— Products offer superior isolation, reducing coloration from floor resonance and enhancing musicality —

Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments and soon to celebrate its 35th anniversary, is proud to see an increasing number of prominent drummers using the HoverMat™ Isolation Platform and HoverDeck™ Isolation Riser. Used together or separately, these two products isolate a drum set from the floor or a hollow stage, reducing coloration from floor resonance by decoupling the drum kit, thereby resulting in a tighter, more pure sound for both studio and live applications.

Acclaimed drummer Van Romaine, whose credits include Steve Morse Band and Enrique Iglesias, has integrated HoverMat and HoverDeck into his setup for both studio and stage work. He says, “The HoverDeck/HoverMat combo is the perfect addition to my recording studio and my drum riser for touring. The first thing I noticed was the crisp sound of my drums with no extra vibrations from outside sources. The second was how they very easily eliminated any imperfections in the flooring of my studio, enabling me to play with more confidence.�

Another HoverDeck/HoverMat user is Doug Yowell, who has played with such star songwriter/artists as Duncan Sheik, Suzanne Vega, Ari Hest and more. He is currently a key part of Vega’s touring band. He notes, “The HoverDeck in combination with the HoverMat was a game-changer for me. I couldn’t believe how resonant the drums were. I didn’t have to add any plug-ins to enhance the bottom end. The isolation did everything I could have hoped for and more. I have to say…I can’t imagine going back to the sound I had before. These products are really well thought-through and engineered.â€�

Aaron Comess, founding member of GRAMMY®-nominated, multi-platinum alternative act The Spin Doctors, also has an expansive list of other credits including Edie Brickell, Aaron Neville, Natasha Bedingfield, Joan Osborne, Andrea Bocelli and more. He also enjoys a vibrant career as a solo artist and collaborator in New York City’s jazz, experimental and singer-songwriter scenes. He adds, “The HoverDeck with the HoverMat have really improved the drum sounds we’re getting in the studio. It takes the floor out of the equation and cleans up much more than you would think.â€�

For more information, please visit www.auralex.com.

— Audio-Technica provided over 250 mics for the live broadcast of the GRAMMY® Awards, as A-T maintains its definitive presence at high-profile awards shows —

For the 16th year in a row, Audio-Technica microphones appeared on the GRAMMY® Awards Show, known throughout the industry as Music’s Biggest Night®. This year, the 55th Annual GRAMMYs, held February 10, 2013, at the Staples Center in Los Angeles, featured a wide selection of artists from various genres of music. For the live show and broadcast, Audio-Technica supplied over 250 of its acclaimed microphones, including an impressive array of hard-wired mics and Artist Elite® 5000 Series UHF Wireless Systems.

The GRAMMY Awards ceremony itself has garnered widespread notice throughout the years as it continually raises the standard for broadcast entertainment. The EMMY®-winning production was the first major awards show to venture into HDTV and 5.1 surround sound, and it was outfitted with the most advanced tools to ensure the highest fidelity for the evening’s performances. Audio professionals continually select Audio-Technica microphones to achieve exceptional quality amidst the ever-increasing sonic demands of the show’s musical portions. The team working on this year’s GRAMMYs featured many top-tier contributors who returned to ensure the success of this landmark event.

The sound system was provided by ATK AudioTek with FOH (front-of-house) Engineers Ron Reaves and Mikael Stewart, with the house audio supervised by Leslie Ann Jones, a prominent member of the Producers & Engineers Wing® of The Recording Academy®. New Jersey/California-based remote facilities company M3 (Music Mix Mobile) were onsite with their Eclipse and Horizon trucks to create the music mix, facilitated by Broadcast Music Mixers John Harris and Eric Schilling, while Tom Holmes was responsible for the overall broadcast mix. The broadcast audio was supervised by Hank Neuberger, also a leading member of The Recording Academy® Producers and Engineers Wing®. Michael Abbott returned as Audio Coordinator, and M3’s Joel Singer served as Engineer-in-Charge for the Eclipse broadcast mix truck, while M3’s Mark Linett served as Engineer-in-Charge in the offline Horizon remix truck.

For the home audience, CBS once again delivered the most advanced form of HDTV, with 1,080 lines of picture resolution and 5.1-channel surround sound. To meet the sonic demands of this format, the audio engineers and music mixers employed a wide range of Audio-Technica microphones for the GRAMMY Awards.

