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RG Jones and Martin Audio MLA Win The War of the Worlds

War of the Worlds - The O2 Arena December 2014

Following a triumphant UK and European arena tour in 2012, Live Nation and SJM Concerts announced the ground-breaking tour of Jeff Wayne’s Musical Version of The War of The Worlds would return for the sixth and final time in late 2014 early 2015, with RG Jones Sound Engineering producing.

‘The New Generation’ as it is now known, played to packed arenas throughout the UK and Northern Europe this winter with the tried and trusted team of Simon Honywill, FOH engineer and Martin Audio’s full catalog of MLA (Multi-cellular Loudspeaker Array) components once again on hand to create a superior soundscape.

War of the Worlds - The O2 Arena December 2014

Conducted by Jeff Wayne, the most ambitious production yet featured Liam Neeson in 3D holography, Jason Donovan as Parson Nathaniel, Westlife’s Brian McFadden as The Sung Thoughts of The Journalist, X Factor 2005 winner Shayne Ward as the Artilleryman, Les Miserables’ Carrie Hope Fletcher as Beth, Parson Nathaniel’s Wife, X Factor 2013’s Joseph Whelan, as The Voice of Humanity, the 36-piece ULLAdubULLA Strings and the 9-piece Black Smoke Band.

The show is mixed live in Surround Sound and features remarkable special effects such as the incredible 3-ton, 35-foot tall Martian Fighting Machine firing real flames into the Arena, a 100 foot wide “animation wall” with two hours of cutting edge CGI, the incineration of a cast member in front of the audience’s eyes, and a ground-breaking levitation effect.

Adding a new dimension in the spectacular finale, HG Wells, author of The War of The Worlds, was brought to life in three riveting scenes within the show – aged 33, 53 and 79 – spanning the end of the 19th century and two subsequent World Wars. Scottish actor Callum O’Neill played HG Wells, best known for his role as ‘Wee Dingwall’ in Disney Pixar’s 2012 summer blockbuster, Brave.

War of the Worlds - The O2 Arena December 2014
Simon Honywill believes this to be the most daring production so far, and was delighted that he once again had MLA under his control. “Frankly, in an ideal world it would be the only system I would ever work with. It’s the most intelligent touring system ever, that has been responsible for the dramatically increased level of performance and coverage consistency, and paints such a neutral canvas that the slightest adjustment I make on the desk delivers exactly what I want for the audience.”

The War of The Worlds has to be one of the most challenging pieces of music to portray accurately in a live setting. The musical elements, consisting of the band, the orchestra, the iconic narration, live acting and singing, playback and surround effects, occupy over 140 input channels, and the audiences rightly expect an unprecedented level of detail. The rest of the production is just as epic, and this makes for a very demanding daily task for the entire crew, working to a very tight schedule with 12 trucks of gear to load in and out. For the sound team, set-up times and system tuning opportunities are very limited, and with any system other than MLA it would have been virtually impossible to get the consistently amazing results across a wide range of venues.

Honywill, arguably one of the most seasoned practitioners of MLA in the world, clearly enjoyed himself with the Liverpool Echo quoting, “Wayne’s music has never sounded more commanding.”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

CAD Audio Debuts Versatile MH100 Headphones

MH100R high rez

Solon, OH––CAD Audio is introducing the new precision-built multipurpose MH100 headphones for studio, DJ and general playback use.

The MH100s are a closed-back, midsized design headphone equipped with high output 40mm Neodymium drivers that offer increased power and an extended frequency response of 20Hz-18kHz with exceptional detail and clarity.

Available in black (MH100) and red (MH100R), the MH100s are designed to provide hours of listening comfort with effective isolation from surrounding noise. Their excellent performance for price and solid construction make it an essential tool for superior studio performance, DJs and professional musicians.

Specifications
Frequency Response: 20Hz-18kHz
Sensitivity: 98dB
Driver: 40mm Neodymium
Impedance: 38ohm
Power Handling: 500mW

For more information about CAD Audio, please call 800.762.9266 or visit www.cadaudio.com<a

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3G Productions Teams With Martin Audio MLA At Calibash Festival

Calibash StageCalibash Los Angeles, held recently at the Staples Center, was billed as “the leading urban Latin music festival in the world.”

The SRO concert featured a diverse group of acts including headliner Cuban American rapper Pitbull of “Don’t Stop The Party” fame along with Carlos Vives, Tego Calderon, reggaeton artists Wisin and J Alvarez, Don Omar, Becky G, Maluma, 3BallMTY, ChocQuibTown, Plan B, Farruko and Gente de Zona.

