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Archive by Brad Gibson

Bose® Panaray® MA12 Modular Line Array Chosen for Atlanta History Center’s Woodruff Auditorium

Woodruff

Atlanta-based AV and acoustical consultant Cape Dixson Associates specified the Bose® Panaray® modular line array for its quality sound and low visual profile

Framingham, Massachusetts, September 2, 2014 – Since its founding in 1926, The Atlanta History Center has helped preserve the legacy of the South’s largest city and its surrounding region. Through a grant from The Goizueta Foundation, the Center has expanded its community outreach efforts with a historical theatre series. The History Center’s 400-seat Woodruff Auditorium was planned as the venue for this program, but significant upgrades were required to support that use. This led Cape Dixson Associates (CDAI), the Atlanta-based AV and acoustical consultant that has worked with the Center on its audio and acoustical needs for 25 years, to choose a Panaray® MA12 modular line array system from Bose® Professional Systems.

CDAI had helped the History Center upgrade the acoustics of the 1960s-vintage space when the auditorium was renovated in 2001; however, that renovation budget did not include upgrading the audiovisual systems, leaving the auditorium users dependent on the original audio and lighting systems. The new Bose system, installed by local firm Sound Design & Innovation, consists of two stacks of three Panaray MA12 modular line array loudspeakers, wall mounted either side of the stage, with two MB12 modular subwoofers soffited under the front of the stage. This entire system is powered by a single Bose PowerMatch PM8500 8-channel smart amplifier.

Rogers Dixson, President of Cape Dixson Associates, says the Bose system was one of several with which he had arranged on-site demonstrations for the Center’s executives, and that once they heard the Panaray system, they knew that they had found their solution. “The Bose system not only meets the key requirements to provide clear, highly intelligible and even sound coverage throughout the auditorium seating area,” Dixson explains, “but it does so with a narrow, low-profile design that fits in discreetly with the auditorium’s architecture.

“One of the key things for this project was the need to have excellent coverage of the entire seating area and full control of the sound system’s dispersion pattern,” Dixson explains. “In a typical auditorium of this type we would have specified an L-C-R cluster to achieve desired coverage, but the architectural design of the space and its low ceiling prevented that approach. In addition, the Bose system provides surprisingly consistent coverage even in the front rows. Fill speakers would likely have been needed with a more traditional speaker cluster design.”

Jackson McQuigg, the Vice President of Facilities at the Atlanta History Center adds, “The Bose speakers more than met our expectations and we are thrilled with the result.”

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Game Audio to Be a Major Focus at 137th Audio Engineering Society Convention

— Game Audio Track sessions at the 137th AES Convention in Los Angeles will take a practical approach, looking at key topics including career development, dynamic content and mixing, as well as audio for mobile gaming and much more —

— Marty O’Donnell, acclaimed game audio director and composer for Halo and other hits, to give Convention’s Heyser Memorial Lecture —

New York, NY, September 2, 2014 — The 137th Audio Engineering Society Convention (October 9-12, 2014, at the Los Angeles Convention Center in downtown Los Angeles) is set to feature a comprehensive set of Game Audio Track programs and events focusing on audio trends and issues in the gaming industry. Game Audio Track Chairman Steve Martz has assembled a compelling and highly inclusive series of panels, sessions and presentations that address the many dimensions of this complex sector of professional audio, this year with a particular emphasis on the practical aspects of the industry. Additionally, Marty O’Donnell, award-winning audio director and composer for Halo and other hits, has also been chosen to give this year’s Heyser Memorial Lecture, entitled “The Ear Doesn’t Blink: Creating Culture With Adaptive Audio.”

