A virtual press conference from Sound & Video Contractor

Archive by Heather Davis

DEFIANTLY INNOVATIVE, DANLEY ENTERS THE COLUMN SPEAKER MARKET WITH THE SBH-10 “SKINNY BIG HORN”

GAINESVILLE, GEORGIA – FEBRUARY 2014: Danley Sound Labs broke into the house of worship market by skirting convention with its patented Synergy Horn and Tapped Horn technologies and is currently taking the sporting arena market by storm by one-upping line arrays with its unique Genesis and Jericho Horns. The recipe is easy to explain but almost impossible for anyone without Tom Danley’s unique acoustics background to pull off: Danley starts back at the fundamental physics of loudspeaker design to overcome trade-offs that are inherent to conventional designs. So it is again with column speakers. The new Danley SBH-10 “Skinny Big Horn,” uses Danley’s patented Paraline technologies to deliver the aesthetic benefits of a column speaker but with much greater fidelity, superior pattern control, no spurious lobes, and no requirement for complicated signal processing.

At a weight of one-hundred pounds and with dimensions of 60” x 9” x 9”, the SBH-10 is composed of eight 5-inch coaxial drivers and acts as a single large Synergy Horn with the directivity of a horn over twenty-five feet! Its coverage pattern measures 140 x 10 degrees, and its frequency response extends from 77Hz to 15kHz, +/-3dB.

“Danley’s new Skinny Big Horn series meets the aesthetic desire for a low profile column shape,” said Mike Hedden, president of Danley Sound Labs. “But shape is where the similarities between conventional column speakers and the Danley Skinny Big Horn end. Using our patented Paraline technology, the SBH-10 has the directivity of a twenty-five foot long horn, yet it is only nine inches deep! Moreover, due to horn loading, the SBH-10 has a sensitivity of 99dB, which is 10dB greater than similar sized cone-loaded products, and because it has such a high power handling rating, is capable of close to 20dB greater output when compared to similarly sized, front-loaded designs. The Danley Skinny Big Horn is a technological leap: no spurious lobes, forward directivity that other manufacturers can only dream of which allows it to even be flown away from a boundary, extremely tight vertical coverage, wide horizontal coverage, and – most importantly – audiophile fidelity. If all that weren’t enough, the SBH-10 requires only one amplifier channel and no special signal processing.” There’s a new leader in the column loudspeaker market. The SBH-10 and its not even a column, it’s a Skinny Big Horn!

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

Be sure to watch this YouTube video where Doug Jones explains yet another breakthrough technology from Danley Sound Labs: http://youtu.be/b8cX5Xs_vZg

SONO LUMINUS PRODUCTION TEAM EARNED A 2014 GRAMMY NOMINATION FOR BEST SURROUND SOUND ALBUM

SAFETY HARBOR, FLORIDA – FEBRUARY 2014: “I had two Grammy nominations in 2013, and our company, Sono Luminus, had a total of seven,” said Daniel Shores, managing director and head engineer of Sono Luminus, with modesty and a hint of awe in his voice. “It seemed like everything was packed into last year, so we really weren’t expecting anything this year.” Contrary to expectation, however, Shores and Dan Mercerio Sono Luminus managing director/head engineer shared a nomination for “Best Surround Sound Album” at the 2014 Grammy Awards for Sprung Rhythm, a collection of new works performed by the Washington DC-based ensemble, Inscape. “It’s such an amazing honor,” continued Shores. “Not only is this the category that is so close to my heart and so identifiable with the DNA of our company, but we are included among other nominees with such legendary talent. Indeed, the other nominees included the winners, Al Schmitt and Tommy LiPuma, for their work with Paul McCartney.

Sprung Rhythm arose from a three-day recording session at Sono Luminus’ studio in Virginia, with all of the composers on hand to help fully-realize their visions. The number of musicians varied from piece to piece and ranged from four to twelve. “Rather than move mics to the instruments for placement during editing and mixing, we choose to set up the mics for ideal surround sound playback and then placed the instruments where they needed to be in the room,” said Shores. “I believe that things should be recorded as they’re meant to be heard, and we try to give both the musicians and our listeners the most organic experience that we can. This way of recording surround achieves that, I believe. Having the composers on hand was very helpful. They were able to help interpret their compositions spatially. Did it make sense to keep certain instruments close together? Should there be a call and response across the surround sound field? That sort of thing.”