Artists who performed throughout the evening using Audio-Technica’s Artist Elite 5000 Series UHF Wireless System and AEW-T6100 Hypercardioid Dynamic Handheld Transmitter included Wiz Khalifa and Miguel, as well as T-Bone Burnett. Elton John used a hard-wired AE6100 Hypercardioid Dynamic Handheld Microphone for his vocals. Jack White and his duet partner Ruby Amanfu used an AT4050 Multi-Pattern Condenser Microphone, as did jazz performers Chick Corea, Kenny Garrett and Stanley Clarke.

The backline mic complement of A-T wired microphones included additional AT4050’s for timpani, overheads, guitar cabinets and horns; ATM250 Hypercardioid Dynamic Instrument Microphone for bass amp; ATM25/LE Hypdercardioid Dynamic Instrument Microphone for toms; AE5100 Cardioid Condenser Instrument Microphone for hi-hat, ride and overheads; AT4050ST Stereo Condenser Microphone for overheads; AT4047/SV Cardioid Condenser Microphone for guitar cabinets; ATM350 Cardioid Condenser Clip-On Microphone for horns, timbale and strings; ATM450 Cardioid Condenser Instrument Microphone for snare bottom and tambourine; and AE5400 Cardioid Condenser Handheld Microphone for kick drum.

For more information, please visit www.audio-technica.com.

— Leading audio processing product developer and innovative pro audio and music industry education center have a shared vision of how technology and academia can work together to the enhanced benefit of the school, the students and the quality of sound —

Aphex®, a leader in audio enhancement technology for more than 35 years, has deepened its unique relationship with the Music Industry Recording Arts (MIRA) program at St. Petersburg College in St. Petersburg, Florida. The MIRA program, which was launched four years ago with a dozen students and offers an accredited Associate of Science degree in a well-integrated curriculum of audio sciences and business acumen, now has between 250 and 300 students per semester in the program, and plans to launch a four-year Bachelor of Applied Science degree program in 2014. For the last two years, the MIRA program has collaborated closely with Aphex, using products including the Aural Exciter®, 500 Series EQ, Aphex Channel, Aphex Dominator II and Compellor® processors, as well as the HeadPod 4™ headphone amplifier, all integrated into MIRA’s pro audio curriculum. As new products become available, Aphex shares them with MIRA, providing the program’s students with state-of-the-art technology that offers them access to equipment identical to that being used in commercial facilities. At the same time, the faculty and students of MIRA regularly provide insightful feedback into how those products perform under the singular pressures of an academic environment. It’s a relationship from which everyone benefits, most of all the students.

This mutually beneficial association has come about because of the shared vision of Mark Matthews, Lead Instructor of the MIRA program, and Aphex wanting to bring the “real world� of recording and music to students. “At MIRA, we approach learning about audio arts and the music industry in an experiential, hands-on way, and Aphex has been a significant partner in how we go about that,� says Matthews. “That we work so well together stems from the fact that both Robin and I came to where we are now from being musicians and from working in various aspects of the music industry. Our visions of how best to teach about sound and improve sound are very much in synch.�

Aphex COO, Robin Sibucao agrees, adding, “Mark Matthews has the perfect combination of experience, talent and vision to lead their unique MIRA Program. Matthews is pioneering a new educational path to prepare students not only to enter the industry’s workplace but also to grow and sustain within the many segments of the audio industry. We are thrilled that Aphex and MIRA have developed such a great working relationship and that we can be a part of helping the audio professionals of the future in such a powerful program. And as the students learn using our product, Aphex also learns while watching them use those products – we get to see how an entirely new generation of pro audio professionals looks at its tools.”

As the relationship enters its next stage, Sibucao points to MIRA’s new MYRA Radio Network, an internet-based radio station broadcasting from the St. Petersburg/Gibbs campus. The station is a multi-format platform completely managed and programmed by students, who produce their own programs and have complete creative control over the content. The HeadPod 4 is now an integral part of the station’s infrastructure, thanks to its four stereo power amplifiers and switchable multi-source inputs (including SPDIF) that make it a perfect fit for the needs of MIRA’s new broadcast center. The MYRA Radio Network will create another platform in which MIRA’s students and faculty can work together, but it’s also another level in a deepening relationship that’s totally student-focused, says Matthews. “It’s about how best to integrate not only Aphex products, but also all relevant production equipment, into the student workflow at MIRA. From this dialog, a new way of thinking has been developed regarding how educational institutions and manufacturers can work together in a mutually beneficial relationship.�

For more information please visit http://www.aphex.com.

— ProPAD™ and ProPAD XL™ are designed for decoupling monitors and reducing structural vibrations —

Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments and currently celebrating its 35th anniversary, is now shipping its ProPAD™ and ProPAD XL™ Monitor Isolation Pads from its ISO (Instant Sound Optimizer) line.