A special highlight will be “Diablo III: Reaper of Souls, The Devil Is In The Details,” a panel that will closely examine how the audio team behind the Blizzard Entertainment hit title Diablo III: Reaper of Souls created the entire audio soundscape for the game, including sound design, music and dialog. Other sessions will include the following: “Effective Interactive Music Systems: The Nuts and Bolts of Dynamic Musical Content” (led by Winifred Phillips, Composer, Generations Productions LLC), which will examine key aspects of assembling game audio, from horizontal resequencing and vertical layering techniques for the interactive implementation of music recordings, to MIDI and generative systems for the manipulation of music data; “Dynamic Mixing for Games” (led by Simon Ashby, VP Product Strategy and Co-founder at Audiokinetic), which will look comprehensively at the challenges of mixing game audio, including performance constraints and the non-linear event based triggering of in-game sounds – using real-game practical audio examples, this session will demonstrate the many positive benefits that dynamic audio mixing can have on modern sound design; and “Yes, your mobile game can have awesome audio!” (led by Stephan Schütze; Audio Director Sound Librarian- Melbourne, Australia), which will look at the wide range of tools available that, when utilized properly, support the creation of dynamic, high quality audio for nearly every platform available.

The Game Audio Track will also include an entire career development session: “Game Audio Careers 101 – How to jump start your career,” and a session on the state of game audio education that will bring together entrepreneurs from some of the top private instructional institutions to discuss the latest educational models and best practices in audio for interactive game media. Attendees will get a fantastic overview of what is being offered inside and outside of the traditional education system through the “Next Gen-Game Audio Education” session, chaired by Steve Horowitz (Co-Founder, Game Audio Institute, and Audio Director, Nickelodeon Digital), who is also leading the “Game Audio Careers 101” panel. This will be a must for students and teachers alike.

“Attendees to this year’s Game Audio Track will find some very different and very compelling content,” observes Martz. “We’ve strived to include some very practical sessions, ones that will provide career and learning guidance, in addition to the kind of in-depth technical sessions this Track has become known for.”

“Overall, this is going to be a fantastic Game Audio Track,” says Martz. “It takes place at a time when the game industry is undergoing change, when mobile is becoming the new frontier in game platforms and audio is taking on a more significant role in games than ever. We’ve addressed all of that and more in this year’s agenda. This could be our best game audio track yet!”

For information on how you can get your FREE Exhibits-Plus badge (pre-registration required) and detailed information on the Game Audio Track at the AES137 Convention, as well as further Registration, Hotel, and Technical Program information, visit the AES137 webpage at http://www.aes.org/events/137/.

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The 137th Audio Engineering Society Convention to Offer Expanded Broadcast and Streaming Track

— As many as 15 separate Broadcast and Streaming sessions will cover a huge range of timely topics, from loudness issues and CALM Act compliance to facility design, codecs and signal routing —

New York, NY — The ways in which both broadcast and streaming audio platforms are evolving and converging will be on display at this year Broadcast and Streaming Track during the 137th Audio Engineering Society Convention, set for Thursday, October 9, through Sunday, October 12, 2014, at the Los Angeles Convention Center in Los Angeles, California. Broadcast and Streaming Track Chairman David Bialik has identified key trends in these spheres and assembled a series of cutting-edge panels that will explore and discuss these topics.

The list of presentations is comprehensive, including:

Loudness for Streaming and Radio
Audio Issues for 4k and 8k Television
Facility Design
Audio Issues and HTML5
Routing Audio in a Broadcast Facility
Listener Fatigue and Retention
Hear Now/Sound Effects
SBE/Troubleshooting and Maintenance of Equipment
Troubleshooting Software
Compliance with CALM Act/PLOUD
The Streaming Experience
Telephony and IP Codecs: How to Choose What Is Best for You
Understanding Audi0 Processing—How to Use the Audio Processor
MPEG-DASH—What about Audio?

These panels and presentations will go into considerable depth under the guidance of thought leaders in their categories. For instance, the Loudness for Streaming and Radio panel will look at key questions, such as “Is the ‘loudness war’ in radio over?” “Has it moved over to Internet streaming?” “How can we control level without disrupting the audience?” These will be examined by a panel consisting of John Kean, NPR Labs; Thomas Lund, TC Electronics; Robert Orban, Orban; Frank Foti, Telos Alliance; Tom Box, DTS; and Scott Norcross, Dolby.