All seven microphones were B&K 4006s, with an additional Schoeps MK2s placed on the low-frequency instruments for a direct sub channel. Because the Metric Halo ULN-8 has no fan, they were able to place it in the center of the live room, which minimized the length of mic-level cable runs. They used the ULN-8’s microphone preamplifiers and A/D converters as the front end to Pro Tools for a 24-bit, 192kHz session, and they used its D/A converters for monitoring. “The Metric Halo ULN-8 is so transparent,” said Shores. “It’s the best interface I’ve found for use with Pro Tools, and I often get praise for delivering recordings that ‘don’t sound like they were done on Pro Tools.’ Since our goal is always to reproduce exactly what we’re hearing in the room, pairing the ULN-8’s transparency with clean, precise microphones like the B&K 4006 makes for a really stellar combination.”

Shores happily admits that, from a mixing standpoint, his work at Sono Luminus is “quite boring.” “The microphones are our surround sound channels, so there’s nothing to mix,” he said. Since the label releases everything on a Pure Audio Blu-ray™ Surround Sound disc, as well as on a standard CD, the listener hears almost exactly what Shores was hearing. “I monitor during editing, mixing, and mastering using the precision of the ULN-8 to ensure that I have an accurate representation of what the listener will get,” he said.

Shores has already finished recording Sono Luminus’ second Inscape release using similar techniques and equipment, including the ULN-8. And on his way to the Grammy Awards, Shores packed up the ULN-8 to take to California so that the following day he could record the Los Angeles Percussion Quartet, the same ensemble that earned him a Grammy nomination last year!

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

Symetrix Automates Audio for Services at Marytown’s 24/7 Sanctuary

LIBERTYVILLE, ILLINOIS – FEBRUARY 2014: Marytown in Libertyville, Illinois is the National Shrine of Saint Maximilian Kolbe and is a ministry of the Conventual Franciscans Friars of Saint Bonaventure Province. Its stunningly beautiful sanctuary is a notable pilgrimage site and operates twenty-four hours a day, seven days a week for Eucharistic Adoration and prayer. In addition, Marytown holds mass twice daily and Liturgy of the Hours four times daily. In short, Marytown is a very serene, yet busy place. When its sound reinforcement system failed, Marytown called on CAVCOMM Audio Visual (Niles, Illinois) to make a speedy repair. Once the system was evaluated, replacing the aging analog system made more financial sense. A Symetrix SymNet Solus 16 open architecture, standalone audio DSP forms the heart of a robust, flexible system that the Franciscan Friars liked so much it inspired the installation of a Symetrix Jupiter 4 fixed architecture, standalone DSP in their residence.

“The layout of Marytown’s beautiful sanctuary is unique,” said Mike Canfield, president of CAVCOMM Audio Visual. “In front of the chancel alter area, the pews are perpendicular, and the pulpit and Father’s chair are situated towards the middle of the nave. Just before a major holy day, their mixer failed. I brought in a SymNet Solus 16 so they could get through the busy season. Having the flexibility of the open-architecture SymNet Solus 16 was great because we could use it in place of the old gear and we could still use the existing speakers and amplification. New Tannoy VLS15 passive line array speakers were added a few months later. I favor Symetrix processing based partly on its broadcast industry heritage, which requires products to have a quiet, neutral performance and the Symetrix processors are intuitive to program.”

Two Symetrix ARC-2e wall panel remote controls provide easy selection and volume control for a collection of seven Shure wired and wireless microphones and a CD/iPod deck. An eight-channel Lab.gruppen C10.8x amplifier powers the system. Because it was so easy to program the SymNet Solus 16, Canfield ran a few experimental setups with the Marytown friars. “I put in a gated mixing design for a few weeks and then tried a gain sharing design,” he said. “Then I asked which they liked better. Because so many different people with different speaking voices and volumes use the system, they felt the gain-sharing design worked better. It was nice to have that kind of flexibility.”