3G Productions of Las Vegas and Los Angeles provided a Martin Audio MLA system for the festivities which included 16 MLA and 2 MLD (downfill) a side for the main hangs; 16 MLA Compacts for side hangs; 8 MLA Compacts for the 270º hang and 28 MLX subs in double stacks––24 across the stage and a pair on each side pointed 90º to the audience. The mixing consoles for FOH included two pairs of Yamaha PM5D’s for the festival and an AVID Venue Profile for headliner Pitbull.
January 24, 2015

“We also used Martin Audio DD12s for the front fills,” points out 3G Systems Engineer Manny Perez. “They were awesome; really smooth, clear and responsive, like the whole system.

“In fact, the whole show went really well and all of the band’s FOH engineers were happy, even ecstatic at some points. It was kind of like playtime for them; they didn’t know what else they could do for their mix, which was a real change of pace.

“They ended up just hanging out, listening to each other’s mix, watching what the other guys were doing. They all really enjoyed the MLA system. They’d all heard about it but many hadn’t mixed on a big PA like that before.”
January 24, 2015

Asked about particular challenges for the event, Manny responds, “Not that much really. It was a regular end stage set up but they sold seating that went all the way around so we ended up using the house PA to supplement the area behind the stage. We’ve been in Staples Center many times, and it gets easier every time we go in there. It was very fluid in terms of the load-in and setup, even when they snapped in the stage before we could set up the subs.”

Concluding, Manny adds, “The MLA rig was great, we had plenty of headroom and there were smiles all round the room. At the level the engineers had it, which was close to 105 or 106dB, they were wondering what else they could do, because instead of struggling at that point, it was perfect. They also loved the sub bass being so powerful and smooth.”
Calibash FOH

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

CAD Audio Expands USB Mic Line With GXL2600USB

GXL2600USB angleSolon, OH––CAD Audio added the new GXL2600USB to its popular line of USB microphones at the 2015 Winter NAMM Show.

Reflecting CAD Audio’s longstanding reputation for designing and building high-value studio and live performance microphones, the GXL2600USB is a Large Diaphragm Studio Condenser mic designed with the highest quality materials to provide exceptional performance and accuracy in a variety of computer-based recording situations.

The GXL2600USB features a 1” Aoedein™ large diaphragm condenser capsule that enables the mic to achieve full range studio fidelity with exceptional transient response. The Aoedein capsule is paired with CAD’s PureTone™ A/D converter to further ensure a clear and efficient signal path. The GLX2600USB is supplied with a studio quality shock mount, desk stand and cable.

Specifications
• Polar Pattern: Cardioid
• Frequency Response: 20Hz to 20kHz
• Sensitivity: -35dB
• Equivalent Noise Level: ≤15dB (A Weight)
• Max SPL: 135dB
• High Quality PureTone™ A/D Converter
• Windows 8 and Mac compatible

For more information about CAD Audio, call 800.762.9266 or visit www.cadaudio.com.

Martin Audio Offers EASE Sound Design Support For MLA

EASE mlm_test_6300_d2_bal
Martin Audio has announced support for installers and sound designers with the provision of specific GLL files for designs using MLA, MLA Compact or MLA Mini in an EASE model.

Andy Davies, head of the Product Support Group for Martin Audio said, “The increasing demand for Multi-cellular technology in an installation environment has driven this development as an initial in-house solution; however, we are also working towards making this a simple addition to future iterations of our free-to-own Display software.”

For the time being, in order for Martin Audio to supply a GLL file all that is required is an EASE ‘packed’ project file of the venue showing the array location points, together with the appropriate Display2 file for the venue. Davies continues, “We can then extract the necessary data from the Display2 file and, via additional software, generate the specific GLL; this will include the inter-cabinet and array tilt angles, together with all the associated filter coefficients generated within Display2 to meet the set objective targets. It will also incorporate the appropriate Case Data for a visual representation of the proposed array within the EASE model.”

The GLL will then be inserted into the EASE model at the predefined location points and the coverage prediction checked to coincide with the Display2 output. The EASE model will then be ‘packed’ and returned to the installer or designer. Should any anomalies in coverage be discovered, or any circumstances arise where it is felt that improvements to the overall performance of the system could be achieved, then this will be advised when returning the EASE project.