Attendees at the Broadcast and Streaming Track sessions will also experience a rare treat: a look at facility design through the eyes of two audio legends. Eddie Kramer, acclaimed engineer/producer for such legendary acts as Jimi Hendrix, Led Zeppelin and Kiss; and the Walters-Storyk Design Group’s John Storyk, designer of Hendrix’s Electric Lady Studios as well as hundreds of other iconic recording and broadcast facilities, will both be there to discuss how two leading FM music stations, KEPX in Seattle and KPFK in Los Angeles, are managing substantial changes. KEPX is preparing to move to a new broadcast facility that will feature cutting-edge broadcast/recording studios and a live performance venue designed to showcase visiting artists, while KPFK, one of the most powerful stations in the U.S. at 110,000 watts, will undertake a major acoustical update of their live performance studio and create a new control room. That both stations will operate professional-level recording studio/performance venues underscores radio’s continued importance for music, and the presence of Kramer and Storyk to share their expertise will provide a unique perspective for attendees.

Commenting on the Broadcast and Streaming program at the AES137 Convention, David Bialik states, “The AES Tracks, Sessions and Workshops are about learning ‘Technology and Technique,’ while the sales presentations stay on the exhibition floor. I believe this is the reason that the attendance for the ‘Broadcast and Streaming’ sessions only increases year after year.”

For information on how you can get your FREE Exhibits-Plus badge (pre-registration required) and detailed information on the Broadcast and Streaming Track at the AES137 Convention, as well as further Registration, Hotel, and Technical Program information, visit the AES137 webpage at http://www.aes.org/events/137/.

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Bose® RoomMatch® Keeps the Sound Clear in the Westgate Collegiate & Vocational Institute Gym

Westgate

A selection of RoomMatch® modules was the answer for a space with challenging dimensions, and Bose processing and control units make for an easy-to-use and versatile system

Framingham, Massachusetts – The Westgate Collegiate & Vocational Institute in Thunder Bay, Ontario, was due for a change. A 1970s-era sound system resulted in lots of echoes and reflections but little in the way of intelligible sound. When Randall Anderson, Regional Representative for Thunder Bay-based Evolution AV was called in to evaluate the gymnasium’s audio needs, he encountered more than the usual acoustical challenge of hard, reflective surfaces that smear sound – an ongoing problem for the space’s many applications, including sporting events, performances, convocation and more. The situation called for a flexible, innovative solution — exactly what is offered by a RoomMatch® system from Bose® Professional Systems.

Personnel from Bose and Evolution AV had the gym’s measurements input into Bose’s Modeler® software, which produced three distinct possible solution paths. Anderson and Bose Field Engineers immediately saw the benefits available by using the RoomMatch loudspeaker modules, particularly the asymmetrical iterations. The final system as installed consists of three unique modules from the RoomMatch Asymmetrical Array Module range, which addressed Westgate Collegiate’s gym by reducing side-wall reflections without the need for “yaw-in” array aiming. The design has two of the asymmetrical modules on the left side of the gym, with one asymmetrical and one symmetrical module combined for the right side cluster. The system is rounded out with a pair of RMS215 subwoofers, and two PowerMatch® PM8500N networked amplifiers power all speakers. Two ESP-1240 ControlSpace® DSP units provide a total of 48 I/O for the system — enough inputs for the music events that the RoomMatch speakers will now enable the gym to host — and two CC-64 ControlSpace control panels offer simplified user control over input and output volume levels as a user-friendly method of managing gain settings or scene selections.

“This project showed off the Bose system capabilities from start to finish,” said Anderson. The Modeler software, combined with Bose’s wide selection of modules with specific dispersion patterns, allowed Evolution AV to offer the client three solution scenarios, outlining the advantages of each one for their particular needs. Finally, the ESP-1240 ControlSpace DSP units allowed total customization of the system’s performance parameters by Evolution AV’s programmers, and the CC-64 ControlSpace control panels gave the end users just the right amount of access to and control over the system. “The result was excellent,” concluded Anderson. “We checked and found that we are able to get a consistent level throughout the gym, with complete speech intelligibility everywhere. RoomMatch had everything we needed.”