The friars were so pleased with the performance of the new system in the sanctuary that they requested a smaller DSP system for their dining/meeting room. “It’s very simple, and a Jupiter 4 together with a Symetrix ARC-2e wall panel remote control allows them to play music and have a microphone input for meetings,” Canfield said. “Right now it’s just two inputs and two outputs, but they might expand the system to include some outdoor landscaping speakers or another input. Everything that the Jupiter 4 contains couldn’t be touched by an analog system for anywhere near its price. It’s a tremendous value.”

ABOUT SYMETRIX Symetrix is dedicated to making life sound better. As a world leader in the development and manufacturing of digital audio signal processing (DSP) systems and accessories, Symetrix provides best in class audio management solutions to businesses, schools, non-profits and government organizations.

For more information on Symetrix products visit www.symetrix.co

BERKLEE COLLEGE OF MUSIC TO ADD FOURTH API LEGACY CONSOLE

BOSTON, MASSACHUSETTS – FEBRUARY 2014: The Music Production and Engineering Department (MPED) at Boston’s prestigious Berklee College of Music will add a fourth 32-channel analog API Legacy Plus console to its Studio A in early summer of 2014. At that time, a John Storyk-led renovation will overhaul the space to create a fourth facility with nearly identical equipment to three existing facilities for the instruction of foundational tracking and mixing courses. Because the MPED recognizes the importance of giving students abundant hands-on experience with definitive industry tools, it self-limits the number of Berklee students who can earn their degree in the department. Thus, only half of the Berklee students who apply to the MPED are accepted, which allows the department to maintain a student body of approximately three hundred students. The new API Legacy Plus will help alleviate competition for space and bottlenecks in studio scheduling.

“The API Legacy Plus offers us several advantages,” said Rob Jaczko, chair of the MPED and recording engineer for Bruce Springsteen, Sheryl Crow, James Taylor, and countless others. “First and foremost, its sonics and musicality are an industry benchmark. Just running tracks through it flat is an experience that our students should appreciate. Second, the Legacy Plus has a classic in-line analog signal path, which is very useful for teaching signal flow and problem solving. Finally, we’ve enjoyed a great relationship with API. We’ve always been happy with API’s outboard gear, which is included in seventeen of our studios, and the support we received from the API staff during the purchase and installation of the first three Legacies was great.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

ASHLY AUDIO APPOINTS BARDY HAYES AND ALEX SCHLOESSER OF GLOBAL MARKETING MANAGEMENT AS ASIA PACIFIC SALES MANAGER AND ENGINEER

ROCHESTER, NEW YORK – FEBRUARY 2014: Ashly Audio, veteran manufacturer of professional audio signal processing and amplification equipment, has appointed Bardy Hayes and Alex Schloesser of Global Marketing Management (GMM) as its sales manager and sales engineer, respectively, in the Asia-Pacific region. Hayes will oversee the qualification and appointment of local distributors, as well as monitor sales and marketing goals. Schloesser will train and support the distribution channel. In a word, the duo will act as an extension of Ashly’s sales, marketing, and technical departments from Mongolia to Tasmania and from India to Tahiti.

“Global has a mature and well-managed territory, with deep networks that we will tap directly into,” said Mark Wentling, CEO at Ashly. “Alex’s technical training and support capabilities are world class, and Bardy’s able handling of regional planning and management will allow us to focus our energies on the more strategic side of building Ashly’s channels worldwide.” GMM has been in operation for over a decade and maintains offices in San Diego and Singapore.

“Ashly has a strong and stable brand reputation in the Asia-Pacific region,” said Hayes. “Ashly products sound great, fill real world needs, and are some of the most reliable in the world. The company has a high level of integrity and has respect from all parties fortunate enough to do business with them. We will work hard to strengthen all of the relationships between the factory and the channel in the Asia-Pacific region. We want to see Ashly in projects of all sizes and across a wide swath of applications.”

