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Archive by Brad Gibson

Audio-Technica Helps the Smoky Mountain Center for the Performing Arts Reach Its Performance Peak

— A-T wireless microphones enable this 1,500-seat performing arts center to accommodate all types of entertainment productions, from gospel vocal groups to rock bands to stand-up comedians and elaborate theatrical productions —

STOW, OH, November 5, 2013 — When the Smoky Mountain Center for the Performing Arts opened in Franklin, North Carolina, in July 2009, its 1,500-seat theater brought state-of-the-art live-event capability to the region. Performances since then have included musical productions, professional drama troupes, dance and choral festivals, recitals, and performances from varied musical genres including country, bluegrass, gospel, pop, contemporary Christian and more. What it also offers all of these wide-ranging productions is an array of wireless microphones and systems from Audio-Technica, a leading innovator in transducer technology for over 50 years.

The Smoky Mountain Center for the Performing Arts’s microphone complement includes A-T’s Artist Elite® 5000 Series Frequency-agile True Diversity UHF Wireless System with 36 AEW-R5200 wireless receivers and AEW-T1000 beltpack transmitters, a dozen wireless handheld microphones (five AEW-T3300 Cardioid Condenser Handheld Transmitters, four AEW-T5400 Cardioid Condenser Handheld Transmitters and three AEW-T6100 Hypercardioid Dynamic Handheld Transmitters), 40 BP896 MicroPoint™ Subminiature Omnidirectional Condenser Lavalier Microphones, and an AEW-DA550C UHF Antenna Distribution System. All of these have helped create the world-class sound that has made the Smoky Mountain Center for the Performing Arts a true destination for a variety of performing artists.

“These microphones have made my life so much easier, and the performers who’ve worked here have been very happy,” says Adam Drake, Chief Audio Engineer at the Smoky Mountain Center for the Performing Arts. “Their flexibility is amazing – we’ve used the handheld microphones on everything from music to international folk dancing troupes, and they’ve responded fantastically to the sound. We’ve even used the AEW-T6100 on drums on our Folk Music Night, which is not necessarily what they’re intended to be used for, and the results were incredible. I like the BP896 lavalier microphones better than any lapel microphone because it lets you position it for better pick-up and intelligibility. And the performance of all of the A-T mics is excellent – I had a 23-act talent show in here using a lot of microphones, and I didn’t have to turn up the gain at the console on any of them. The wireless systems work anywhere – I’ve had performers go into the balcony for some shows and there was never a single dropout, even with a wall in between the microphone and the receiver. And the transmitters’ performance is great; for instance, battery life – we had them on for over five hours a day at a time. So many performers have used the A-Ts, and everyone just loves them. And so do I.”

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

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Audio-Technica Debuts BP894 MicroSet® Subminiature Cardioid Condenser Headworn Microphone

— New BP894 features a rotating capsule housing with talk-side indicator for use on either ear —

— MicroSet® models are ideal for church/house of worship, educational and commercial applications, including corporate A/V presentations, broadcast and theater sound reinforcement requiring outstanding audio quality and inconspicuous design —

STOW, OH, November 1, 2013 — Audio-Technica, a leading innovator in transducer technology for over 50 years, has debuted its BP894 MicroSet® Subminiature Cardioid Condenser Headworn Microphone. Inspired by A-T’s popular BP892 MicroSet, the BP894 features a rotating capsule housing with talk-side indicator for use on either ear and perfect polar pattern placement. The MicroSet BP894 takes headworn microphones to the next level, by allowing the cardioid capsule to be aimed directly at the sound source (i.e. the microphone faces the mouth, rather than facing forward like other options on the market). The uniform pickup pattern provides excellent rejection of outside noise, with exceptional gain-before-feedback when used with live sound systems and stage monitors.

Featuring an inconspicuous and ergonomic design, the BP894 MicroSet (available in black and theater beige) rests comfortably behind the ear and can be worn for hours without fatigue. Its contoured earpiece stays in place even on the most animated performer/presenter and does not interfere with the user’s eyeglasses. The BP894 comes with the AT8464 Dual-Ear Microphone Mount which can be attached to provide maximum stability. The microphone provides superior intelligibility and clean, accurate reproduction for the most demanding church/house of worship user, lecturer, broadcaster or theater performer. With its high-SPL capability (135 dB), it is particularly ideal for high-volume motivational speakers/lecturers, pastors and stage actors. Frequency response is 20Hz to 20kHz.

