— Ginsburg’s work on classic hit films and television shows including St. Elsewhere, A-Team, 90210, Caveman, The Island and Platoon has created a platform from which he is shaping a new curriculum for film sound that better incorporates the knowledge base for production sound —

133rd AES CONVENTION, SAN FRANCISCO, CA, October 27, 2012 — Audio-Technica (booth 705), a leading innovator in transducer technology currently celebrating “50 Years of Passionate Listening,� is teaming up with sound mixer/educator Fred Ginsburg to help students acquire the professional tools and skills needed for production sound recording.

A skilled Hollywood sound acquisition specialist who worked on classic television shows like St. Elsewhere and films including Platoon and Used Cars, Ginsburg uses his professional experience as a Production Sound Mixer and Sound Designer to refashion the educational curriculum of sound for picture. Audio-Technica provides microphones and educational materials for workshops Ginsburg offers throughout the country, helping students establish a base of knowledge about this critical but under-taught aspect of cinema and television sound.

Fred Ginsburg has a mission to empower the next generation of film-sound professionals with experience, understanding and expertise about cinema and television sound. Ginsburg, with a Ph.D. in audio and membership in the Cinema Audio Society (C.A.S.), has taught his courses in production sound at California State University Northridge and Chapman University, doing so with microphones and educational materials provided by Audio-Technica.

Ginsburg says that contemporary professional audio education programs have emphasized the post production elements of film and television sound, often at the expense of production audio, which is the foundation of a film’s or series’ sound, comprising dialog and authentic location ambience and effects.

“The emphasis has been on working with programs like Pro Tools and Final Cut Pro in post, but what’s lacking is what students need to know about sound acquisition on location,� Ginsburg explains. “Even at schools like Chapman, which has an ADR stage modeled after the one at Warner Bros. and a mixing room that rivals the one at Universal, there recently wasn’t enough emphasis on the foundation sound that is production audio. That’s what I’ve set out to do: integrate production audio into the curriculum at the level that things like post and mixing are at now.�

Ginsburg accomplishes this by demonstrating his techniques in classes and at workshops around the country, by showing and explaining how he chooses tools and how he uses them to create sound elements that combine with mixing and post production to produce exceptional soundtracks. For instance, when demonstrating how to take echo out of a small room so that dialog becomes more intelligible, Ginsburg shows how he sets up an Audio-Technica AT4051b Cardioid Condenser Microphone on a boom.

“That microphone was designed for music, but a lot of Hollywood location sound people have embraced it for their kit because it’s so great at mellowing out dialog and wiping out echo in a room,� Ginsburg explains. Similarly, he uses an Audio-Technica BP4071L Line + Gradient Condenser Microphone (aka long shotgun) to keep extraneous noises like traffic out of the background on exterior shots, again to keep the focus on the dialog. An Audio-Technica BP4073 Line + Gradient Condenser (short shotgun) allows the recordist to cover from 2 feet to 6 feet overhead for wider interior situations, as well as to serve as a secondary microphone to the long shotgun outdoors, or the 4051 indoors.

Lavalier microphones are critical to location dialog sound, and Ginsburg has hidden mics like the MT830R Omnidirectional Condenser Lavalier Microphone in planters and other props on a set, when close-in dialog recording is needed. He recommends using the AT899 Subminiature Omnidirectional Condenser Lavalier Microphone attached to the sun visor of a car, to capture interior audio and dialog without having to put a microphone on the actor, which could result in noise from clothing and body movements.

“Audio-Technica has fantastic warranties and repair services, and technical support is always just one phone call away. A-T always makes sure that there are good instructional materials available. It’s a big job making sure that production audio gets its due in the education mix, and I’m glad that A-T is there to help make that happen,� Ginsburg says.

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

Danny Abelson, Co-Founder of software startup Zeehi, announces that the CueCast Digital Mixing Console User File Conversion Service will support the DiGiCo SD7 platform beginning mid-November 2012. This raises the number of supported console models to five in CueCast’s latest Beta Release.

