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Bose® L1® Systems Chosen for Hawaiian Virtuoso Daniel Ho

GRAMMY® Award-winner, and curator of traditional Hawaiian music, relies on a combination of Bose portable products to bring perfect clarity and tone to his concerts in the U.S. and abroad

Framingham, Massachusetts, December 12, 2013 – From his base in Los Angeles to venues as far apart as Nashville and Hong Kong, Daniel Ho has taken the traditional music of Hawaii far and wide. The Oahu native has recorded 18 solo albums and produced over 100 albums, in the process winning six GRAMMY® Awards as an artist, producer and audio engineer. But Ho’s greatest pleasure is taking Hawaiian music to people, performing it in concerts all over the world. And besides his ukulele, he always travels with his L1® portable sound system from Bose® Professional Systems. From ukulele clinics at venues around the country, including Guitar Center stores, to huge concert settings, Bose L1 systems and T1 ToneMatch® components have supported Ho’s live performances night after night.

Ho travels with a pair of Bose L1 Model II loudspeaker systems and uses one or both, depending upon the size and the acoustical nature of each venue. For the smallest venues, he’ll use the Bose L1 Compact system, which combines conventional PA and monitors into a single sleek unit. Ho is also a user and fan of the Bose T1 ToneMatch digital multichannel mixer that features over 100 proprietary ToneMatch presets for instruments and microphones and includes the Bose zEQ, storable scenes and a suite of studio-class effects. These few components allow Ho to travel the world, ready to interface with any kind of performance venue confidently.

“I’m also an audio engineer, and I do all the mixing and mastering for our record label, DHC, so I know exactly how I want everything to sound,” he explains. “The Bose L1 system and T1 mixer are the only way I know I can reproduce exactly the sound I want in any venue. The L1 system delivers great sound and the right dispersion – I set it up and I immediately have a 180-degree soundfield. For instance, I can plug an instrument mic into the mixer, call up that preset and I have the sound I’m looking for at the press of a button. We’ve tried using a variety of studio-quality microphone pre-amps live, but nothing comes close to the quality we get from the ToneMatch engine.”

Ho plugs everything into the Bose T1 audio engine including the piezo-electric pickup on his ukulele, giving him complete control over his live sound. He can simply give the output of the T1 engine to the FOH mixer at a large venue and know that the exact sound he’s hearing on stage is precisely the sound that’s being sent to the house PA system. “It’s a real confidence booster,” he says. “I’m always sure that my mix is what I want it to be, regardless of the size of the room.”

With his accolades and appearances in contemporary cinema hits like 2008’s Forgetting Sarah
Marshall, in which he sang “Nothing Compares 2U” in Hawaiian, he’s become one of Hawaiian music’s most recognized exponents. But at heart Ho is still a gigging road warrior and as such truly appreciates the ergonomic benefits of the L1 system and T1 ToneMatch engine. “They’re incredibly lightweight for the kind of performance they offer,” he says. “And I especially like the fact that the T1 mixer has a cover that I can use when the unit is unattended. No one can touch the knobs or spill something into it. I don’t have to carry extra equipment like mic pre-amps. These components offer a turnkey travelling PA system solution that fits any audio environment.”

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FOH Engineer Zito Uses Waves Plugins on OneRepublic Tour

TEL AVIV, ISRAEL, December 11, 2013 —Acclaimed front-of-house engineer Zito (Backstreet Boys, Kenny “Babyface” Edmonds) is part of the ongoing trend of leading cutting-edge live engineers turning to WavesLive tools. Zito has been using Waves plugins in the past few years with Avid VENUE consoles and Yamaha consoles (with MultiRack SoundGrid®), and recently, on tour with GRAMMY®-nominated multiplatinum pop act OneRepublic, he has chosen to carry his Waves plugins on a new platform – the DiGiCo SD5 Digital Console.

Zito cites the Waves IR-Live Convolution Reverb, the MV2 and the H-Delay Hybrid Delay as his three must-have plugins. He states, “The Waves MV2 is a life saver in leveling out instruments. It’s brilliant in bringing up low levels without having to squash the dynamics of the instrument with compression. The Waves IR-Live has changed my life. Until now, I’ve been unable to replicate my favorite hardware reverb units using plugins. But now, with the ability to load in IR’s from my favorite reverb units, it has completely changed how I approach using ‘in-the-box’ reverbs. People are shocked at the quality of the reverbs I’m achieving. And the Waves H-Delay is my favorite delay unit ever, period. It’s so versatile, you can replicate anything you want, or come up with creative delay options. The ability to automate has given me unparalleled control over replicating the bands studio effects within, on an easy to use interface.”

