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Archive for February 20th, 2014

Mixerman’s Pairing of Antelope Audio Orion32 and Isochrone 10M Clock Enhances Clarity and Deepens Soundstage While Reducing Mix Times

Renaissance Man of the Recording Arts and Accomplished Mix Engineer Discusses The Next Big Step in Digital Audio and the Fictitious ‘Daily Adventures of Mixerman’

Santa Monica, CA, February 20, 2014: Eric Sarafin, aka Mixerman, has an accomplished CV, having published three audio related music titles and having mixed recordings by top artists, including Ben Harper, Barenaked Ladies, Amy Grant and most recently, Foreigner— which enlisted Mixerman’s signature talents on its newest Foreigner Live album. With all his diverse projects and interests, Sarafin is something of a renaissance man in the recording arts. Indeed, he is constantly pursuing the best possible audio quality in his own mixes, and has recently discovered the ultimate pairing of digital audio technology with Antelope Audio’s Orion32 multi-channel converter and its Isochrone 10M clock. Antelope caught up with Mixerman at the recent 2014 NAMM Show, where he discussed how this conversion and clocking combination has moved the dial ahead on digital audio.

Tell us about your recent and upcoming projects.

Mixerman: Well, I’ve got a total of three books out right now: The Daily Adventures of Mixerman, which was my first, Zen and The Art of Mixing and Zen and The Art of Producing. I am currently working on my next one, Zen and the Art of Recording, which will be approached from a ‘source-centric” position and talk about all the things you can do to improve the source before you even think about how to capture it.

Did you use the Antelope Orion32 and 10M combo on the new Foreigner album?

Mixerman: Yes and it made a huge difference. I had done some mixes for Foreigner previously on their ‘Unplugged’ album — this was similar because there was no drums and this makes working on a live project much easier. I was mixing some of the greatest songs ever written and had nothing in my way. It was one of the most enjoyable records to mix ever, and with the Orion32 and 10M I was no longer fighting the technology.

When did you first begin using the Orion32 — and subsequently the 10M?

Mixerman: When my assistant told me about the Orion32, which offered 32 channels for 3000 bucks, my first reaction was, “That’s great. No way it’s any good.” Then I talked to Howie Weinberg who raved about the Antelope products, and this was certainly enough for me to try it. I felt that the Orion32 sounded certainly as good, if not better than my existing converter. But once I plugged the 10M clock into the Orion32, it was a whole different ballgame. The soundstage was deeper, wider, richer— it was super-obvious. The whole soundscape opened up and I could interpret the mix sans the usual digital impediments.

How has the Orion32 / 10M improved your workflow?

Mixerman: I have always been slightly frustrated with digital because it always seemed like I had to work harder on my mixes than I did in the analog domain. But the Orion32 and 10M has significantly helped my digital set up, to the point I feel like there’s nothing in the way of me and the music. This is the biggest step forward I’ve experienced in my rig, or in any digital environment, in quite some time. It’s easily shaved an hour off of every mix I do, if not more. It’s crazy how good this combination [Orion32 and 10M] sounds — everybody needs to get both of these products in their rigs.

What else does your current set up consist of?

Mixerman: In addition to having everything clocked with the Orion32/10M and I am running Logic X on a Mac Mini. Logic X goes out to the Orion32 via USB, which is awesome because now I don’t need to use a PCIe chassis. I have heard other people say USB is sketchy, but I’ve haven’t seen or heard any evidence of this. In fact, it’s rock solid. The Orion32 outputs go into two Dangerous summing boxes, which then go out to my SSL G384 analog compressor. I’ve got a couple of Pulse Techniques EQP1a3s in line after that, then I go right back into the Orion32 / 10M combo. I have a variety of monitors, but these days I’m using the SE Munro Egg speakers in combination with my Tannoy 800As — all of this is plugged into my Dangerous monitor section, that is until my Raven MTX arrives.

Finally, was The Daily Adventures of Mixerman fact or fiction?