CueCast enables sound engineers, hire companies and production managers to quickly and easily convert complex show files between different digital audio mixing consoles.

“We’ve had a very positive response from the pro audio community since we released the first CueCast Beta version in July,� according to Abelson. “A growing number of engineers have been converting their files at our site, and new users from around the world are signing up for the service every week.�

CueCast gives every new user two free fully-featured conversions. That means anyone who’s interested can evaluate the service with no cost or commitment.

“We’ve been working closely with several of the large hire companies. One of their most frequent requests was that we add support for the DiGiCo SD7, since they have so many of these desks in their inventories. We were happy to oblige, and our development team is doing a great job implementing the new console. We’ve also made significant enhancements to the user interface.�

In its latest version, CueCast converts user files between Avid, Yamaha PM5D, and now three DiGiCo models: SD7, SD8 and SD10. The company plans to develop solutions for every major console model.

The web-based CueCast service solves a fundamental problem in audio engineering; transferring complex user settings from one console to another without the time-consuming headache of entering those settings manually.

“Converting show files on CueCast is reliable and takes just three easy steps,� says Abelson. “Simply upload your file to the secure Cuecast site, then specify the format you need, and download the converted file for installation in the new console. CueCast stores your files on a secure server for safe-keeping and future use.�

Abelson noted, “We are helping people improve the way they work by making the process of moving user settings to a new console fast and easy. We can bring the biggest benefit to the engineering community by expanding the number of different console models we support. Adding the SD7 was a significant step. Soon we’ll be announcing support for more Yamaha models, including the new CL range, as well as the Soundcraft Vista and Midas desks.�

The current Beta release of CueCast converts the most commonly used console features and functions including bussing, sub-group assigns, control group assigns, routing, labeling, mutes and mute groups, EQ and dynamic in/out settings, aux. send on/off/and assigns, and effects and matrix on/off and assigns. Future releases will support variable settings, snapshots and many other features.

Information on CueCast can be found at cuecast.com

—A leading audio resource for high-profile broadcast events, Audio-Technica has been outfitting the debates since 1988 —

133rd AES CONVENTION, SAN FRANCISCO, CA, October 27, 2012 — Audio-Technica (booth 705), a leading innovator in transducer technology currently celebrating “50 Years of Passionate Listening,� provided a wide selection of microphones to capture every word from the candidates, moderators and selected crowd members at the 2012 presidential debates. The events were held October 3 at Colorado’s University of Denver; October 11 (Vice Presidential) at Centre College in Danville, Kentucky; October 16 at Hofstra University in Hempstead, New York; and October 22 at Lynn University in Boca Raton, Florida. Larry Estrin, of Best Audio in Studio City, CA, serves as Audio and Production Communications Director for the Commission on Presidential Debates (CPD) and chose to use Audio-Technica microphones at these landmark events. Steve Savanyu, Audio-Technica’s Director, Educational Services, was also present at each debate for on-site support. Audio-Technica microphones have been chosen for the presidential debates since 1988.

Michael Abbott, A1 for the debates, stated, “The Audio-Technica microphones, which we’ve used on all the previous debates, performed flawlessly – which is exactly what you need them to do for an event of this magnitude of importance. Every word, every nuance has to be captured and captured accurately, and that’s what the A-T mics did, at all of the debate locations. Dependability and accuracy – that’s what A-T delivered.â€�

A leading audio resource for high-profile broadcast events, Audio-Technica provided a host of microphones from their comprehensive product line to pick up crisp, intelligible audio and cover the diverse needs of each debate.

Audio-Technica products used on both candidates at their lecterns (President Obama and Governor Romney) at the first 2012 presidential debate, held October 3, included Engineered Sound® ES991 dual-element podium microphones as well as AT898cW Subminiature Cardioid Condenser Lavalier Microphones with 5000 Series wireless. On moderator Jim Lehrer, wired and wireless versions of the AT898 Subminiature Cardioid Condenser Lavalier Microphones were used (AT898cW with 5000 Series wireless). Audio-Technica’s Broadcast and Production BP4071 Line + Gradient Condenser Microphones were used for room ambience.