The ProPAD is a premium-performance variant on Auralex’s popular MoPADâ„¢. The ProPAD features a durable, three layer highly damped construction with increased durability and structural integrity, and provides superior isolation from the vibrations and resonant energy created by studio monitors. The ProPAD prevents this energy from being transmitted into the supporting furniture, which would greatly color the monitors’ sound and degrade their imaging. The ProPAD is sold in stereo pairs and is designed to work with monitors employing up to 8″ woofers. ProPAD’s updated design features a 0.75″ layer of Melamine-wrapped MDF covered with a thick layer of Auralex’s proprietary IsoPuckâ„¢ isolation material, which is made of recycled rubber. Six stick-on feet, also made from IsoPuck material, are supplied for flat or angled applications. The ProPAD is the perfect solution for decoupling monitors and reducing structural vibration in all manner of sound-critical spaces, including recording studios, post-production/edit suites, mobile recording facilities, hi-fi listening rooms, home theaters or anywhere a monitor/speaker isolation platform is needed to improve sonic purity.

The ProPAD XL speaker isolation product is a larger version of the award-winning ProPAD. The XL version is designed to work with horizontally oriented, twin woofer monitors and provides the same isolation qualities found in the popular ProPAD. ProPAD XL is the perfect solution for decoupling monitors and reducing structural vibration from larger format monitor speakers.

Features:

Increased midrange resolution
Deeper, more focused soundstage
Improved low-frequency definition
Angle adjustable to optimize listening axis
Significant reduction of extraneous mechanical resonance

Product Specifications:

Dimensions:
ProPAD – 8â€� wide x 13â€� deep x 2.125â€� thickness
ProPAD XL – 19â€� wide x 13â€� long; 2.125â€� thickness
Construction 3/4� Melamine-wrapped MDF base
Isolation 3/8� ISO-Plate™ slip-resistant top
Includes user-configurable Platfoamâ„¢ dual wedge base
Durable Melamine Finish
Slip-resistant ISO-Plateâ„¢ Top
Non-metal Construction – No Inherent Resonance

For more information, please visit www.auralex.com.

— New Boston-area fitness center relied on GC Pro to outfit it with the best sound for spinning —

Fit Revolution, an indoor cycling studio and “boot camp� fitness-training facility that opened last September in the Boston suburb of North Reading, keeps its hundreds of members in great shape with 22 stationary bicycles in its 800-square-foot studio. It also is one more example of how Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, has helped a wide range of establishments, from restaurants to retail, get the right AV systems that fit the way they work and help boost their business.

GC Pro Senior Account Manager PK Pandey was referred to Fit Revolution Owner Michelle O’Connor by a colleague for whom GC Pro had recently installed a new sound system. “PK and I talked a bit about what I wanted to accomplish, and he seemed to understand it perfectly,� says O’Connor, who was also the PT Director at the Reading YMCA for four years. “I told PK that I had a budget to work with but that I was willing to pay for quality. I just trusted him to know what had to be done, and it turned out perfectly.�

Says Pandey, who heads up GC Pro’s Boston location, “Michelle and I had one meeting and we hit it off. I knew exactly what she was looking to do and how to help her achieve that. She now has the best sound system in a fitness club I know of. It sounds amazing.�

At Fit Revolution, GC Pro spec’ed and installed four Electro-Voice® EVID™ 8.2 Ceiling Series speakers and two Electro-Voice EVID 10.1 subwoofers, all powered through an Electro-Voice CPS2.6 amplifier and controlled via a Yamaha MG12 mixer. In addition, GC Pro installed a pair of American DJ® Mega Bar™ LED lights. “I liked that PK chose to use ceiling speakers,� O’Connor points out. “I’ve seen other fitness installations where the speakers are put in the corners and that tends to look cluttered and take up valuable floor space. PK recognized that floor space is part of the business model for a fitness center, so putting the speakers in the ceiling was the best way to go.�

O’Connor says the feedback from her clients about the sound quality has been great, as has GC Pro’s follow-up. “If there’s ever an issue, PK is right here with the solution,� she says. “It’s been a great experience working with GC Pro. I’m glad someone recommended them to me, and I’ll be happy to do the same for someone else.�

For more information, please visit www.gcpro.com.

— USB side-address condenser microphone features high-quality A/D converter, mix control, headphone jack with volume control, and more —

Audio-Technica, a leading innovator in transducer technology for over 50 years, is debuting its AT2020USB+ Cardioid Condenser Microphone. Equipped with a USB output, this microphone is designed for digitally capturing music or any acoustic audio source employing users’ favorite recording software. The AT2020USB+ offers studio-quality articulation and intelligibility perfect for home studio recording, field recording, podcasting and voiceover use.