Mixerman: A lot of people believe that it was based on fact, and it’s a reasonable theory. But that story was completely from my imagination. I’ve hesitated telling people that because I feel like the story unfolds better if you believe it is real, but it was completely fictitious. Basically. I’d get up everyday and start writing, and people started going crazy on the Internet. Then I would read what they said and start constructing the next chapter. I would think about things that happened to me over the years and grabbed the personalities and experiences I had among those I’d worked with. It was classic satire that got more and more outrageous as it went along. That didn’t seem to shake off a great many readers. Ah, you gotta love the internet.

About Antelope Audio:

Antelope Audio is a leading manufacturer of master clocks, A/D & D/A converters and the pioneer in the adoption of Atomic clock generators.

The company utilizes Igor Levin’s more than 20 years’ experience in digital audio to develop professional and consumer high-end products with the signature Antelope Audio sound. The company employs proprietary clocking and jitter management technologies as well as custom-designed circuits to provide both professional audio engineers and music aficionados with unprecedented musicality, sound stage and clarity.

Antelope is the first to design a 32-channel AD/DA USB audio interface and extremely precise master clock in only 1U. Orion32 is a breakthrough technology, offering both studio and live-recording audio engineers great productivity and flexibility.

The company’s customers include many Grammy award-winning sound engineers and some of the most renowned recording, mastering and post-production facilities around the globe.

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SMPTE Announces Second Annual Entertainment Technology in the Internet Age (ETIA) Conference

SMPTE and SCIEN Partner Again to Produce Popular Conference, Scheduled for June 17-18 at Stanford University

WHITE PLAINS, N.Y. — Feb. 20, 2014 — The Society of Motion Picture and Television Engineers(R) (SMPTE(R)), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today announced that, working once again with the Stanford Center for Image Systems Engineering (SCIEN), the Society will produce the second annual “Entertainment Technology in the Internet Age” (ETIA) conference. Scheduled for June 17-18 at Stanford University near Palo Alto, Calif., the conference will explore the technology, creative, and business requirements for delivering a compelling, high-quality, monetizable entertainment experience over the Web.

“The remarkable success of last year’s conference demonstrated just how important it is that leaders and innovators from both Hollywood and Silicon Valley communities come together to discuss entertainment distribution via the Internet,” said ETIA conference chair Patrick Griffis, executive director of technology strategy at Dolby Laboratories and SMPTE education vice president. “We look forward to building on that strong start with an equally compelling and valuable 2014 conference program.”

“The ETIA conference not only offers engaging panel discussions and presentations, but also opens the door to a broader dialog — a conversation with the power to move the industry forward in addressing the new reality of Internet-delivered media and entertainment,” added Joyce Farrell, executive director of SCIEN and ETIA conference chair. “Given the slate of presentations already secured, we expect this year’s event to be another highly dynamic and rewarding experience.”

Technology and creative experts will gather at the ETIA conference to explore the differences and commonalities between traditional media and media delivered over the Web, appreciating key attributes and predicting technical trends. Presentations will address topics ranging from the future role of OTT services, to the impact of technology on storytelling and on business models, the translation of “traditional” content to the Web, storytelling across devices, the state of sound and captioning on the Web, the question of fast-lane Internet access, and — in a special evening event — the “entertainment holodeck.”

Further information and online registration for the 2014 ETIA conference are available at www.smpte.org/etia2014.

Photo Links:
www.wallstcom.com/SMPTE/SMPTE-JoyceFarrell.jpg
www.wallstcom.com/SMPTE/SMPTE-PatGriffis.jpg
Photo Caption: Joyce Farrell, Executive Director of SCIEN and Pat Griffis, SMPTE Education Vice President, ETIA Conference Chairs

# # #

About the Stanford Center for Image Systems Engineering
The Stanford Center for Image Systems Engineering (SCIEN) is a partnership between the Stanford School of Engineering and technology companies developing imaging systems for the enhancement of human communication. The mission of SCIEN is to support multidisciplinary training, research, and collaboration on technologies leading to novel imaging systems that include the capture, processing, transmission, and rendering of visual information. SCIEN has a broad technical scope and is currently focusing on applications in the areas of sensors and sensor arrays, digital photography, mobile imaging, computer graphics, multimedia systems, broadband and wireless communication, medical imaging, and remote sensing.