The BP894 will be available starting in October in the following configurations:

BP894 MicroSet Subminiature Cardioid Condenser Headworn Microphone with AT8539 Power Module; US MSRP $639.00.
BP894-TH Beige MicroSet Subminiature Cardioid Condenser Headworn Microphone with AT8539 Power Module; US MSRP $639.00.
BP894cW MicroSet Subminiature Cardioid Condenser Headworn Microphone with Locking 4-Pin Connector (HRS-type); US MSRP $499.00.
BP894cW-TH Beige MicroSet Subminiature Cardioid Condenser Headworn Microphone with Locking 4-Pin Connector (HRS-type); US MSRP $499.00.
BP894cT4 MicroSet Subminiature Cardioid Condenser Headworn Microphone with TA4F Connector; US MSRP $539.00.
BP894cT4-TH Beige MicroSet Subminiature Cardioid Condenser Headworn Microphone with TA4F Connector; US MSRP $539.00.
BP894cL4 MicroSet Subminiature Cardioid Condenser Headworn Microphone w/Lemo Connector; US MSRP $579.00.
BP894cL4-TH Beige MicroSet Subminiature Cardioid Condenser Headworn Microphone with Lemo Connector; US MSRP $579.00.
BP894c MicroSet Subminiature Cardioid Condenser Headworn Microphone; Unterminated; US MSRP $479.00.
BP894c-TH Beige MicroSet Subminiature Cardioid Condenser Headworn Microphone; Unterminated; US MSRP $479.00.
BP894cLM3 MicroSet Subminiature Cardioid Condenser Headworn Microphone with Locking 3.5 mm Connector; US MSRP $539.00.
BP894cLM3-TH Beige MicroSet Subminiature Cardioid Condenser Headworn Microphone with Locking 3.5 mm Connector; US MSRP $539.00.

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

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Veteran Musician Jon Butcher Hits the Road with the Bose® L1® Model II System

The L1® Model II system helps Butcher achieve an accurate acoustic guitar sound while performing his “unplugged” iteration Two Roads East

Framingham, Massachusetts, October 31, 2013 – For decades, songwriter and guitarist Jon Butcher has been thrilling audiences with his brand of rock and blues, criss-crossing the country with his electric act Jon Butcher Axis and, more recently, an acoustic show Butcher calls Two Roads East. “In recent years, I divide my touring schedule for any given year so it’s nearly 60/40 electric/acoustic,” he notes. Finding the right sound system solution for an acoustic guitar with pickups can be a challenge, as any acoustic performer knows, but Butcher has been able to dial in the perfect sound with the L1® Model II portable system and B2 bass module from Bose® Professional Systems Division. He uses two L1 systems, arranged at 45 degrees, each with a B2 bass module, placed behind him on stage.

He states, “The L1 system has really focused my guitar sound and allowed me to play in such a way that is full and vibrant with none of the thin and unarticulated acoustic guitar sounds that most guitarists have been wrestling with their entire career. Anybody who plays acoustic guitar knows what I’m talking about — its a bear to get the thing to sound authentic and organic in person, because you know that is the nature of piezoelectric pickups. But the L1 Model II System has been articulate, inviting and spatially-wide. I continue to use it for those reasons.”

Butcher has been using L1 systems since around 2009, when he traveled to the east coast from his home in California to record with occasional collaborator Charlie Farren. “Charlie introduced me to the original L1 system,” notes Butcher. “I was immediately drawn to the system. It solved so many problems for me. On the road with Two Roads East, sometimes I use a percussionist, and I use both a Taylor and a Martin acoustic guitar. The L1 Model II works great for all of these scenarios. The guitars don’t sound condensed and honky, but rich and spatially-wide. I have been gigging with the L1 system for that reason alone. It gives the instruments character and allows them to breathe.”