On the challenges in mixing FOH for OneRepublic, Zito says, “This band is unique in that they not only perform, but also produce most of their own music. Lead vocalist and producer Ryan Tedder is producing some of the most current popular music out there, which means that the demand for audio perfection is high and their familiarity with the production aspects of their music are keen. There are a lot of specific sounds and effects that I am trying to replicate in the live domain. Using Waves plugins gives me the confidence to know that anything the band may throw at me, I can achieve. There has yet to be a challenge that I wasn’t able to solve using Waves tools!”

Visit www.waves.com for more information.

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Bose® RoomMatch® Loudspeakers Allow Trinity Baptist Church in Arlington, Texas, to Dial Back the Volume While Increasing Its Reach

Large and architecturally classic, Trinity Baptist Church in Arlington, Texas, had an issue with speech intelligibility that was addressed using RoomMatch® loudspeakers with PowerMatch® amplifiers from Bose®

Framingham, Massachusetts, December 10, 2013 – The classic architecture of mid-American Baptist churches is characterized by spareness and utility, with little to distract the eye from the pulpit. However, that same kind of design, featuring hardwood floors and highly reflective walls and other surfaces, can create significant distractions for the ear, as intelligibility suffers from reverberation and echoes. And with the high-frequency drivers in its old PA system faltering, Trinity Baptist Church in Arlington, Texas (in the Dallas/Ft. Worth area), also had to increase the volume to fill its 1,200-seat worship center, adding additional sonic clutter to the already highly reverberant environment. Luckily, RoomMatch® loudspeaker systems from Bose® Professional Systems were up to the challenge, and that’s what Media Technology Group (MTG), an AV systems integrator based in Arlington, recommended to address these problems.

MTG designed and installed a new sound system using four RoomMatch® loudspeakers, configured into a single center cluster consisting of an RM12040 module on the bottom, an RM9020 module on top and two RM9040 modules in the middle, all powered by a Bose PowerMatch® PM8500N amplifier. The system was able to overcome all the acoustical challenges of the worship center simply and cost-effectively.

“This system fit the room perfectly,” says James Nance, CEO of the Media Technology Group. “It’s a difficult space, long and narrow and with a 43-foot ceiling, making it hard to achieve good intelligibility. The old system was on its last legs, and they were trying to use additional volume to compensate for reach. The new Bose RoomMatch system let us keep the energy off of the walls and the floors and the front of the balcony, all the areas that were causing the biggest reflection problems. It’s reduced the intelligibility problems significantly without using any acoustical treatment and using lower volume levels. That’s a major accomplishment.”

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Now Available for Streaming: Audio-Technica “Ask Me Anything” Sessions at 135th AES Convention

— Featuring industry insiders and friends of A-T, these AMA sessions proved to be informative and revelatory for an audience of in-person AES convention attendees as well as a worldwide online audience —

STOW, OH, December 4, 2013 — Audio-Technica, a leading innovator in transducer technology for over 50 years, has made available online the “Ask Me Anything” (AMA) sessions the company recently hosted at the 135th AES Convention in New York, NY. Sessions took place on Friday, October 18, and Saturday, October 19, at A-T’s exhibition booth on the convention floor.

The archived sessions, available on www.audio-technica.com/aes2013, include discussions with Joel Singer, GRAMMY® Award-winning engineer/mixer, co-founder and chief engineer of Music Mix Mobile; Jackie Green, VP R&D/Engineering at Audio-Technica; Frank Filipetti, GRAMMY® Award-winning music producer, engineer and mixer; Richie Castellano, musician and YouTube sensation; Richard Chycki, mixer, engineer and producer; Carl Tatz, TEC Award-nominated recording studio designer; Frank Wells, then-current President of AES; and Jimmy Douglass, GRAMMY® Award-winning recording engineer/record producer.

“Ask Me Anything” questions were submitted by individuals present at AES booth 2723, online at www.livestream.com, and by Twitter #ATliveAES – and then fed to the presenters through a moderator during the 30-minute Q&A sessions.

“We were extremely happy with the AMA sessions in the A-T booth at the AES show this year,” stated Gary Boss, Audio-Technica Marketing Director. “Not only was this a unique opportunity for both attendees at the show and those at home to ask insightful questions, but the content will be archived for a whole new audience to benefit from all of our presenters’ wisdom and insights. There were laughs, thought provoking answers and a few uncomfortable moments. Exactly the kind of scenario where we get to see the true genius behind our guests and understand why they are at the tops of their respective fields.”

Watch Audio-Technica “Ask Me Anything” sessions at www.audio-technica.com/aes2013.