Products used at the October 11 VP debate (conference table format) included A-T’s Engineered Sound® ES935ML6 MicroLine® Condenser Gooseneck Microphones on Vice President Joe Biden and Republican vice presidential nominee Rep. Paul Ryan. Two AT898cW mics with 5000 Series wireless were used for moderator Martha Raddatz. Audio-Technica’s BP4071 mics were used for room ambience. Backup mics at the event included AT898cW wireless lavaliers and AEW-T5400a handheld transmitters with 5000 Series wireless for the candidates, and AT898 wired lavalier mics for Raddatz.

Products used at the next event, a “Town Hall� format, included A-T’s 5000 Series wireless with AEW-T5400a condenser handheld transmitters and AEW-R5200 receivers for President Obama and Governor Romney (allowing the candidates to freely roam while answering the evening’s questions); AT898cW lavalier mics with AEW-T1000a body packs (doubled for redundancy) for moderator Candy Crowley; AE6100 Hypercardioid Dynamic Handheld (wired) microphones, connected to Audio-Technica’s AT-MX351a SmartMixer® Five-Channel Mixers, for audience members asking questions of the candidates; and BP4071 mics for room ambience. Candidate backup mics, required for redundancy, were additional AT898cW units with AEW-T1000a body packs and AEW-R5200 receivers.

The fourth debate (conference table format), held on the evening of October 22 in Boca Raton, Florida, wrapped the 2012 debate series. Microphones used included AT898cW lavalier mics (5000 Series wireless with AEW-T1000a bodypacks) on each candidate and moderator Bob Schieffer, as well as wired AT898 mics for backup and redundancy and BP4071 mics for room ambience.

Larry Estrin stated, “The primary reason that I chose to once again use Audio-Technica microphone and mixer products for the Presidential Debates is their ‘extra-mile’ support. We utilized the 5000 Series wireless, and we used the T5400a transmitter for the town hall meetings, giving us proven reliability and studio-quality audio. Two key features of the AEW-T1000a UniPak® body-pack transmitter are its safety cover, which protects the soft-touch controls from being accidently activated, and a superior locking microphone input connector. We used the AT898 miniature lavalier microphones at all the debates, and each candidate always wore two systems, for redundant backup. In most cases the wireless microphones were used as the primary mics while the wired microphones were the backup mics. In addition to the hardware support, Audio-Technica also sends one of their employees to all of the debates to assure the support we need from the factory.�

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

— Unique perspective of Omnicoustics LLC Owner shows how GC Pro has become the
single most comprehensive resource for AV technology and its installation —

WESTLAKE VILLAGE, CA, October 19, 2012 — When Braza Dancante, an authentic Brazilian churrascaria presenting the finest Brazilian cuisine to guests in Allen, Texas, opened last year, its menu drew from traditional South Brazilian churrascarias (similar to steakhouses), but its sound, lighting and video systems called for the most up-to-date AV technology. The restaurant’s PA and distributed audio systems feature components from Bose Professional Systems Division, a truss system was loaded with Chauvet Professional lighting products for the music stage and wash mood lighting, and a Key Digital video distribution system was put in place for televisions and digital signage.

The entirety of the system was sourced by Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, and the installation and systems integration was handled by Omnicoustics LLC, a member of GC Pro’s expanding Affiliate Program. The Braza Dancante project illustrates how GC Pro has become the premier resource for AV systems integration projects, and how its Affiliate Program has grown into a principal source of installation and related services.