He also feels a strong connection to the music and the audience through his use of the L1 system. “The instruments sound the way they should, and the people in front of you are hearing what you want them to hear. And as a performer, standing next to the L1 system, it allows me to feel the music in the way that I need to so it sounds authentic to me. And then I can communicate that to the audience, and it’s a better performance for everyone present. There are all types of systems out there. I stick with the L1 system because it furnishes a natural, pleasing, warm, broad sound.”

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Genelec Home Audio Unveils G Four Active Loudspeaker

NATICK, MA, October 29, 2013 — Genelec Home Audio is unveiling its new G Four Active Loudspeaker, part of the new Genelec G Series of Active Loudspeakers for home audio. The G Four (Woofer 6.5″ + Tweeter 3/4″) joins three other models in the G Series: G One (Woofer 3″ + Tweeter 3/4″), G Two (Woofer 4″ + Tweeter 3/4″) and G Three (Woofer 5″ + Tweeter 3/4″); as well as the complementary F One (6″ active) and F Two (8″ active) subwoofers. The G Four and its brethren feature elegant industrial design by award-winning designer Harri Koskinen and Genelec’s R&D team. Designed to be used together or separately, G Series models and the complementary F Series subwoofers offer an exceptional home audio solution.

The G Four active two-way loudspeaker combines an organic, rounded form with powerful and precise sound reproduction. The gently curving design is not chosen for good looks alone. Sharp edges or corners on a loudspeaker enclosure cause acoustic reflections that interfere with the direct sound. This harmful interference – diffraction – is dramatically reduced by the smooth, curved design of the G Series, audible in the excellent resolution and solid sound imaging of the products. Blending seamlessly to the enclosure shape, the proprietary Directivity Control Waveguide™ (DCW™) formed around the high-frequency driver is designed to match the frequency response and directivity characteristics of the two drivers. This results in a smooth frequency response on- and off-axis and controlled directivity maximizing the direct sound aimed to the listening area.

G Four Specifications:

Maximum sound pressure: 105 dB per loudspeaker @ 1 m
Frequency response: 45 – 21000Hz (-3 dB)
Drivers: Bass 6.5″ + Treble 0.75″ metal dome + DCW
Amplifier power: Bass 90 W + Treble 90 W
Dimensions: H x W x D: 14.37″ x 9.33″ x 8.78″ with Iso-Pod™ (365 x 237 x 223 mm)
Weight: 18.96 lb (8.6 kg)

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

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Lowell Manufacturing Adds Deep Profiles to Wall-Mount Rack Series

— New 28- and 32-inch-deep racks for LWR Series —

PACIFIC, MO, October 28, 2013 — Lowell Manufacturing Company, a U.S. manufacturer of professional A/V products for more than 65 years, has expanded its LWR Series of wall-mount racks to include two deep profiles—28” and 32”—for applications requiring greater depth for electronics and accompanying cables and wiring. These deeper-profile wall racks feature the time-saving sectional design that allows the backbox to be sent to the job site while the cabinet (mounting section) is filled at the shop.

LWR Series Features:

Heavy duty, swing-open, sectional rack (load capacity to 300 lbs.)
Backbox: 10” square opening in rear, removable knockout panels, lacing points, and provisions to attach board-mounted accessories. Two side locks keyed differently than (optional) front door.
Cabinet (mounting section): 1-pr. adjustable mounting rails, integral rails in top and bottom, vented sides, and knockouts.
Four depths: 19”, 23”, 28”, 32” (varied heights)
Made in USA with 100% certified US steel

For more information, please visit www.lowellmfg.com or e-mail Lowell at sales@lowellmfg.com.

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DiGiGrid MGB Coaxial and MGO Optical MADI Interfaces Are Now Available from Waves Audio and DiGiCo

TEL AVIV, ISRAEL, October 28, 2013 — Waves Audio now offers DiGiGrid MGB Coaxial and MGO Optical MADI Interfaces for its SoundGrid® protocol. For artists like Beyoncé, Rihanna, Shakira, Bruno Mars, Bruce Springsteen, Coldplay and countless others, Waves SoundGrid is the live sound networking and processing platform of choice. The compact and portable DiGiGrid MGB coaxial and MGO optical MADI interfaces let you plug any MADI-enabled device into the power of the Waves SoundGrid networking and processing platform.