About the Society of Motion Picture and Television Engineers(R) (SMPTE(R))
The Oscar(R) and Emmy(R) Award-winning Society of Motion Picture and Television Engineers(R) (SMPTE(R)), a professional membership association, is the worldwide leader in developing and providing motion-imaging standards and education for the communications, technology, media, and entertainment industries. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the broadband, broadcast, cinema, and IT disciplines. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 650 standards, recommended practices, and engineering guidelines. More than 6,000 members — motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students — who meet in Sections throughout the world, sustain the Society. Information on joining SMPTE is available at www.smpte.org/join.

All trademarks appearing herein are the property of their respective owners.

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FOH ENGINEER ANDY TORRI BRINGS METRIC HALO GEAR TO BIG HEAD TODD AND THE MONSTERS

SAFETY HARBOR, FLORIDA – FEBRUARY 2014: Although Andy Torri enrolled at a Colorado music school in the late 1980s to carefully prepare himself for a life in the world of professional audio, it was a chance meeting at a local bar that held his destiny. Mutual friends introduced Torri to Todd Park Mohr, frontman for the rising act, Big Head Todd & the Monsters. The two became friends, and shortly after Torri found himself at another bar, complaining to Mohr about how hard it was to find sound engineering work in the studios around Colorado. He expected only friendly commiseration, but got a job offer instead.

Since then, Torri has had only two main jobs: FOH engineer for Big Head Todd & the Monsters and studio engineer at KBCO in Boulder. The first gig, from which he took only a short reprieve between 2005 and 2012, took him from guitar-tuning-tee-shirt-sales-plus-mixing-duties in the smoky haze of local bars to his current position of respected FOH engineer at venues of all sizes around the Intermountain West and the nation. At KBCO, Torri engineered in-studio performances by Sting, Coldplay, Stevie Nicks, Dave Matthews, Jack Johnson, Elvis Costello, Willie Nelson, Robert Plant, and countless others. Most of those recordings found their way to KBCO’s wildly popular Studio C Session CDs, the proceeds of which went to charity.

Torri is one of those engineers who trained in the analog world and then successfully navigated the hills, valleys, and occasional rock slides to the state-of-the-art-hybrid digital/analog world that we currently live in. As he personally navigated that transition, he accumulated digital solutions from Metric Halo, and once he grabbed them, he never let them go! The first of those solutions was Metric Halo’s SpectraFoo sound analysis software. “It’s been a constant for me, both live and in the studio,” Torri said. “I love its flexibility. It’s easy to create custom pages of all the tools I need for a particular job. I also love the precision of those tools. I can zoom in or out on frequency, amplitude, or any other parameter and get as much detail or overview as I need.”

Big Head Todd & the Monsters play everything from clubs to theaters to amphitheaters, and the span between load-in and show-time is seldom ample. “We use in-house console and PA system,” Torri explained. “Every day is different, and every system has its own particular quirks.” Using his Metric Halo 2882 interface, Torri takes a feed from the board and compares it with output from a measurement microphone. He continued, “I use the Spectragraph and Spectragram a lot. They immediately reveal the hot spots and trouble areas of a particular system. After correcting those problems, I balance the system using SpectraFoo and some combination of pink noise and my own personal favorite ‘sound engineer songs.’”

Occasionally, Torri will find himself at a venue with sufficient outboard or console-based processing that he can dial in Todd’s voice and the rest of the mix using it. That’s the exception however, and he usually relies on the 2882’s DSP resources and his Metric Halo MIOStrip plug-in. “In addition to getting sound into SpectraFoo, I use the 2882 and MIOStrip to dial in the vocals,” Torri said. “I often use them on bass and/or the house mix as well. The Metric Halo system is rock solid, so I’m comfortable using it live. And it sounds fantastic. A while back, I mixed down some greatest hits tracks using every method of summing that was available to me, including using the 2882’s 80-bit summing. I gave the mixes to the mastering engineer without telling him what all the different codes stood for – it was a blind test. Every time, he chose the 2882 summing. It has a depth and definition to the panning and a warm, solid low end.”