“Working with GC Pro is the simplest, most straightforward way to get a project done and done right,� says Adrian Gamez, Owner of Omnicoustics, the two-year-old AV systems integrator that installed, among other systems, the following Bose Professional Systems products: ControlSpace® ESP-88 engineered sound processor, FreeSpace® DS 100SE Loudspeaker, Panaray® MA12EX Full-Range Modular Line Array and MB24 Modular Bass Loudspeaker at Braza Dancante. “Even though we faced some challenges on the project, working around the general contractor, we always had every piece of equipment and product we needed exactly on time, thanks to GC Pro.�

Gamez should know how well GC Pro services projects like these – prior to opening his integration company, Gamez worked for the same GC Pro office in the Dallas area that serviced the Braza Dancante project. “I know what GC Pro can accomplish because I worked there,� he says. “They can get just about any piece of equipment you can think of, from a $30,000 audio console to a $3 connector, and have it all there on time for the job. When I worked for GC Pro, we prided ourselves on how well we could service AV systems integrators. Today, as one of those integrators and as part of the GC Pro Affiliate Program, I can really appreciate how well they do that. They have a great workflow.�

Jeffery McDaniel, GC Pro Senior Account Manager, stated, “This was a great project to work on because we were able to work with the customer from the conceptual blueprint stages all the way through the construction and final installation stages of the project, and we were able to make sure everything was perfect for their needs. It was also a pleasure to work with one of our affiliates, Omnicoustics LLC, throughout all of these stages, resulting in a project that exceeded the customer’s expectations at every step of the way. This is what it’s all about.�

Gamez also appreciates the fact that the Affiliate Program has also helped his company grow, allowing him to bid on and spec more projects than he could have on his own. “I’ve been on both sides of the fence with GC Pro – selling products and now buying them,� he says. “And from that perspective you can really see how good GC Pro is at what they do.�

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

— Treme’s use of live music in the show is unique on television, and Bigelow relies on A-T microphones to capture the sounds of street musicians, parades and club shows —

— A-T further supports Bigelow’s educational efforts as a teacher of recording and mixing techniques at the University of New Orleans, providing microphones and other support materials —

133rd AES CONVENTION, SAN FRANCISCO, CA, October 27, 2012 — When viewers of HBO’s hit series Treme watch a parade of street musicians leading a crowd through New Orleans’ French Quarter or listen as a blues trumpet wails late into the night in a jazz club, they’re not hearing music dubbed in later in post production. They’re hearing that musician play those actual notes. That’s what sets the work that the show’s Music Recordist, Robert C. Bigelow, has done for the last three seasons of the program, distinct from most music in television drama. On Treme, the music is as real as can be because it’s recorded on site as the show is shot, and Bigelow chooses microphones from Audio-Technica to capture Treme’s music.

“The big challenge for Treme is that the music you hear on the show is what we film live on location,� says Bigelow. “Most television shows will shoot to pre-recorded music and mix it in later; on this show, we record the musicians playing live in front of the camera, so you’re hearing the real thing. This really sets Treme apart from any other drama on television.�

Bigelow says Audio-Technica offers him what no other microphone manufacturer can: the ability to capture a huge palette of sound using just a few key microphones. He uses the A-T BP4027 and BP4029 Stereo Shotgun Microphones to create the ambient sound foundation for the show’s music. “They give me the big picture and context for the music, and we build the package on them,� he explains. A-T’s ATM350 Cardioid Condenser Clip-on Microphones are used for the brass instruments in parades and club scenes. “They’re incredibly versatile and I’ll use them on instruments from a trombone to a piano,� he says. “They’re very easy to hide – unlike other clip-on mics, I can just take the capsule of the 350 and attach it to the horn, yet they still give me full-range sound.� One very cool trick Bigelow has developed is to tape the 350 to the back of a shirt collar of a musician in a marching band to record the sound of the horns that are behind him.