Record, process and play back up to 128 audio channels, using literally hundreds of Waves and third-party plugins, with super-low latency, clocking in at only 0.8 milliseconds! You can even record to two computers simultaneously: One for virtual soundcheck, the other for backup. So if you’re on the tour bus, in your hotel room, at the airport – wherever – you can quickly and conveniently setup your next show, using only your laptop.

With a DiGiGrid MGB or MGO MADI-to-SoundGrid interface, real-time low-latency networking and processing is only an Ethernet cable away.

MGO and MGB are now available with a U.S. MSRP of $2000. Visit http://www.digigrid.net/ and www.waves.com for more information.

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Genelec Home Audio Unveils G Four Active Loudspeaker

NATICK, MA, October 29, 2013 — Genelec Home Audio is unveiling its new G Four Active Loudspeaker, part of the new Genelec G Series of Active Loudspeakers for home audio. The G Four (Woofer 6.5″ + Tweeter 3/4″) joins three other models in the G Series: G One (Woofer 3″ + Tweeter 3/4″), G Two (Woofer 4″ + Tweeter 3/4″) and G Three (Woofer 5″ + Tweeter 3/4″); as well as the complementary F One (6″ active) and F Two (8″ active) subwoofers. The G Four and its brethren feature elegant industrial design by award-winning designer Harri Koskinen and Genelec’s R&D team. Designed to be used together or separately, G Series models and the complementary F Series subwoofers offer an exceptional home audio solution.

The G Four active two-way loudspeaker combines an organic, rounded form with powerful and precise sound reproduction. The gently curving design is not chosen for good looks alone. Sharp edges or corners on a loudspeaker enclosure cause acoustic reflections that interfere with the direct sound. This harmful interference – diffraction – is dramatically reduced by the smooth, curved design of the G Series, audible in the excellent resolution and solid sound imaging of the products. Blending seamlessly to the enclosure shape, the proprietary Directivity Control Waveguide™ (DCW™) formed around the high-frequency driver is designed to match the frequency response and directivity characteristics of the two drivers. This results in a smooth frequency response on- and off-axis and controlled directivity maximizing the direct sound aimed to the listening area.

G Four Specifications:

Maximum sound pressure: 105 dB per loudspeaker @ 1 m
Frequency response: 45 – 21000Hz (-3 dB)
Drivers: Bass 6.5″ + Treble 0.75″ metal dome + DCW
Amplifier power: Bass 90 W + Treble 90 W
Dimensions: H x W x D: 14.37″ x 9.33″ x 8.78″ with Iso-Pod™ (365 x 237 x 223 mm)
Weight: 18.96 lb (8.6 kg)

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

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Genelec Home Audio Offers G Three Active Loudspeaker

NATICK, MA, October 23, 2013 — Genelec Home Audio offers its new G Three Active Loudspeaker, part of the new Genelec G Series of Active Loudspeakers for home audio. Offering an exceptional home audio solution, the G Three (Woofer 5″ + Tweeter 3/4″) joins three other models in the series: G One (Woofer 3″ + Tweeter 3/4″), G Two (Woofer 4″ + Tweeter 3/4″) and G Four (Woofer 6.5″ + Tweeter 3/4″); as well as the complementary F One (6″ active) and F Two (8″ active) subwoofers (the G Series and F Series models are designed to be used together or separately). The G Three and its brethren feature elegant industrial design by award-winning designer Harri Koskinen and Genelec’s R&D team.

The G Three active two-way loudspeaker combines an organic, rounded form with powerful and precise sound reproduction. The gently curving design is not chosen for good looks alone. Sharp edges or corners on a loudspeaker enclosure cause acoustic reflections that interfere with the direct sound. This harmful interference – diffraction – is dramatically reduced by the smooth, curved design of the G Series, audible in the excellent resolution and solid sound imaging of the products. Blending seamlessly to the enclosure shape, the proprietary Directivity Control Waveguide™ (DCW™) formed around the high-frequency driver is designed to match the frequency response and directivity characteristics of the two drivers. This results in a smooth frequency response on- and off-axis and controlled directivity maximizing the direct sound aimed to the listening area.