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Calendar of Technical Program Events for 137th Audio Engineering Society Convention Is Now Online

— Full schedule of Workshops, Papers and Presentations helps attendees make the most of their AES137 experience —

New York, NY — An extensive calendar of Technical Program events is now online for the 137th Audio Engineering Society Convention, which will take place Thursday, October 9, through Sunday, October 12, 2014, at the Los Angeles Convention Center in Los Angeles, California. This year’s Technical Program is full of cutting-edge events, where attendees will have the opportunity to be a part of history as the next chapter in professional audio developments come to light through a detailed series of Papers, Engineering Briefs, Tutorials, Workshops and Special Events. AES137 will offer dedicated program Tracks in the fields of Broadcast and Streaming Media, Game Audio, Live Sound, Networked Audio, Recording and Production, Product Design, and Sound for Picture, as well as Historical Events sessions, Standards Committee meetings, Tech Tours and more.

Those in attendance with either an “Exhibits-Plus” badge (FREE with pre-registration) or a premium “All Access” badge will have entry to two of the AES convention’s newest and hottest events: the Project Studio Expo and the debut of the Live Sound Expo and High Resolution Audio (HRA) program. The Project Studio Expo brings together the latest techniques, tools and experts for professional training on topics ranging from acoustics in small spaces to microphone placement, mixing and mastering. The Live Sound Expo offers expert advice for the broad spectrum of live sound engineers with an emphasis on the practical, bringing professionals with decades of experience to the stage to inspire and educate attendees. Additionally, a High Resolution Audio (HRA) program will be held on Friday, October 10, 2014. The direct result of a collaborative effort between the AES and DEG: The Digital Entertainment Group, the HRA program will include sessions addressing the current and future direction of HRA from various perspectives, including content creation, digital distribution, licensing of hi-res music files, archiving, subscription models, marketing/promotion of hi-res music, compatibility of playback devices and more. These sessions will feature some of the brightest minds in the business as they discuss some of the most current and controversial issues concerning the rapid adoption of high-resolution audio across the industry.

AES Executive Director Bob Moses stated, “Excitement is growing as we finalize the Technical Program itinerary for AES137. We have quite a varied program this year that is sure to garner attention in many audio circles. People who have been to the AES conventions know what a truly unique experience we offer, and this year’s convention is on track to be one of the best. Our online calendar, mobile app and other resources really help to round out the experience and help attendees take advantage of the full spectrum of what they want to get out of the convention. And we are looking forward to more big announcements in the weeks to come further underscoring that AES137 will be the audio event of the year.”

For information on how you can get your FREE Exhibits-Plus badge (pre-registration required) and access the Tech Program Calendar for the AES137 Convention, as well as further Registration, Hotel, and Technical Program information, visit the AES137 webpage at http://www.aes.org/events/137/.

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GUITAR CENTER NAMES EDDIE COMBS SENIOR VICE PRESIDENT, MARKETING

Combs

Former CMO at Sears, Combs will oversee Guitar Center’s new retail marketing initiatives with an emphasis on innovation and an omni-channel approach.

ANNOUNCEMENT HIGHLIGHTS:

Combs will draw on his expertise in eCommerce, digital marketing, mobile experiences, customer loyalty and demographic targeting
Combs will work closely with GC’s communications, corporate affairs and brand management personnel

Los Angeles, CA (September 4, 2014): Guitar Center CEO Mike Pratt has announced the appointment of Eddie Combs to the position of Guitar Center Senior Vice President, Marketing. Combs’ appointment is the result of an extensive, nationwide search by Guitar Center management that led to an elite pool of candidates, with Combs’ skill set and personal history as a musician resonating with the selection team. Combs’ extensive expertise in eCommerce, digital marketing, mobile experiences, customer loyalty and demographic targeting will allow him to drive Guitar Center’s innovative branding efforts and marketing initiatives. In his role, Combs will work closely with Christopher Ian Bennett, VP, Communications and Corporate Affairs; Dustin Hinz, VP, Brand Experience and Entertainment Marketing; and Jeff Hiller, VP, Brand Manager, to strengthen GC’s retail marketing strategy to help elevate sales and store traffic.