Bigelow uses several microphones from A-T’s Artist Elite® wireless Series, including the AE5100 Cardioid Condenser Instrument Microphone and AE4100 Cardioid Dynamic Handheld Microphone, on both vocals and instruments, and the ATM450 Cardioid Condenser Instrument Microphone for nearly invisible miking of guitar amps and pianos, as well as overheads for drum kits. “The 450 has a really low profile so it’s great for capturing a little guitar amp on a street corner, and on drum overheads it’s got a pristine high end with absolutely no sibilance – crisp highs with no shrillness,� he raves. “The real beauty of this is that I’m able to capture the entire range of music for this show with just a few key microphones. You don’t need a big microphone closet to do this show.�

In addition to his groundbreaking work on Treme, Bigelow also heads a mentoring program in audio recording for film/TV at the University of New Orleans, helping the school further develop its film/TV production program. And A-T is a big part of that, too, providing microphones for classes and educational support materials for students. “One of the nice things about A-T microphones when it comes to teaching is that A-T mics are a great value without giving up any performance, so they’re the microphones that students can build their own tool kits with affordably, and those microphones will stay with them for the rest of their careers,� he says. “And it’s great that I’m able to teach using the very same microphones that I’m using on a multi-million-dollar film production. These are really the only microphones that can truly do it all.�

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

— GC Pro continues to expand this acclaimed service with the addition of technical support personnel in Nashville, which joins GC Pro’s location in Hollywood to offer access to complex systems design, installation and integration services —

— The initiative will also be fully integrated with GC Pro’s acclaimed Affiliate Services Program to create a truly comprehensive turnkey system solution —

WESTLAKE VILLAGE, CA, October 22, 2012 — As part of its continuing effort to add useful and valuable services and products to its client offerings, Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, today announced the extension of its successful new Technical Support Group initiative to the Nashville professional audio market. The program, which provides a number of technical support services, including customized Macintosh®-based audio systems solutions for clients in all of the market sectors it serves (recording studios, post production facilities and installed A/V), will now benefit Nashville’s music recording and production community. The Technical Support Group was initially launched in May 2011 at GC Pro’s Hollywood, California location. Additional personnel for the Technical Support Group are planned for other GC Pro locations in the U.S. in the future.

In the newly opened Nashville location, GC Pro Technical Services Technician Frantz Verna says that key services have already been provided for a range of professional clients there, such as loading and authorizing customers’ plug-in packages and integrating key applications including AVID’s Pro Tools® HD systems and others, and designing and building Mac-based audio systems equipped to the customers’ specifications for hard drives, video cards, RAM and other parameters. Such clients include producer/drummer Mike Marsh of the band Dashboard Confessional, legendary vocalist/composer/actress Bonnie Bramlett and Sound Emporium Recording Studios.

Verna says that many of these tasks, such as loading and authorizing software, are time- and labor-intensive, and pull music professionals away from their real work. “Musicians in Nashville definitely have better things to do with their time,� he says. “The advantage we bring to them, that they cannot get at a computer store, is that GC Pro understands how to optimize and maximize computer hardware, software and peripherals for music applications and integrate computers with their outboard equipment. We know how a computer best fits into a professional audio system. We’re able to give our clients a computer that’s ready to plug and play, which is exactly what they want and what no computer store could ever offer.� And all systems from the Technical Support Group will also be available for integration by members of GC Pro’s acclaimed Affiliate Services Program, which offers the services of certified studio designers, acousticians, systems integrators and other technical services to all GC Pro customers. No other professional audio retailer can offer such a comprehensive package of high-end products and programs.

“We are proud to expand our Technical Support Group endeavors to the rich market of Nashville,� stated Rick Plushner, GC Pro Vice President. “Nashville’s music community is growing larger and larger every day, and with such a large concentration of artists, players, composers, producers, engineers and post-production professionals, it is the type of market that can clearly benefit from the services of our Technical Support Group.�

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

The Villages and other projects benefit from the Bose PowerMatch PM8500’s Class-D efficiency and up to 4 kW of pure, clean power

Framingham, Massachusetts, October 18, 2012 – Some projects are inarguably massive. They cover an enormous amount of ground and need the power to deliver music and other critical audio across areas measured in acres instead of square feet. That’s why AV systems integrators are turning to the PowerMatch™ PM8500 from Bose Professional Systems Division . Such is the case with a recent audio systems project where power, reliability and sound quality are critical across very large amounts of space, and the Bose PowerMatch amplifier is proving to be the best choice.