EASE mlm_test_6300_ease_bal

All three MLA models have seen success in permanent installs, from nightclubs, such as the Marquee in Sydney Australia, to theaters like Bochum’s Stadionring in Germany, or auditoriums such as George Washington University’s Lisner Auditorium, to houses of worship like Redemption Church in Arizona and IDC Church in Chicago, USA. The success has been driven not just from the musicality of the systems, but their ability to better control SPL profile, smoothness of coverage, and provide ‘Hard Avoid’ on stage or problem surfaces.

Summing up, Davies said, “By providing additional support to installers and sound designers we hope it will be possible for them to win more contracts and to further showcase the benefits of our MLA technology.”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

Martin Audio MLA’s Excellent First Night Out With The Tenors

Tenors_1 web

Raleigh, NC––Kevin Sucher, FOH engineer for the popular Canadian operatic pop foursome The Tenors, recently had a very successful first experience mixing with Martin Audio’s MLA Compact loudspeaker system.

For two concerts at Raleigh’s Memorial Auditorium, Sucher was able to use a loudspeaker system provided by RMB Audio that consisted of 12 Martin Audio MLA Compact enclosures and 6 DSX subwoofers per side with 4 MLA Mini cabinets for lip fill, all networked via U-NET. Avid Profile consoles were provided for FOH and Monitor.

Asked about mixing with an MLA Compact system, Kevin responds, “It was my first time and it turned out to be a very pleasurable experience. For this tour, we didn’t carry any production with us, including backline, which presents its own challenges when you’re using different equipment from city to city.

“There can be a lot iffy pairings, but when you have the correct rig paired with the right desk some magical things can happen and this was one of those very pleasantly surprising situations. Bottom line, the MLA system blew me away. It was really exceptional. We do many of these shows all around the world and I’ve mixed on a lot of different systems, but this was one of those rare occasions when the responsiveness and the ability to make a small change in the dynamics was amazing. 3dB really felt like 3dB!

“And the frequency response was fantastic, like 800Hz was truly 800Hz. There weren’t any of these situations where you’re trying to borrow or cut frequencies from areas you don’t want to cut, but you have to because your ears are telling you what you’re hearing isn’t correct. Every frequency was exactly where it was supposed to be.”

Kevin feels that mixing The Tenors is particularly challenging because of the complex dynamics presented by having 20 to 30 string players on stage along with a large 30-member choir and a five-piece band. Their music is highly detailed which demands the kind of precise dynamic control provided by MLA Compact.

“I started out as a recording engineer and then became a FOH engineer many years ago so I approach live mixing in a very ‘studio’ kind of way,” Kevin explains. “Staying true to their music and recordings as closely as possible is very important, and when you have a lot of live microphones onstage it’s difficult to keep the dynamics contained.

“Adding to the challenge is the fact that The Tenors’ repertoire ranges from classical crossover all the way through different types of pop music that changes from night to night. As such, the speaker system needs to be very responsive and my approach to mixing them is as if they are a large pop act so I need adequate bottom end, much more than some venues they’re booked into. That wasn’t a problem with the MLA system.”

RMB Audio’s Cooper Cannady guided Kevin through the MLA Compact system’s capabilities, including its ability to avoid directing the energy to certain areas in the venue: “Cooper is very knowledgeable about MLA and he quickly educated me how to use ‘hard avoid’ to duck the ceiling response around the 7dB to 8dB range so we could eliminate unwanted reflections we didn’t want in the performance, which made a noticeable difference. The flexibility to change the direction of the energy is like having extra amenities in a very sexy car. These are really well thought out additions.

“That kind of flexibility also allowed us to control feedback in situations where The Tenors performed in the audience 30 to 40 feet in front of the main hangs, which can be tricky depending on the microphones you’re using.”

Because the Memorial Auditorium is almost as wide as it is long without a true balcony and a second level of seats that begins high up far behind FOH position, the MLA system had to be rigged much closer to the ceiling to provide proper coverage. That said, MLA’s control proved to be “a big help in terms of what was a challenging space in terms of getting real boxy-sounding.

“At this point, I could not at this point think of a better rig than the MLA system for that situation,” Kevin concludes. “I would be eager to hear it again in a more typical space.

“In terms of the sound for all of our shows, it was probably the highlight of the tour. A lot of people walked by after the concert and gave us thumbs up. I’d be very eager to use it again.”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

New CADLive Vocal and Instrument Mics At Winter NAMM

CADLive D32 D38 D89 D90 mic family
Anaheim, CA––CAD Audio is expanding its critically acclaimed CADLive line with a number of new vocal and instrument microphones at Winter NAMM 2015.