G Three Specifications:

Maximum sound pressure: 100 dB per loudspeaker @ 1 m
Frequency response: 55 – 21000Hz (-3 dB)
Drivers: Bass 5” + Treble 0.75″ metal dome + DCW
Amplifier power: Bass 40 W + Treble 40 W
Dimensions: H x W x D: 11.77″ x 7.44″ x 7.01″ with Iso-Pod™ (299 x 189 x 178 mm)
Weight: 12.35 lb (5.6 kg)

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

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Bose® RoomMatch® Loudspeakers and PowerMatch® Amplifiers Used for Arena Performances by Rock Supergroup Yukon Kornelius, O.A.R. and DJ Logic

Framingham, Massachusetts, October 24, 2013 – Earlier this year, rock supergroup Yukon Kornelius (Featuring bassist Stefan Lessard from the Dave Matthews Band, singer/guitarist Ed Robertson from the Barenaked Ladies, singer/guitarist Adam Gardner from Guster, and drummer Eric Fawcett from Spymob, along with a multitude of special guests), performed at the FestEVOL 2013 at the Ice House Arena, part of Okemo Mountain Resort in Ludlow, VT. Since first taking the stage in 2008, the band has gained a reputation for performing fun, lengthy sets of cover songs and surprises. All acts performed crowd-pleasing sets, and the show featured excellent sound thanks to a PA system consisting of RoomMatch® loudspeakers, along with PowerMatch® amplifiers, from Bose® Professional Systems Division.

“RoomMatch systems have generally been used for fixed installations rather than one-off live performances or touring,” stated Fuat Koro, Director of Global Marketing, Bose Professional Systems. “The bands’ management approached us and asked if we could support this event, so we worked with Yukon’s FOH engineer Sean Quackenbush to deliver a system that met his requirements for SPL, bass performance and coverage throughout the room. We had two bands and a DJ perform on the system that night, and it was a real home run. We got rave reviews from Sean, and the management loved it too. The night was a total success!”

The P.A. setup included the following Bose components: RoomMatch RM5505, RM7005, RM9010, RM12010 and RM12020 loudspeakers on each of the main arrays (left and right), RM9020 and RM12020’s for the left and right delay arrays, six RMS215 subwoofer modules for each left and right bass array, and six RMS218 VLF subwoofers. The system was powered by a total of sixteen Bose PowerMatch PM8500N amplifiers, and three ControlSpace engineered sound processors provided control and audio processing.

Quackenbush added, “This was a problematic space to use as a live venue, but when we got up and running with the Bose system, there was nothing but clarity and punch. I was very happy with it, what it could take, and what it could give back, level-wise. The vocals were smooth and punchy all the way through, and intelligibility was just amazing. At no point were the kick drum and bass guitar fighting each other, and the guitars never sounded harsh yet still had a nice growl to them. Things already sounded great during the rehearsal and soundcheck, and then we filled the place with 5000 people, and things got even better. I didn’t need to touch the EQ. Bose really did their homework with these products. They made me look good.”

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135th Audio Engineering Society Convention Hits A Five-Year High

— Convention takes a bite out of the Big Apple and reminds the industry that “If It’s About Audio, It’s At AES” —

New York, NY, October 24, 2013 — The 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City) was the place to be if you have anything to do with the audio industry. The exhibit floor, panels and technical sessions were packed all four days, and as AES celebrated its 65th Anniversary, a five-year-high number of 18,453 registrants was tallied.

At show close, AES reported a 16% increase in registration since the last time the convention was in New York two years ago (131st AES) and a staggering 71% increase over last year’s San Francisco event (133rd AES), which unfortunately was plagued by smaller attendance due to Hurricane Sandy.

