master’s degrees, and more than five PhD degrees annually.

###

 About PreSonus

Founded in 1995, PreSonus Audio Electronics, Inc., is a leading designer and manufacturer of audio-recording and live-sound software, hardware, and related accessories. PreSonus’s software, microphone preamps, signal processors, digital audio interfaces, digital mixers, control surfaces, loudspeakers, and other products are used worldwide for recording, sound reinforcement, broadcast, sound design, and Internet audio.

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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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