The AT2020USB+ features a built-in headphone jack with volume control that allows users to directly monitor their microphone signal in real time, and a built-in high-output internal headphone amplifier that delivers superior clarity. The microphone also offers mix control that can blend the microphone’s signal with pre-recorded audio (perfect for DJ/karaoke use). The unit’s cardioid pickup pattern delivers excellent off-axis rejection, while its A/D converter, with a 16-bit 44.1/48 kHz sampling rate, ensures extremely articulate sound reproduction.

The microphone is compatible with Windows 7, Vista, XP and 2000, and Mac OS X. It is powered from a USB Bus and includes a tripod desk stand, stand mount, USB cable and soft protective carrying pouch.

The AT2020USB+ will be available February 2013 with a U.S. MSRP of $279.00. For more information, please visit www.audio-technica.com.

— New Parametric EQ, Optical Compressor and three new Mic Pre units join the acclaimed EX•BB 500™ in the series, forming a comprehensive line of signal processors —

Aphex®, a leader in audio enhancement technology for more than 35 years, is now shipping its new 500 Series modules. The 500 Series now includes six models: J PRE 500 Mic Pre; EQF 500 Parametric Equalizer; DUAL RPA 500 Mic Pre; A PRE 500 Mic Pre; the COMP 500 Optical Compressor; and the acclaimed, previously unveiled EX•BB 500™ Aural Exciter®/Big Bottom® module. All benefit from the portable and convenient 500 Series format and legendary Aphex sound.

The J PRE 500 mic pre is inspired by the flagship Aphex 1788A remote controlled preamp. They both have the same Jensen JT11K8 nickel input Transformer and Aphex patented Mic Limiter technology. Designed to provide no-compromise audio quality in the convenient 500 series format, the J PRE 500 also features a Jensen JT-11DL nickel output-balancing transformer.

The EQF 500 reissue is a modern take on the classic Aphex EQF-2 500 series three-band equalizer, originally introduced in the 1980s. With a Jensen output balancing transformer and 25Hz to 20kHz operation, the EQF 500 is extremely versatile and will make any program material shine while being punchy and quiet.

The DUAL RPA 500 mic pre is a two-channel solid state/tube hybrid preamp. The solid-state front end provides a fast transient response while the tube back end provides warmth and punch. The DUAL RPA 500 also has the Aphex patented Mic Limiter technology for “no second take� recording.

The A PRE 500 mic pre is inspired by the popular Aphex 188 eight-channel preamp. However, the A PRE uses a custom-designed CineMag input transformer and a Jensen JT-11DL nickel output balancing transformer. The A PRE 500 is extremely clear sounding yet musical.

The new COMP 500 module is an optical compressor. It features an electronically balanced input and uses a Jensen JT-11DL nickel output balancing transformer. The optocoupler was specified to be as fast as possible and, is produced exclusively for Aphex. The module features stereo linking, and provides all the transparency of an optical compressor with the flexibility to get aggressive compression when needed.

The EX•BB 500 is a mono, 500 Series module version of the popular Aphex Aural Exciter and Optical Big Bottom processors. Each processor has a dedicated, lighted enable button.

“The expansion of our 500 Series with these five new modules further illustrates Aphex’s commitment to providing a comprehensive range of signal processors,� stated Rick McClendon, Aphex’s General Manager. “The addition of three new mic pre’s, a parametric EQ and an optical compressor, which join our highly successful EX•BB 500 Aural Exciter/Big Bottom module, offers audio professionals a wider palette of processing options.�

Aphex CEO David Wiener was excited to add, “Remember that our Aphex technologies and products have been used by major artists, engineers and producers through popular music history, from Paul McCartney and Pink Floyd, to today’s Grammy®s, Oscar®s, and the upcoming Soul Train Awards. Aphex has had a huge impact and now, with our new 500 Series, we’re making these powerful tools available to pros and the new talent coming into the audio and entertainment industry. It’s really exciting to see our tech become small, portable and accessible to everyone.â€�

Pricing:
J PRE 500 $749 U.S. MSRP
EQF 500 $629 U.S. MSRP
DUAL RPA 500 $999 U.S. MSRP
A PRE 500 $699 U.S. MSRP
COMP 500 $629 U.S. MSRP
EX•BB 500 $299 U.S. MSRP

For more information please visit http://www.aphex.com.