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

(PHOTO CAPTION) From left to right, John Sexton (Ashly), Bardy Hayes (APAC Sales Manager), Mark Wentling (Ashly), Alex Schloesser (APAC Sales Engineer), Kelly Trader (APAC Order/Sales Admin).

DANLEY LOUDSPEAKERS COMPLETE THE FINAL PHASE OF GREEEN BAY PACKERS’ LAMBEAU FIELD EXPANSION

GREEN BAY, WISCONSIN: The Green Bay Packers have yet again expanded the seating capacity of legendary Lambeau Field, which raises it to the third-largest NFL stadium in the league with a total of 80,750 seats. The additional seats number 7,000 and fill in the south end zone, which had been the last remaining gap in Lambeau Field’s bowl architecture. With the bowl complete, designer Anthony James Partners and installer Pro Media Ultrasound were able to remove the longer-throw loudspeakers that had previously covered the south end zone seating and replace them with distributed Danley Sound Labs Synergy Horn loudspeakers that are mounted unobtrusively to the new structure. This final phase completes Lambeau Field’s all-Danley sound reinforcement system, which has been widely praised for its impact and fidelity.

“We knew going into the original system overhaul that the structural completion of the south end zone would give us the fully-symmetrical system we wanted,” explained Larry Lucas, director of audio engineering for Anthony James Partners (Richmond, Virginia). Lucas designed both phases of the Danley system overhaul at Lambeau Field. He continued, “Not only did it allow us to cover the original south end zone seating, it also allowed us to cover the 7,000 new seats as well.”

Over one hundred new Danley Synergy Horn loudspeakers comprise the addition. They include 26 Danley SM-100s, 31 Danley SM-96s, 42 Danley SH-MINIs, six Danley SH-46s, 21 Danley SH-21s, and, for good measure, two of Danley’s flagship SH-50s. Crown amplifiers power the system, with processing and control from BSS London. The existing Danley system is made up of twelve loudspeaker towers, each of which contains a Danley Genesis Horn GH-60 for primary coverage, a Danley SH-100 for fill, and a Danley TH-118 subwoofer for impactful bass.

Danley’s Mike Hedden commented, “Part of the commissioning process included STIPA measurements performed by the local authorities in charge of emergency and mass communication. They measured every seat not once but twice as they had never seen such high STIPA readings. Intelligibility is a huge hurdle in large venues and to have the third largest NFL stadium with stunning fidelity as well as intelligibility speaks to our superior technologies.”

“Danley’s small-format loudspeakers gave us the opportunity to tuck them under the soffits and under the new deck,” said Lucas. “Importantly, we did not have to place any loudspeakers on the front of the new deck, which is prime advertising real estate. The team has received a lot of comments from season ticket holders in the south end zone. They’re very pleased with the sound of the new system. As a system designer, it was especially gratifying to see the whole stadium come together. It was exciting to commission and verify that, as planned, all of Lambeau Field is now seamless.”

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

MUSEO DEL DUOMO IN MILAN’S CATHEDRAL OPENS WITH ASHLY PROCESSING

MILAN, ITALY – JANUARY 2014: Although ground broke for the construction of Milan Cathedral in Milan, Italy in 1386, it was only in the last decade that its construction was declared complete. The massive architectural project took over six-hundred years – twenty-four generations – and links Europe’s Middle Ages, through the Renaissance, to Post-modernity. Milan attracts two million visitors a year, and almost all of them visit the famous cathedral. To convey the epic story of its construction and to raise additional funds for Milan Cathedral’s costly upkeep, the Cathedral Museum opened in 1953. In keeping with the long timescale of the cathedral’s construction, the museum closed for five years and only recently re-opened, completely refurbished and ready to accommodate contemporary revenue streams. Among its new offerings, the museum added a conference room that can be rented for meetings and dinners. To keep costs low, but functionality and fidelity high, the conference A/V system uses an Ashly Pema 4125.10 100V output, combination four-channel 125W amplifier with a built-in 8×8 Protea™ DSP Matrix Processor.