The new CADLive D32 is a Supercardioid dynamic handheld vocal mic with a QuietTouch™ on/off switch. Its Neodymium capsule design produces a powerful signal in different live sound applications. Exceptional sound quality and durable all metal construction round off this versatile performer. The 3-pack D32X3 is outfitted with carry case and mic clips

Also a Supercardioid dynamic handheld mic, the CADLive D38 includes a high performance Neodymium capsule for exceptional accuracy and sound quality. Clear and articulate with an extended frequency response, the D38 overachieves in virtually any live sound application from lead vocals to spoken word announcements. The 3-pack D38X3 is outfitted with carry case and mic clips.

The CADLive D89 Supercardioid dynamic instrument mic is designed to produce a powerful, articulate response in live sound miking situations. Equipped with a Trueflex™ diaphragm and PowerGap™ high gauss Neodymium magnets, the D89 is an ideal choice for miking electric instruments, drums, guitar cabinets, brass and strings.

Also equipped with a Trueflex™ diaphragm and PowerGap™ high gauss Neodymium magnets, the CADLive D90 Supercardioid dynamic vocal mic is engineered to produce a powerful, smooth and detailed performance in a variety of high SPL live situations. The D90 features a durable and road-ready case for maximum protection and survival on the road.

For more information about CAD Audio, stop by Booth #6531 Hall A, Anaheim Convention Center call 800.762.9266 or visit www.cadaudio.com.

CAD Debuts StagePass™ IEM Stereo Wireless In Ear Monitor System

StagePass IEM family w MEB2
Anaheim, CA––Introduced at Winter NAMM 2015, the new CAD Audio StagePass IEM Stereo Wireless In Ear Monitor System combines frequency agility, superior audio performance and ease of operation.

The StagePass IEM Series system features 16-channel UHF frequency agile performance for exceptional connectivity in crowded RF environments. Stereo operation enables discrete signals to be transmitted to the right or left channels for enhanced monitoring capability.

Featuring the CAD MEB2 TruPitch™ Dual Armature monitor earbuds with EasyFit™ silicon molds for a custom fit, the system ensures the highest level of audio reproduction with greater isolation from stage bleed. A Dynamic Range of greater than 101dB and Audio Output Power of 100mW into 32Ohm immediately set the StagePass IEM apart from competitive systems.

CADLock™ Automatic Tone Code Squelch eliminates unauthorized interference in RF-unfriendly environments. Other professional features include a shielded metal chassis transmitter, durable carry case, rack ears and an antenna relocation kit.

Specifications
• Frequency: Q Band 470 498MHz
• Audio Frequency Response: 40Hz – 16KHz
• Dynamic Range: >101dB
• Audio Output Power: 100mw into 32Ohm
• Transmit power: 30mW
• AA Batteries with > 10hrs battery life

For more information about CAD Audio, stop by Booth #6531 Hall A, Anaheim Convention Center call 800.762.9266 or visit www.cadaudio.com.

Myers Heads Up 3G’s New AV Installation Division

David Myers_2 web
Los Angeles, CA––As an integral part of a significant expansion and growth move for the company, David Myers has been appointed as Director of 3G Pro Audio’s new Installation Division.

As Director of AV Installations, Myers will be dedicated to building a division that sets itself apart in terms of innovative solutions, unique new methodologies and successful collaborations with clients.

A veteran in the field with 25 years in contracting, David holds CTS-I and CTS-D certifications in Installation and Design.

Asked about his mission, David responds, “Developing consistencies within the division so our key sales team members can sell and support installations while maintaining a commonality in how things are done. Refining our branding so that 3G is perceived as an installation house; growing sales; designing systems, and responsible project management at every stage of the process.”

3G will build on its core strengths in theatrical and festival production and touring to focus on vertical installation markets such as performance venues and Houses of Worship, nightclubs and hotels that can draw from the company’s expertise in live entertainment. They will also focus on performance spaces in government and educational environments.

David feels the division should be seen as specialists in terms of the lines they carry, the solutions they offer and the way they present themselves. “We don’t want to be like everyone else,” he affirms. “What’s really important is understanding the client’s needs and maintaining a constant connection with them throughout the installation process and after the project has been completed.

“3G intends to deliver turnkey solutions that meet all of the customer’s technical requirements including sound, lighting and video. We’re not just a sound company.”

Asked about his feelings regarding the appointment, David answers, “I’m honored and excited to be part of the company. 3G is made up of a terrific group of people dedicated to treating their customers and their own staff the right way, which is the core of all business.”