The Villages is a master-planned retirement community located in central Florida about midway between Ocala and Orlando, with a population of over 90,000 residents living on over 26,000 acres. With a focus on golf – boasting 504 holes, on both executive and championship courses, including courses designed by Arnold Palmer and Nancy Lopez. Installing landscape sound for The Villages is a big job – the new downtown area, Brownwood, has 240 light poles, each will have Bose® DS 40SE full-range, surface-mount loudspeakers mounted to them. All of these will be powered by just six Bose PowerMatch™ PM8500/8500N amplifiers, covering an area up to a half-mile in all directions from the town’s central square. In addition to the PowerMatch PM8500, the area also includes Bose Panaray® MA12EX full-range modular line array loudspeakers and MB24 modular bass loudspeakers for the town square’s live stage for music performances, as well as 12 Bose ControlSpace® ESP-88/ESP-00 engineered sound processors, digital signal processors to control audio throughout The Villages. Going forward, Bose PowerMatch amplifiers will also be used in a forthcoming movie theater in the downtown area and other applications.

“There’s really no place like it on the planet,� says Steve Brown, Eastern Regional Business Manager, Bose Professional Systems. “And just as The Villages are all about quality of life, they are a whole community built around Bose audio because Bose is all about quality of sound. The Villages are about great golf as far as the eye can see and great sound as far as the ear can hear. It’s an amazing project, and the Bose PowerMatch offers them the ability to power a huge amount of sound over an enormous amount of space and do it cost effectively.�

The Bose PowerMatch PM8500/8500N is a configurable professional power amplifier delivering concert sound quality for fixed installation sound reinforcement systems. Building on the ruggedness proven by 20 years of experience building Class-D power amplifiers for the automotive market, the PM8500/8500N adds numerous new Bose patented technologies to simultaneously provide class-leading power, efficiency, sound quality and reliability.

— Upscale mall adds live music and event capability with technology supplied by GC Pro —

WESTLAKE VILLAGE, CA, October 17, 2012 — The Santa Monica Place has the stores, the views, the food and the fresh, open-air design – a shopping and dining destination that’s just right for this iconic beach city. Included are a custom-designed Bloomingdale’s made for the beach-chic lifestyle, a brand new Nordstrom, and a collection of A-list retail names, topped by a rooftop Dining Deck with six chef-driven restaurants and gorgeous views of the city, the mountains and the Pacific. And now Santa Monica Place has one more aspect that will draw and entertain shoppers: A new stage with an extensive sound system and lighting truss, all supplied by Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users.

GC Pro provided just about everything that Santa Monica Place needed to make its atrium into a performance venue. That included a JBL VRX line array system with 12 VRX932 enclosures and two MRX518S single-18 subwoofers and an MRX528S dual-18 subwoofer, four Crown XTi power amplifiers, a Soundcraft Vi1 console, AKG IVM4500 in-ear monitoring systems and dbx DriveRack® 4800 system processor. The Global Truss 24′ x 16′ stage and truss system has its own runway for fashion shows, with a Lex Pagoda power distribution system. A Telex BTR-24 multichannel radio communications system with eight headsets and beltpacks keeps everyone in the loop.

The entire collection of equipment, including the stage, is designed to be stored when not in use and set up as needed. This, says GC Pro Account Manager Josh Dawkins, who specified the products and handled the sale, gives the mall’s operation management more flexibility and offers them the opportunity to recoup some of the capital cost of the equipment through rentals. “They can rent the space and the sound system as a package, which makes it very attractive to potential users,� he says.