Much like SpectraFoo and the 2882, Torri finds Metric Halo’s MIOStrip to be a tool for all occasions. “MIOStrip has a great sound, which is obviously very important,” he said. “The functionality is great; cuts and gains can be very subtle or very aggressive.” For vocals and instruments, Torri often pairs MIOStrip with the 2882’s “Character” processing, which models different flavors of analog circuits. He usually uses “Soft Sat.”

“Working with Metric Halo has been about more than just the gear,” Torri concluded. “The people behind the company are great. They create great products and stand behind them: SpectraFoo is seventeen years old, and the 2882 is twelve years old. It’s all well supported, updated, and totally relevant. What other company can say that?”

ABOUT METRIC HALO Now based in the sunny city of Safety Harbor, Florida, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and future-proof hardware.

www.mhlabs.com

Enhance communication with SIM2 SUPERLUMIS PRO professional cinema projector

Sunrise, FL—February, 2014: SIM2 USA, the sister company of SIM2 Multimedia, the Italian manufacturer known worldwide for innovation and video performance, takes the visual experience to the next level with the introduction of the SUPERLUMIS PRO: the new 3D active, 3-chip DLP® projector designed for professional-quality cinema performance and uncompromised image quality.

SIM2 has developed a new electronics platform, PROSIM2, designed to raise the already outstanding performance of the SUPERLUMIS to new levels with very stable and robust software.

SUPERLUMIS PRO has been designed based on the needs of the professional market for easy serviceability and extended product lifetime backed up by reliability and high performance.

Thanks to its wired connections, SUPERLUMIS PRO makes it easy to future-proof your investment by offering full firmware and software upgrades, as well as real-time adjustments and monitoring regardless of geographic location. You no longer have to be in your theater to know that the projector is running well.

SUPERLUMIS PRO is an intelligent device that monitors its own internal parameters and health status and securely shares that data with the outside world of SIM2 service centers, thereby providing customers with more control over assets and time.

Prominent features include: a new, high-power (350W), dimmable lamp and lamp driver that delivers up to 5,000 ANSI lumens on-screen; increased detail, thanks to an impressively high contrast ratio of >30,000:1 (in 2D mode); new Color Management software; and SIM2 Professional Customer Care.

And, to tailor your SUPERLUMIS PRO to your specific needs, the projector features two optional “outside-the-box” system design options: the SIM2 Sliding Filter System (SFS) and the SIM2 Integrated probe feedback system (SIM2 AUTOCAL®). The SFS by SIM2 allows the SUPERLUMIS PRO to become an incredibly versatile instrument that can meet different color-reproduction requirements—such as Home Cinema, DCI, or even other applications—in situations where dedicated color reproduction is the key technical factor. The professional probe interfaced system (SIM2 AUTOCAL®) uses Color Auto-calibration, Ambient Light and Ambient Color Compensation, and Background Light Measure for an onscreen image quality that remains constant despite changes in ambient light.

The SUPERLUMIS PRO will be available (US only) by the end of February, in a striking soft-touch, matte-black finish. Prices start at $65,000.

ATK Audiotek Rocks Halftime Show at Super Bowl XLVIII with HARMAN’s JBL VERTEC® Line Arrays

EAST RUTHERFORD, New Jersey – For the 17th straight year, ATK Audiotek provided audio services for the National Football League’s championship game, Super Bowl XLVIII, the first ever in an outdoor cold-weather stadium. ATK Audiotek deployed its custom-designed, cart-based audio system for the game’s prestigious halftime show, held at MetLife Stadium in East Rutherford, New Jersey. Once again, ATK Audiotek outfitted their system with HARMAN’s JBL VERTEC® line array loudspeakers.

In a battle between the league’s top-ranked offense and defense, Super Bowl XLVIII, broadcast via FOX, reached an estimated 112 million viewers. This year’s Halftime show featured popular pop-singer Bruno Mars, with a special guest performance by the Red Hot Chili Peppers. The Post-Game Show featured the presentation of the Lombardi Trophy to this year’s NFL champion Seattle Seahawks.