Photo caption: Frank Filipetti, GRAMMY® Award-winning music producer, engineer and mixer, participates in Audio-Technica’s “Ask Me Anything” series at the 135th AES Convention. This session and others can be watched at www.audio-technica.com/aes2013.

Photo caption: Jackie Green, VP R&D/Engineering at Audio-Technica, participates in Audio-Technica’s “Ask Me Anything” series at the 135th AES Convention. This session and others can be watched at www.audio-technica.com/aes2013.

Photo caption: Jimmy Douglass, GRAMMY® Award-winning recording engineer and record producer, participates in Audio-Technica’s “Ask Me Anything” series at the 135th AES Convention. This session and others can be watched at www.audio-technica.com/aes2013.

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Carl Tatz Design MixRoom™ and PhantomFocus™ System Reach New Rocky Mountain Sonic High

- Carbondale, Colorado’s Chante Pejuta MixRoom™ and Aspen’s Great Divide Dual 5.1 PhantomFocus™ System signal Colorado trend in demand for ultimate monitoring experience -

Nashville, TN: Multiple TEC Award-nominated studio designer Carl Tatz – principal of Carl Tatz Design LLC and creator of the revolutionary MixRoom™ concept, which pairs the Carl Tatz Signature Series™ acoustic modules by Auralex with the unrivaled accuracy of the PhantomFocus™ System (PFS™) monitor tuning protocol – has recently completed a beautiful new personal MixRoom (known as “Chante Pejuta”) for singer/songwriter Eaden Shantay. Located in Carbondale, Colorado, just outside of the legendary ski resort town of Aspen, Chante Pejuta is the latest example of how the MixRoom concept can transform a simple rectangular room into the new standard for audio monitoring environments.

“Carl’s experience and attention to detail were off the charts. His Signature Series acoustic modules by Auralex, including the Acoustic Lens™, were custom installed with great precision,” describes studio owner Eaden Shantay, who has just released his new album, Endless Sea. “It not only looks great but when sitting in the console chair inside of the PFS sweet spot, the sound is totally amazing. The audio on every track is vividly revealed within a three-dimensional soundscape, which greatly enhances recording, editing and mixing. I could not be more pleased with this creation. Carl, you knocked it out of the park.”

During the twenty-one-day Chante Pejuta MixRoom installation, Tatz also returned to Jamie Rosenberg’s Great Divide Recording Studios, Aspen, Colorado’s premier recording facility. Tatz was requested to bring the studio’s Dual PFS up to the latest PFS specs using the new implementation protocols for the two-channel ADAM S3X-H near-field system and the 5.1 soffited ATC SCM 150 mains system. “As amazing as the systems performed before,” commented Rosenberg, “They now sound like new speakers.”

“Having lived in Colorado for five years before moving to Nashville, I’m reminded of the ‘closer to God’ vibe you feel living over a mile above sea level,” recalls studio designer Carl Tatz. “We’re very grateful to continue to be recommended and hired to implement our studio designs and PhantomFocus Systems here in this wonderful area with strong interest for more in the future.”

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Audio-Technica Gov Comm 2013 Press Kit

Please click graphic below to view Audio-Technica Gov Comm 2013 Press Kit

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Focusrite RedNet Simplifies the Complex World of Film Scoring for John Jennings Boyd

Acclaimed composer Boyd is using a RedNet 1 analog I/O and two RedNet PCIe cards on two separate computers to create a self-contained digital ecosystem

Los Angeles, CA, December 3, 2013 – RedNet, Focusrite’s acclaimed range of Dante-based Ethernet-networked studio interfaces has become the new and simplified signal transport infrastructure for film and television scoring composer John Jennings Boyd. Working from his Hollywood, California recording studio, Boyd (whose music can be heard in blockbusters like Smurfs 1, Smurfs 2, and Four Christmases as well as on the small screen in HBO’s How to Make It In America, Discovery’s Life, CBS’s 48 Hours, and dozens of shows across most major cable networks) is using a RedNet 1 A/D – D/A audio networking-capable interface to connect two computers, each running a RedNet PCIe card. Each PCIe card delivers up to 128 channels at 3ms roundtrip latency. Now, via a few standard Ethernet cables all connected together by a network switch, Boyd can sequence live music on Cubase from one of the computers and stream that audio directly to the second computer, which is running Pro Tools, over the network with virtually zero latency. What once required complex copper snakes or MADI cables, now has been simplified and made far more efficient.