Dawkins says that HARMAN’s sales representatives were very helpful in choosing which systems and products best fit the needs of the mall’s management. “That’s one of the things that GC Pro brings to customers like this,� says Dawkins. “We have such depth of resources throughout the pro audio, lighting, video and staging industries that we can count on being able to access all of the expertise that the brands we represent can offer. That’s something that a commercial client like Santa Monica Place really appreciated.�

Mike Schoen, National Accounts Sales Manager, Harman Professional Group, stated, “We are very pleased that GC Pro chose a wide selection of Harman Professional products for the Santa Monica Place Mall. Working closely with Josh Dawkins, we were able to put together a comprehensive package that suited the venue’s needs.�

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

STOW, OH, October 17, 2012 — Audio-Technica, currently celebrating “50 Years of Passionate Listening,� supplied microphones used on both candidates, the moderator and audience participants at the third debate in the 2012 presidential campaign on October 16 at Hofstra University in Hempstead, New York. Larry Estrin, of Best Audio in Studio City, CA, who serves as Audio and Production Communications Director for the Commission on Presidential Debates (CPD), chose A-T for each of the four debates in the series. A leading audio resource for high-profile broadcast events, Audio-Technica has provided a host of microphones from their comprehensive product line to pick up crisp, intelligible audio and cover the diverse needs of each debate.

Products used included A-T’s 5000 Series wireless with AEW-T5400a condenser handheld transmitters and AEW-R5200 receivers for President Obama and Governor Romney (allowing the candidates to freely roam while answering the evening’s questions); AT898cW Subminiature Cardioid Condenser Lavalier Microphones with AEW-T1000a body packs (doubled for redundancy) for moderator Candy Crowley; AE6100 Hypercardioid Dynamic Handheld (wired) microphones, connected to Audio-Technica’s AT-MX351a SmartMixer® Five-Channel Mixers, for audience members asking questions of the candidates; and BP4071 Line + Gradient Condenser Microphones for room ambience. Candidate backup mics, required for redundancy, were additional AT898cW units with AEW-T1000 body packs and AEW-R5200 receivers.

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

— The legendary diva returns to her Brooklyn roots with two shows at the new Barclay’s Arena with long-time engineer and mixer David Reitzas working in the Music Mix Mobile Eclipse remote truck and relying on plugins from Waves Audio to assure a great recorded result —

TEL AVIV, ISRAEL, October 15, 2012 — Barbra Streisand has come home to Brooklyn – the legendary diva is the second artist to headline at the newly opened Barclay’s Arena in the borough’s Prospect Heights neighborhood, barely a mile from where she grew up, in the Williamsburg section of Brooklyn. And these two highly anticipated shows, on Oct. 11 and 13, were recorded by M3 (Music Mix Mobile), a New Jersey/California-based remote-facilities company combining the talents of award-winning production professionals and state-of-the-art audio solutions. M3 had its East Coast-based Eclipse remote truck on site at the Barclay’s Arena for rehearsals and for both evenings’ performances, which were recorded by Streisand’s long-time engineer, GRAMMY® and EMMY® award winner David Reitzas, noted also for his work with artists including Madonna, Seal, Andrea Bocelli and Guns N’ Roses. There was also another collaborator on this momentous project: processing plugins from Waves Audio, a leading provider of audio DSP solutions for professional, broadcast, and consumer electronics audio markets.

Reitzas utilized M3’s extensive array of Waves plugins, including the Renaissance Vox, the Renaissance Axx, the Renaissance Compressor, the MV2 Dynamics Processor, TrueVerb and the H-Delay. Waves plugins were applied to many of the 190 inputs that Streisand’s orchestra, band and 60-member choir required on Barclay’s stage to thrill those filling the new Arena’s 19,000 seats.

“This is an amazing show by an amazing artist,� states Joel Singer, Engineer-In-Charge at M3, which was also on hand to record select shows on Streisand’s 2007 tour. “Ms. Streisand is using all live musicians – there will not be one single tape track at these performances. And we’ll be using Waves plugins on many of the inputs, from the 18 vocal microphones we’ll have on the choir to the string and horn sections. It will be processed by Waves, because Waves is that good.�

Asked why M3 has been so committed to Waves over the years, Singer replies, “Because Waves understands the comfort zone we all look for when we embark on a high-profile audio project like this. We know what we want things to sound like and Waves gets us there. You know when you walk into a control rooms and see certain things, like a familiar set of monitors, that you’ll be in your comfort zone and will be able to do your best work. That’s what Waves does for us.�

Visit www.waves.com for more information.