Eddie earned his BA at Judson University in 1999 and his MBA from Lake Forest Graduate School of Management in 2003. After an extensive career at Motorola in various marketing roles, Eddie joined Sears in 2007, where he held several marketing leadership roles in the Home Improvement, Fitness, and Consumer Electronics Divisions. Most recently, Eddie was the Vice President and Chief Marketing Officer for Sears Holding Corporations’ Home Appliance Business. During his time at Sears, he received several honors and accolades, including a 2013 Addy Award for “Best Creative Use of Multimedia Content” for the “Just Anywhere” campaign.

“I’m really excited about coming to Guitar Center. I previously worked at Sears, as the Chief Marketing Officer for their Home Appliance Business Unit, and I can tell you, my favorite appliance in the house wasn’t my refrigerator; it was my six-string. So being part of a retailer [Guitar Center] that can deliver some of the best products and ‘the greatest feeling on earth’ is something I’m really looking forward to. For me, my whole marketing career started because of music. I was out and I was playing for ten years, and I started to learn all the aspects of marketing as a musicians. Out of there sprung my corporate career in marketing. I get to come back full circle and bring it all back to Guitar Center.”

- Eddie Combs – Senior Vice President, Marketing

You can follow Eddie on Twitter @TheEddieCombs and on Facebook at The Eddie Combs for the latest Guitar Center marketing news and insight.

ABOUT GUITAR CENTER
Guitar Center is the world’s largest retailer of guitars, amplifiers, drums, keyboards, recording, live sound, DJ, and lighting equipment, with more than 260 stores across the U.S. 2014 marks the milestone 50th anniversary of the Guitar Center Brand as we continue to help people make music from coast to coast. In addition, the Music & Arts division operates more than 120 stores specializing in band & orchestral instruments for sale and rental, serving teachers, band directors, college professors, and students since 1952. With an unrivaled in-store experience and passionate commitment to making gear easy-to-buy, Guitar Center is all about enabling musicians and non-musicians alike to experience the almost indescribable joy that comes from playing an instrument. All we sell is the greatest feeling on earth.

For more information about Guitar Center, please visit www.guitarcenter.com, contact media@guitarcenter.com, or visit our Press Room at http://gc.guitarcenter.com/pressroom/.

Subscribe to our RSS newsfeed at http://feeds.feedburner.com/GuitarCenterPressroom.

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GC Pro Serves as Sponsor for Mix Magazine Sound for Film Event “Immersive Sound: From Production to Playback”

— GC Pro to display latest in high-technology products, including the new RAVEN MTX with ADAM Audio monitors in a surround sound configuration —

WESTLAKE VILLAGE, CA, September 5, 2014 — Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, has been named as a sponsor for Mix Magazine’s upcoming Sound for Film event “Immersive Sound: From Production to Playback,” taking place Saturday, September 6, 2014, in the Anthony Quinn Theater at Sony Pictures Studios in Culver City, California. GC Pro will be displaying the latest in high-technology products, including the new RAVEN MTX consoles as well as ADAM Audio monitors in a surround sound configuration at the event.

So-called “Immersive sound,” encompassing such terms as 3D sound, object-oriented sound, Dolby Atmos, Barco Auro-3D and others, has taken hold in Hollywood and is rapidly spreading to other corners of the entertainment and consumer market sectors. These advanced surround sound formats are impressing audiences with fully enveloping, more natural sound environments for cinema and home theaters, to the delight of audiences in the theater and at home. Not since the advent of 5.1 discrete surround in the early 1990s has there been a more exciting period of technological breakthroughs in film sound production and playback than there is today. And it’s just getting started. This event, the first of its kind, will break down the technology and art at the heart of immersive sound.