— Genelec veteran will assume greater sales responsibilities as Genelec prepares for strong 2013 —

Genelec Inc., the U.S. subsidiary and distributor for Genelec Active Monitors, announces the appointment of Paul Stewart to the position of Territory Manager – East Coast. Stewart, who has been with Genelec since 2006 and previously served as Product Specialist, will assume greater sales responsibilities in the eastern U.S. as Genelec prepares for a strong 2013 with new product introductions and continued sales initiatives. The announcement was made by Lisa Kaufmann, Genelec Inc. Managing Director.

A graduate of the Berklee College of Music, Stewart draws on more than 15 years of experience in professional audio sales to high-end production facilities and individual artists around the globe. Prior to joining Genelec, as a project consultant, he provided design expertise from equipment specification to layout and system integration. Paul has designed and installed numerous wiring systems in recording studios as well as home theater and multi-media rooms. He will continue to employ his extensive contacts with major studios, engineers, producers, artists and record companies nationwide to further strengthen Genelec’s network of business partners.

Kaufmann noted, “For the last several years, Paul has been an asset and resource for Genelec, and we are very proud to see him assume his new role in the organization. We have big plans for 2013, and with Paul’s help, we will have the tools in place to serve our customers in the best way possible.�

For more information, please visit www.genelecusa.com/.

— The HoverMat™ isolates a drum kit from the floor or a hollow stage, reducing coloration from floor resonance and improving sound isolation —

Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments and currently celebrating its 35th anniversary, is now shipping its HoverMat™ Isolation Platform. The HoverMat is a sturdy, slip-resistant drummers’ mat that improves acoustical isolation and clarifies drum tone. Like Auralex’s critically acclaimed HoverDeck™ Isolation Riser, the HoverMat isolates a drum set from the floor or a hollow stage, reducing coloration from floor resonance by decoupling the drum kit, thereby resulting in a tighter, more pure sound for both studio and live applications. The HoverMat and HoverDeck can also be used in combination for extra isolation.

The HoverMat comes as a 4′x6′ section of Auralex’s acclaimed sound-deadening SheetBlokâ„¢ sound barrier material, covered with charcoal gray Ozite-type, commercial-grade, road-ready carpet, and is ideal for musicians on the go, worship groups, live performance venues, or anywhere a drum kit needs additional isolation.

The result is a tighter, more focused and pure drum sound night-in and night-out. The HoverMat can be rolled up after any performance or session, and the included heavy-duty cinch sack makes transport a breeze.

Features and Highlights:

6’ width x 4’ depth; ¼� thickness
Non-slip surface holds drums and hardware in place
Provides acoustical isolation
Weighs 28 lbs – cinch sack with shoulder strap included
Great for drummers and keyboard players alike
Fabricated with industry-leading Auralex SheetBlokâ„¢

For more information, please visit www.auralex.com.

A range of Bose RoomMatch® modules, powered by Bose PowerMatch® PM8500 power amplifiers, provide URI’s Edwards Auditorium with a flexible, clear-sounding audio reinforcement solution

The historic 920-seat Edwards Hall Auditorium on University of Rhode Island’s Kingston Campus recently upgraded its sound system with a selection of products from Bose® Professional Systems Division. The system was spec’d and installed by Sudbury, Massachusetts-based Adtech Systems. Adtech’s Senior Design Engineer Charlie Crane served as Lead on the project. The final system consists of two L/R clusters consisting of two RoomMatch® RM12060, two RM9020, two RM7010 array modules, and two RMS215 subwoofers, all powered by four PowerMatch® PM8500 configurable professional power amplifiers.

Crane points out the unique challenges of tackling the project in such a space: “The room was originally built as a library and converted into an auditorium much later, so they’ve always struggled with good sound quality in there. The university’s architect was working with administration, and they were primarily concerned with the room’s acoustics. But more accurately, they simply had a problem of coverage – the existing system was not covering every seat. They wanted a new system that would not only cover the room and increase speech intelligibility for lectures, demonstrations and other different things that you would expect in a large auditorium at a college, but they also wanted it to be able to accommodate high-energy music. With these concerns of coverage and versatility of use in mind, it was not hard for us to decide on a Bose RoomMatch system.�

The coverage patterns available with RoomMatch loudspeakers makes designing a new system completely customizable to the space. Crane continues: “The room has a very deep balcony with seating underneath, but with the progressive nature of the RoomMatch arrays, we could throw sound deep into the balcony without blowing the people out of their seats right in the front of the room. We chose the cabinets with the right coverage patterns – a combination of 120×60, 90×20, and 70×10 degrees – and we ended up with a great front-to-back coverage ratio. The client is more than thrilled – they now love the room. RoomMatch offers incredible sound quality and pattern control… Just awesome.â€