Eli Stearns, President and CEO of 3G adds, “We are really excited to have Dave join our team and lead our new Installation Division. While we have been selling professional audio systems for years, Dave’s expertise as an experienced contractor and designer of full AV systems will catapult our company’s capabilities to full service integration. Moreover, Dave’s work ethic, leadership and ‘can do’ attitude makes him a perfect fit with the company’s commitment to providing the highest quality service to our customers.”

For more about 3G Pro Audio, please call 702.948.0459 or click to www.3glp.com

About 3G Productions, Inc.
Founded in 2004, 3G Productions, Inc. is a multifaceted audio company focused on providing the highest quality of service in live production, sound equipment rental, sales, and installed sound. Located in Las Vegas and Los Angeles, the company operates through two divisions: Live and Pro Audio.

Martin Audio MLA Meets The Challenge Of Alfie Boe’s Serenata

Boe_MLA rig web

Alfie Boe’s Serenata tour recently arrived at the O2 Arena in London where the popular tenor and actor was supported by a 5-piece band, a 16-piece orchestra, the New Zealand musical trio Sol3 Mio and a powerful Martin Audio MLA Multi-cellular Loudspeaker Array, provided by Capital Sound.

Mixing the sound at FOH was experienced producer/engineer, Matteo Cifelli (owner of Fastermaster Studio) assisted by system tech, Joseph Pearce.

With 86 inputs at the console (including 80 mic channels), there was plenty to challenge the sound team as Boe worked through an Italian-based romantic repertoire, assisted in one instance by Rick Wakeman on keyboards. But once again MLA passed the test with flying colors.

Boe_In performance

The same sound team had just come off a six-month stint with Il Divo, who shares the same management (Vector) as Alfie Boe, and Pearce had taken the opportunity to tweak the design in order to optimize the sound and further improve rear rejection.

Part of this optimization included providing 11 slim F8+ enclosures from Martin Audio’s Blackline+ series as lip fills along the stage front, while also specifying a pair of the equally unobtrusive DD12 (Differential Dispersion) horns on either side of the stage. This certainly met the approval of Cap’s project manager, Robin Conway, who described the speaker as “a really supercharged [Martin Audio] W2,” adding, “these fill in all the near outfills, and because they are powered, you can put them on the network, which is a huge bonus.”

He added that the deployment of the F8+s perfectly filled the triangle of seating immediately in front of the stage.

The main PA hangs were based around 14 MLA elements (plus two MLD Downfills) each side, with side hangs of 10 MLA.

Boe-MLA and Sign

Although the show was virtually all acoustic, and hardly dependent on LF overkill, Joseph Pearce had set four MLX along the front—left, right and a split pair in the center—while flying a further eight (four each side), with the top and bottom enclosures in each hang rear facing.

As for Cifelli, he names MLA as one of his favorite systems, having first encountered it during British Summertime at Hyde Park last summer (where he was mixing Sir Tom Jones), while later, at the Hong Kong Convention Center he was amazed to discover that just 12 enclosures a side would throw a distance of 330 ft. He had no hesitation in requesting MLA for this tour, particularly after such a long and positive experience with Il Divo.

“It was a logical choice,” he said. “I was confident we could achieve the perfect vocal sound and the clarity required for the orchestra.

“Tom Jones had sounded brilliant through MLA. Alfie has a more powerful and complicated voice––but thanks to the use of multiband compression the vocal never becomes harsh as it does through other systems, which just don’t sound as good.”

The challenge had been to shape the voice to deliver warmth and presence via the EQ in the face of loud stage monitoring. The vocal then had to nestle in the midst of a conventional band but with the addition of a 100 year old Dulcitone and accordion, and the orchestra when it came in.

“With the changes we have made the PA now sounds absolutely great, and the subs are also impressive,” he notes. “It’s now completely silent behind the hangs.

“One of the best qualities of the PA is that I can get the sound I’m looking for straight away. It reacts very well to the way I EQ instruments and I find it is an extremely musical PA that throws huge distances without losing any detail. The clarity at 200 to 260 ft. is fantastic.”

The sound team agrees that the new [reverse] sub configuration is also much more practical. “There’s a much better transient response and the MLX’s display superb rear rejection while still packing loads of impact.”

The show was driven all-digitally all the way to the speaker boxes via AES3, from Matteo Cifelli’s Avid D-Show and sidecar, with all five DSP card slots fully populated, which made the signal path noiseless. An EQ station, used as a master EQ and compressor, was the only sign of outboard dynamics.

But the final word comes from Joseph Pearce. “To have produced a self-powered, networked speaker system, with some serious companion software, has been a big step up for Martin Audio. The idea of this system is awesome––and it’s definitely the future.”

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

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