In addition to GC Pro’s display, this special one-day event includes:

Keynote Address in the world-renowned Cary Grant Theatre
Full Day of Panels: The Editing, Mixing, Technology and Business of Immersive Sound
Film Studio Showcase: 10-minute reels, played back in the Atmos/Auro-3D equipped William Holden Theatre, with introductions by the creative teams
Sponsor Workshops—hosted onsite in Sony’s world-class film sound facilities
Exhibition Space—the world’s leading technology suppliers
Networking opportunities
The day will be capped by an exclusive screening of a new Sony Pictures feature film in the Holden Theatre

For more information, please visit www.mixonline.com/soundforfilm and www.gcpro.com.

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High Resolution Audio to Be a Major Focus at 137th Audio Engineering Society Convention

— DEG to present a comprehensive High Resolution Audio program October 10 at AES137 in Los Angeles —

New York, NY — The 137th Audio Engineering Society Convention (October 9-12, 2014, at the Los Angeles Convention Center in downtown Los Angeles) will feature a High Resolution Audio (HRA) program Friday, October 10, 2014. The direct result of a collaborative effort between the Audio Engineering Society (AES) and DEG: The Digital Entertainment Group, the HRA program will include a number of panels and sessions that address the current and future direction of HRA from various perspectives, including content creation, digital distribution, licensing of hi-res music files, archiving, subscription models, marketing/promotion of hi-res music, compatibility of playback devices and more. These panels and sessions will feature some of the brightest minds in the business as they discuss some of the most current and controversial issues concerning the rapid adoption of high-resolution audio across the industry.

“The DEG is pleased to join with the Audio Engineering Society in promoting the benefits of Hi-Res Audio during this event,” said Amy Jo Smith, President, DEG. “Working together, we can underscore HRA’s numerous benefits to the professional recording community and enlist their support in helping drive this initiative.”

For over 65 years, nearly every seminal audio development has been incubated and promoted within the AES community, beginning with stereo LPs in the 1950s and continuing with magnetic tape in the 60s, digital audio and the Compact Disc in the 70s, perceptual coding (e.g. MP3) over the past 25 years, all the way to today’s digital streaming formats. It’s no wonder that the DEG and the AES have decided to partner to bring to AES137 Convention attendees the most current and comprehensive information on the state of High Resolution Audio, which is defined as “lossless audio that is capable of reproducing the full range of sound from recordings that have been mastered from better than CD quality music sources.”

For information on how you can get your FREE Exhibits-Plus badge (pre-registration required) and detailed information on the High Resolution Audio Program at the AES137 Convention, as well as further Registration, Hotel, and Technical Program information, visit the AES137 webpage at http://www.aes.org/events/137/.

About DEG
DEG: The Digital Entertainment Group is an industry association that advocates and promotes entertainment platforms, products and distribution channels on behalf of the motion picture, music, consumer electronics and technology companies.

About the Audio Engineering Society
The Audio Engineering Society was formed in 1948 and now counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. Currently, its members are affiliated with more than 75 AES professional sections and more than 95 AES student sections around the world. Section activities may include guest speakers, technical tours, demonstrations and social functions. Through local AES section events, members experience valuable opportunities for professional networking and personal growth. For additional information visit http://www.aes.org.

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Focusrite Ships Midnight Plug-In For FREE

Company offers a FREE Midnight Plug-in suite with purchase of any new Saffire PRO Firewire/Thunderbolt-compatible multichannel audio interface

Los Angeles, CA, August 18, 2014 – Focusrite is now shipping its Midnight Plug-in suite free (a $99.00 value) with the purchase of any new Saffire PRO Firewire/Thunderbolt-compatible multichannel audio interface. The Midnight Plug-in suite precisely models the performance and sound of Focusrite’s two most iconic modules, the ISA110 equalizer and ISA130 compressor, and provides elegant, functional on-screen front panels for easy user control.