For the event, ATK Audiotek deployed 16 of its custom-designed field carts, which allow for easy transport and setup of the JBL VERTEC loudspeakers on and off the field. The system featured 14 carts equipped with four boxes of VT4889 line array elements (56 total), two carts with five boxes of 4889’s (10 total), and each cart was also equipped with two VT4880A fullsize arrayable subwoofers (36 total). Additionally, ATK Audiotek mounted eight VRX932 Constant Curvature loudspeakers on the back of several carts for field fold back, deployed four VT4886 loudspeakers on two popup stands for coverage of the seats behind the stage, and used four more 4886’s for front fill.

“We have come to rely on the consistent performance and sonic capabilities of JBL’s VERTEC line arrays for our systems at the Super Bowl events each year,” commented Kirk Powell, Engineer in Charge for ATK Audiotek. “The Super Bowl is always the most-viewed television event of the year and when you add in the live-broadcast aspect you need to have a system that delivers high quality results with no failures. JBL’s gear has more than met that requirement and that’s why we continue to go back to the VERTEC’s every year.”

For more information on ATK Audiotek, please visit www.atkaudiotek.com

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 14,800 people across the Americas, Europe, and Asia and reported sales of $4.7 billion for the last twelve months ended December 31, 2013.

Extron Shipping Next Generation Fiber Optic DisplayPort Extender for Signals up to 2560×1600

Extron Electronics is pleased to announce the immediate availability of the FOX II DP, a transmitter and receiver set for long haul transmission of HDCP-compliant DisplayPort video, multi-channel audio, RS-232 control, and IR control signals over fiber optic cabling. The FOX II DP brings support for higher resolutions up to 2560×1600, multi-channel audio, an audio return channel, and IR support to the FOX Series. Engineered for reliability and exceptional image performance, it uses Extron all-digital technology to deliver pixel-for-pixel DisplayPort computer-video images up to 2560×1600. The FOX II DP is ideal for point-to-point installations or in combination with a FOX Series matrix switcher for an enterprise-wide distribution system of high resolution DisplayPort video, multi-channel audio, and control signals. more

Bob Poucel Returns to Broadcast Pix as Director of Support

Billerica, Massachusetts – Broadcast Pix™ announced today that Bob Poucel has returned to the company as director of support, effective Feb. 3. Based out of the company’s main office in Billerica, he is leading the company’s technical support efforts.

Poucel managed technical support at Broadcast Pix for more than three years before he went to Imprivata to manage its U.S. technical support center. Previously, he managed technical support organizations for IBM Rational Software, the MITRE Corporation, and Avid Technology.

“We are very happy to welcome Bob back to Broadcast Pix,” said Steve Ellis, general manager, Broadcast Pix. “He has years of experience with our product lines, which will help him improve our processes and help our team continue to exceed customer support expectations.”

Poucel can be contacted at (978) 600-1100 or via e-mail at rpoucel@broadcastpix.com.

About Broadcast Pix The leader in live video production systems with end-to-end integration, Broadcast Pix was founded in 2002 and has customers in more than 110 countries. Its systems combine an integrated switcher, clip server, CG, and external control software with patented control panels, unique touch-screens, and exceptional displays. Systems range from compact systems controlled by touch-screen or voice automation to large sophisticated control panels. Customers include leading streaming, broadcast, sports, corporate, education, religious, and government studios. Learn more at www.broadcastpix.com.

Broadcast Pix is a trademark of Broadcast Pix, Inc. Patented. Made in USA.

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Christie Announces Executive Appointments

Christie today announced that Kenji Hamashima, Chairman, President and CEO of the Christie group of companies will step down from his current role effective April 1, 2014.

Jack Kline, President and COO, Christie Digital Systems USA, Inc. will assume the role of Chairman, President and CEO of all of Christie’s operating companies, worldwide.

Mr. Hamashima will remain as Chairman, President and CEO of the Christie holding company, Christie Digital Systems Inc., as well as Ushio America Inc.

“For the past 14 years I have had the pleasure and privilege of serving alongside the dedicated staff of Christie worldwide, in our Christie group of companies, for which I am very grateful,” said Mr. Hamashima. “It has been an exciting time to help Christie grow to become a global leader in cinema and digital display solutions.”

Mr. Hamashima added that “For almost 35 years, Jack has devoted himself to growing Christie’s business and reputation for innovation, and I am confident that in assuming leadership of our operating companies across the globe, he will lead them to new heights of success.”