Daniele Santini of Etabeta Electronics designed the museum’s new conference system, and Marco Oberto of Oberto & Allerino oversaw its installation. “We were called in after a different system failed to meet the needs of the client,” explained Santini. “That system seemed overly complicated and difficult to control remotely. The client wanted a system that would be virtually invisible and that would still yield highly intelligible audio. Moreover, they wanted a system that could be remotely controlled, even by lay users with no technical background. We went with the Ashly Pema 4125.10 for three reasons. First, it gives a very favourable performance-for-price ratio. Second, it only occupies two rack spaces and yet provides eight inputs, auto-mixer functionality, full DSP capabilities, and four powerful 250Watt amplifier channels. Third, it connects easily to Ashly’s line of intuitive user control units.”

Inputs to the system include two wired gooseneck microphones on the conference table, two Mipro ACT wireless microphones, and four line inputs located at strategic points around the room. The Ashly 4125.10 powers one On Point Audio OPA-Line loudspeaker system, plus six individual column loudspeakers. The whole room acts as one zone with several of the loudspeakers delayed slightly to optimize intelligibility at the table.

Users of the system are primarily the people who rent the room for various functions and Santini programmed and deployed the system so that they would be able to use it intuitively. An Ashly WR-5 programmable push-button remote allows users to select from various preset configurations, such as “dinner party,” “speech,” or “background music.” In addition, an Ashly FR-8 eight-channel Network Remote Fader console provides individual volume control for all eight input sources. “The Ashly remotes are very easy to configure, and we can insert them anywhere in an establishment’s local area network (LAN) for immediate and direct control of the inputs and outputs,” said Santini. “The museum is very pleased with the new system. They like the intelligibility and are amazed at how easy it is to control using the Ashly WR-5 and FR-8.”

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

WASHINGTON STATE UNIVERSITY THUNDERS WITH DANLEY JERICHO HORNS

PULLMAN, WASHINGTON – JANUARY 2014: The Cougars football team of Washington State University plays all of their home games in 33,500-seat Martin Stadium. Although on the smaller side among its Pac-12 peers, the stadium has more than enough seats for every resident of Pullman, Washington (the university’s home), and loyal alumni and visiting fans easily make up the difference, filling the stands to near capacity on game day. Recent additions to the stadium necessitated relocating the scoreboard to the opposite end zone, and that in turn inspired a full upgrade to Martin Stadium’s sound reinforcement system. Three Danley Sound Labs J3-64 Jericho Horns, two J4-31 Jericho Horns, and four TH-812 “Rock Monster” subwoofers now fill Martin Stadium with glorious, high-fidelity sound.

Washington State University called in Anthony James Partners of Richmond, Virginia to design the sound system. “It was a pretty straightforward situation,” said Lee Vaught, senior audio engineer at AJP. “Martin Stadium is a bowl with almost no overhang. A distributed system wasn’t an option. We had to go with an end-fired system, and the new scoreboard was the obvious place to put it. The only question was exactly what boxes to use. This is my first full Danley installation, and the their design provided the necessary coverage with vastly fewer boxes than I would have used with conventional technology.”

Three Danley J3-64 Jericho Horns provide the majority of the full-range coverage at Martin Stadium. They split the stadium down the middle, with the odd J3-64 covering the additional asymmetrical seating below the press and suite box. Two Danley J4-31 Jericho Horns deliver high-frequency content to the far seats, where otherwise the high end would be diminished having traveled through so much air. A single Danley OS-80 weatherproof Synergy Horn loudspeaker fills in for the seats right below the scoreboard. Four Danley TH-812 “Rock Monster” subwoofers – two to a side – complement the fidelity of the full-frequency components with robust low end. A handful of JBL Control 28 loudspeakers provide coverage of the small shaded area underneath the press and suite box. A rack of Crown i-Tech HD-Series amplifiers powers the system, with processing from a BSS London backbone.

Danley Sound Labs, President Mike Hedden commented, “This was a short turnaround project and was one of the first using our SketchUp plugin module in DDT3D. This is a very powerful 3D coverage program we developed that enables accurate predictions of all frequencies from 20Hz and up. We’ve worked with virtually all the major modeling programs and DDT is simply the easiest yet powerful program out there. This enabled us to turn the entire design around in basically one day.”