“It seemed only fitting for us to provide Midnight free with the leading Saffire PRO line of Firewire interfaces, since Scarlett, the top-selling USB interface line, ships with Scarlett Plug-in software,” says Phil Wagner, President of Focusrite Novation Inc. “All newly registered Saffire users can download this powerful plug-in. Many users have come to rely on Focusrite’s Firewire technology, as Saffire Pro offers great sound quality overall and rock solid driver performance.”

The original designs of the ISA110 equalizer and ISA130 compressor can be traced back to the legendary Focusrite mixing console, the subject of a recent documentary film, “The Story of the Focusrite Studio Console,” which has over 120,000 views on YouTube.

Focusrite’s Saffire PRO line-up was originally introduced in 2006 and features four award-winning models of Firewire interfaces: the 8-in/6-out Saffire PRO 14, the 16-in/8-out Saffire PRO 24, the market leading 20-in/20-out Saffire PRO 40, which features eight mic preamps, and the unique 28-in/28-out Liquid Saffire 56, featuring Focusrite’s Liquid Mic Pre convolution technology. All Focusrite Firewire interfaces may be connected to a Thunderbolt-capable computer using an Apple Thunderbolt adapter (not included), thereby freeing up valuable USB ports. All Saffire PRO Firewire interfaces now ship with 800-to-400 Firewire cables.

The Saffire range of interfaces has a huge fan base worldwide, including professional users such as GRAMMY®-winning mixer, engineer and producer Adrian Bushby, known for his work with Foo Fighters and Muse. Bushby, who regularly uses the Midnight Plug-in suite when mixing, observes that vintage hardware processors can stop working, and while an engineer is limited by the number of devices in the outboard racks, he or she can use as many instances of a Midnight Plug-in as they wish. “It’s a win-win,” he says.

In this video, Bushby further discusses why he uses the Focusrite Midnight Plug-in Suite: http://youtu.be/7TxTaMPieJY

For More information, go to www.focusrite.com.

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Bose® RoomMatch® Loudspeakers Selected for Mayfield Dinner Theatre in Edmonton, Alberta

The challenge was to install a sound system that provided even, comprehensive coverage, and a newly installed Bose® RoomMatch® sound system was the right solution

Framingham, Massachusetts – The Mayfield Dinner Theatre is one of the leading live entertainment venues in Edmonton, Alberta, producing five new comedies, dramas and musicals every season, six days a week. The sound for a theater with that much variety has to be exceptional and versatile, so last summer Edmonton-based AV integrator Production World teamed with Bose® Professional Systems to install a new sound system and ensure that there was even coverage to all tables and seats. The new system consists of Bose RoomMatch® Progressive Directivity Array loudspeakers. Production World installed the system, which consists of three hangs — two outer arrays, each with four symmetrical array modules, and a center array with two symmetrical array modules and two RMS215 subwoofers, all powered by four Bose PowerMatch® PM8500N networked amplifiers. The system provides even, comprehensive coverage of the entire 400-seat half-round theater, with seating on four tiers.

“They make the best use of the space they have there, so the tables on the first tier come right up to the edge of the stage,” explains Kelly Kimo, Vice President of Production World. “That was where the theater had some of their biggest challenges with sound: the old sound system needed front fills on the lip of the stage to cover those front tables, but those seats wound up with very loud audio compared to other tables in the room.”

Production World had previous experience with RoomMatch loudspeakers, in one of Edmonton’s largest churches, and the result far exceeded expectations. So they called on Bose once again. With input from Bose’s technical support team members using the Bose Modeler® design software, Production World created and installed the new system. Now, it not only sounds fantastic but looks that way, too, without the visual intrusion of the front-fill speakers, whose function is now covered by the center cluster above the stage, leaving sightlines clean and clear.

The new system has brought with it another benefit: certain audience members’ hearing aids were impacted and overdriven by the previous PA system’s sound. Now, says Kimo, the even and smooth coverage that the RoomMatch system delivers has made their experience markedly better. “There’s no longer a sharp boost in certain midrange frequencies that could really be annoying to hearing-aid users,” he says. “This system works for everyone and gives them all a great theater experience every time.”

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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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