Christie 3D Visualization Solutions Chosen for Virtual Construction Simulation at Toronto’s George Brown College BIM Lab

One of Canada’s largest and most diverse colleges, Toronto’s George Brown College, chose Christie’s visualization solutions for its Building Information Modeling (BIM) Lab in the Centre for Construction and Engineering Technologies (CCET), at the Casa Loma campus. Students, industry professionals and business partners can use the BIM Lab to create digital 3D models and view them on a custom Christie-designed display solution, powered by three 120Hz stereoscopic 3D DLP® Christie Mirage WU7K-M projectors. The new immersive simulation space supports the College’s mission for continued innovation, enhanced practical and theoretical teaching and learning, as well as staying ahead of trends and technology in the construction industry.

BIM is a global term referring to a technology process where collaboration and knowledge sharing takes place, but when the creation of a simulated virtual reality exists, stakeholders can visualize facilities, operational issues, designs and construction. George Brown College understands that using the latest technology can facilitate learning and prepare their students for the future. Clint Kissoon, chair of CCET’s School of Architectural Studies and the Angelo Del Zotto Construction Management, said, “After detailed benchmarking, several meetings and seeing firsthand the Christie CAVE™ installed at Pennsylvania State University, we knew that a BIM lab was the way of the future, and that the Christie solution was the direction we wanted to take to create a fully immersive environment. The lab will advance skills today and in the future and fill a skills gap in the construction industry.”

Kissoon added: “Christie’s proposal came in within scope, budget and procedural requirements to enable us to conform to the Federal Economic Development Agency’s procurement processes and receive the grant for the project. The help we got from Christie really put us in the position to get what we wanted.”

Christie’s advanced stereoscopic Mirage WU7K-M projector, with WUXGA resolution at 6,300 ANSI lumens from dual lamps delivers crisp images, vibrant colors, uniform brightness, and with Christie Twist™, the user can control warping and blending so that the image fits any dimension or shape.

“The Christie Mirage M series projectors are compact, highly efficient, and provide a low cost of ownership,” said Zoran Veselic, vice president of Visual Environments, at Christie. “They are the ideal solution for immersive simulation displays like George Brown College’s BIM Lab and other post-secondary institutions that are considering an enhanced learning and training environment through 3D visualization.”

Thought to be a first of its kind at a community college or university in Canada, the state-of-the-art facility provides learning opportunities that will cover all aspects of virtual design and construction — from project procurement to building processes and facility management. According to Pietro Ferrari, professor and coordinator, School of Architectural Studies at George Brown College, “What we’ve done with this screen in the BIM Lab is to position GBC to offer a program of BIM-related courses, including a post-graduate BIM Certificate program, that’s extremely deep and much more extensive than what other institutions are offering across Canada.”

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Pierre Lesperance Joins LMG Systems Integration

Orlando, FL – LMG, a national provider of video, audio and lighting support, is pleased to announce the hiring of Pierre Lesperance as a sales engineer in the firm’s Orlando headquarters. Lesperance’s duties will include developing new business, client communication, and advising clients on the optimal equipment to meet design and budget needs to support the systems integration division, which focuses on permanent installations and product sales of video, audio, lighting and audiovisual equipment.

Pierre Lesperance brings over 25 years of audiovisual industry experience to his new role at LMG. Previous to LMG, Lesperance held the position of sales and account manager at a national audiovisual firm for the last decade, and has a depth of experience handling account management, business development and marketing of complex technical solutions. He holds a Bachelor of Science in Electrical Engineering from Howard University in Washington, DC, and is a Certified Technology Specialist through Infocomm International.

“Pierre is a seasoned veteran within the industry and we are excited to have him on our team,” states Les Goldberg, CEO/president of LMG. “His solid background of technical knowledge combined with customer service will be an asset to our clients, and help us grow the systems integration division.”

LMG Systems Integration provides design, consulting, installation, as well as product sales, of customized audiovisual technology – including video, audio, control and teleconferencing equipment, working with clients nationwide on educational institutions, healthcare facilities, executive boardrooms, command/control centers, houses of worship, and specialty installations.

For more information, please visit lmgintegration.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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