Convention Committee Chair Jim Anderson and his team created the most ambitious and comprehensive schedule of workshops, panels and technical programs in AES convention history; AES135 will be remembered by those in attendance as an exciting and enlightening experience, and one of the most heavily attended conventions in years. From the opening keynote address on Thursday by Josh McDermott from MIT; and the Heyser Lecture by legendary producer, technologist and multi-GRAMMY® Award winner George Massenburg; to Friday’s lunchtime keynote by multi-GRAMMY Award winner Jimmy Jam; the Project Studio Expo and Knowledge Center; the “Sound For Picture” Deadliest Catch workshop; the GRAMMY SoundTables event honoring the late Phil Ramone; presentations by engineer and Jay-Z collaborator Young Guru; and more, AES135 hit it out of the park for attendees and exhibitors alike.

“I can’t express how thrilled I am with our Convention this year,” stated Bob Moses, Executive Director of the AES. “Our organizing committee really outdid themselves, with over 250 presentations from an astounding 682 leading researchers and practitioners in the field, many of them standing-room only. The convention floor was absolutely packed, and the only complaint I heard was that we ran out of convention programs on the second day because so many people showed up. We took some risks with this show in an attempt to bring in lots of new blood and to maintain our position on the proverbial cutting edge, and the fact that it was such a fantastic success gives us confidence to ratchet it up a few more notches in Los Angeles next year. Actually, why wait for October 2014? – we’ll be back in Berlin in April, and much of what made this show so great will be leveraged to breathe new life into our European convention.”

No matter what sector of the industry you are involved in — recording & production, broadcast & streaming, game audio, live sound, networked audio, sound for picture, post production or system integration — AES135 had it all. The convention received support from over 20 industry sponsors and partners including: Audio Precision, Cerwin-Vega, CharterOak, Focusrite/Novation, Gibson, Hal Leonard, Harman/Soundcraft, iZotope, KRK, NewBay Media, Onkyo, SAE Institute, Sennheiser, Sound On Sound, Sound and Picture, Stanton, Tascam, and THAT Corporation. Additionally several organizations lent their support, including APRS, ASCAP, DTV Audio Group, International Music Festival Conference, Manhattan Producer’s Alliance, The Recording Academy® Producers & Engineers Wing® and SPARS, as well as leading audio retailers GC Pro and Sweetwater.

The convention garnered praise from exhibitors and attendees alike. Piers Plaskitt, CEO, Solid State Logic, Inc., stated, “We went into the 2013 AES with high expectations, a new console for the live market, a cool summing box for our music professionals and a MADI/Dante bridge for our broadcast customers. We staffed up accordingly, and I’m very pleased to say that we had an extraordinarily busy show that exceeded our projections on every level. We are looking forward to 2014 and the convention’s return to Los Angeles.”

“This AES in NY was the best AES convention in many years,” stated Eric Mayer, President, DPA Inc. “This year the show floor traffic seemed up, our booth attendees were more ‘qualified’ and spirits seemed high. I’m not sure what changes were made, but whatever they were, they were needed and they worked.”

Katy Templeman-Holmes, Sr. Marketing Manager USA, Mixer Group, HARMAN, echoed Mayer’s words: “We had a great show, specifically with the hands-on workshops we hosted. Attendance was stronger than ever and it was a valuable mix of student, new and veteran engineers all looking to learn and experience the available technologies and products. A good show all around.”

“AES NY is always special, as no other show draws such a diverse crowd of key decision leaders in music, post, broadcast and live sound,” stated Phil Wagner, President of Focusrite Novation Inc. “This year’s AES show had our booth and sound demo room packed with potential customers from start to finish. We were proud to sponsor both the Project Studio Expo and Networked Audio Track. We look forward to a strong presence at AES Los Angeles next year.”

For additional information on the Audio Engineering Society and its conventions, conferences and technological outreach, visit http://www.aes.org.

Photo Caption 1: The 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City) saw five-year-high registration numbers. Photos courtesy of Audio Engineering Society. © 2013

Photo Caption 2: Attendees flock to the 135th Audio Engineering Society Convention on the opening day of exhibits, Friday, October 18, 2013. Photos courtesy of Audio Engineering Society. © 2013

Photo Caption 3: The aisles on the exhibition floor at the 135th Audio Engineering Society Convention were filled with wall-to-wall attendees. Photos courtesy of Audio Engineering Society. © 2013

For additional photos from the 135th AES Convention, please visit http://clynemedia.com/AES/AES135/photos/.

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