“The coverage is great,” said Vaught. “The long throw across the field is impressive, and the high end from the J4s together with the low end from the 812s provides a full-frequency experience that stadiums with conventional systems would have a hard time replicating. Surprisingly, we actually received a request to turn the system down after the first few home games. That never happens! If anything, systems aren’t loud enough. But at Martin Stadium, we pulled it back a bit. There’s plenty of headroom, and it sounds clean and undistorted. Cougars fans will enjoy this sound system for a long time to come!”

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

TRANSAUDIO GROUP TO DEBUT THE BOCK IFET CONDENSER AT WINTER NAMM

LAS VEGAS, NEVADA – JANUARY 2014: World renowned manufacturing engineer David Bock has yet again captured the unmistakable tone of a cherished vintage microphone in a thoroughly modern design. This time it’s the Bock iFet phantom-powered condenser, which possesses the sonic soul of a classic fet47 mic of yesteryear plus more modern specifications, including deeper bass and higher highs. That would have been accomplishment enough, but Bock didn’t stop there. The iFet also features two completely separate amplifier circuits. The first circuit uses one FET and four transformers to beautifully capture high-SPL sources, such as drums and electric guitar. The second circuit uses one FET only and is ideally suited for quieter sources, such as voice. The two-circuit design effectively doubles the size of the Bock iFet’s sonic palette.

“There is a real art and science to designing and manufacturing a modern microphone with a specific sound, that embodies the sonic characteristics of a loved classic vintage microphone,” said Brad Lunde, president of TransAudio Group, the U.S. distributor of Bock’s entire line of high-end studio microphones. “David Bock understands the fundamentals and nuances of microphone design with tremendous depth, and he is passionate about building great microphones that will stand the test of time in the studio. With its dual-circuitry design, the Bock iFet is a great studio vocal mic – with all of the depth, character, and authenticity you would find in a vintage studio condenser many times the iFet’s price – and also a great studio high SPL input instrument and kick drum microphone. That should make it especially appealing to individuals who are on a budget yet are unwilling to fall short of perfection.”

The Bock iFet Microphone is now shipping.

US-MSRP: $2,150.00

ABOUT TRANSAUDIO GROUP TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.www.transaudiogroup.com

STOP BY AND SEE US AT NAMM 2014, BOOTH #6945

API ADDS TWO NEW 500-SERIES MODULES: THE 505 DI (DIRECT INPUT) AND THE 565 FILTER BANK

JESSUP, MARYLAND – JANUARY 2014: API will introduce two new members of its acclaimed 500-series modular signal processing line at the 2014 NAMM Show: the 505 DI direct input and the 565 filter bank. Both modules possess API’s legendary sound and fit all 500-series chassis, including the API Lunchbox® and the API 1608 small-format analog console.

The 505 DI includes gain control, adjustable tone control, a bright switch, a 20dB pad, switchable 100/400k Ohm load impedance, and Thru connectivity. Like the console-based API 205L, the 505 DI is specifically designed to accept a guitar, bass or keyboard direct input while minimizing any loading effect on Hi-Z instrument pickups

The 565 Filter Bank includes a sweepable low-pass filter (500Hz to 20kHz, -12 or -18dB slope), a sweepable high-pass filter (20Hz to 400Hz, -6 or -12dB slope), and a variable notch filter (fully sweepable between 20Hz and 20kHz). The 565 circuits are true to the musical filters of the famed 215 module found in large format API consoles.

Noted Larry Droppa, president of API Audio, “Since it’s inception, the API 500 Series has dominated the ever-growing group of 500 Series products. At API, we innovate by design and keep delivering modules that outperform the competition and continue to give our end users the sound and performance they’ve come to expect from API. Both of these new modules address a specific need while keeping the integrity of the API module product line.”

MSRPs: 505 DI and the 565 Filter Bank $595.00 each

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

STOP BY AND SEE US AT NAMM 2014 BOOTH #6204

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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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