“This future-proofs my workflow,” says Boyd. “I’ll be able to scale this signal path to any extent I need to, in any facility. It is incredibly convenient, to be able to have separate computers dedicated to sequencing and recording and never have to worry about latency or sync. I’ve never experienced a problem with RedNet, and the sound quality is excellent. RedNet has become my main converter. I’m using it to record guitars, solo instruments and vocals, and the conversion is totally transparent and lightning-fast.”

In fact, adds Boyd, it’s also provided an economic benefit: By allowing such high resolution audio on a basic Pro Tools 11 platform, Boyd isn’t required to upgrade to an HD3 system. “The quality of the sound is very close to what you’d experience from an HD rig at a fraction of the cost, and I can run video right from a Pro Tools session,” he says. “This is the acid test for film scoring workflow these days, and RedNet comes through with flying colors.”

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Bose® Panaray® System Tames the Reflections Inside the Thorncrown Chapel

At 48 feet tall with over 6,000 square feet of glass and a flagstone floor, the Thorncrown Chapel was “an acoustical nightmare” until the Bose® Panaray® MA12EX system came in to accomplish what no other sound system could

Framingham, Massachusetts, December 2, 2013 – There are challenging acoustical spaces, and then there are really, really challenging acoustical spaces. A contender for the top of that list is also near the top of another elite collection: the Thorncrown Chapel, in Eureka Springs, Arkansas, comes in fourth on the American Institute of Architecture’s top designs of the 20th century. It has 425 windows and over 6000 square feet of glass. However, the 48-foot-tall wooden structure, which has won numerous architectural awards and has been visited by over six million people since the chapel opened in 1980, has another, less salutary distinction: All that glass and other hard surfaces such as a flagstone floor have made for what AV systems designers rightly call “an acoustical nightmare.” The massive amounts of reflected sound make vocal intelligibility all but impossible. After numerous attempts to tame the space had failed, the Panaray® MA12EX system from Bose® Professional Systems, powered by the Bose PowerMatch® PM8500N amplifier, was brought in to address the problem. As a result, for the first time in the structure’s 33-year history, the problem was solved. And the Panaray system was able to conquer this acoustical challenge with the simplest of designs: just two columns of two MA12EX modules per side and a single PM8500N amplifier.

“Thorncrown Chapel is a very challenging acoustical environment,” says the chapel’s Pastor, Doug Reed. “Music sounds great anywhere in the building with just about any sound system, but the spoken word was our problem. By the time the sound got to the back of the chapel, people could not understand what was being said. We received complaints every Sunday from our visitors not being able to understand our minister. We went through three sound systems over the years trying to deal with the problem. Some worked better than others, but the complaints continued. We were beginning to believe there simply was no solution.”

Reed began to research the problem, educating himself about acoustics and different solutions. And one brand name kept recurring when it came to dealing with especially difficult reflective environments: Bose. “The Panaray MA12EX speakers seemed like they were exactly what we needed, so I called Bose directly,” he recalls, after getting indifferent responses from several other sound system manufacturers. “I was very impressed with how quickly they responded, and assured me they could help. Before long, Bose had field personnel surveying the site. They were excited about the building and the challenges it posed rather than afraid and uncertain like others we had dealt with in the past. I loved their confidence and enthusiasm, so I was sold.”

Bose brought the Tulsa, Oklahoma office of dealer and integrator FBP Systems, onto the project. “This a challenging project in many ways, and not just acoustically,” says Mark Labouff, National Sales Manager for FBP Systems. “This is also an architecturally and historically significant building, so a lot of care had to be taken in installing a sound system. The space’s architect had designed millwork to hide speakers when the building was first built. In order to maintain the historical integrity of the building, we needed a speaker system that would fit inside the original millwork, and the MA12EX modules were the right size; they are actually hidden behind grille cloth that spans the front of the millwork. In addition, because of where the millwork is located, the speakers had to be placed behind the pulpit microphones. That creates an enormous potential for feedback. But with the MA12EX loudspeakers, it was no problem. And the slim column enclosure blends with almost any décor, and that addressed the aesthetics. The MA12EX loudspeakers are resistant to feedback, and have such tight pattern control that I can’t imagine any other product could work in that space.”

Pastor Doug Reed realized he had finally found the solution that had eluded the chapel for so long. “When I first heard the system, I could hardly believe my ears. I could understand every word, even at the back of an empty chapel. We were thrilled, but the best testimony comes from the tens of thousands of people who have listened to the talks and sermons we give at Thorncrown – not one complaint about not being able to hear. That says it all. The folks at Bose had solved a problem that had plagued us for years, one we thought would never be solved. I think the word ‘happy’ would be an understatement.”

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Leading Engineers/Producers Use Audio-Technica AT5040 Vocal Microphone For A Wide Variety Of Projects

STOW, OH, November 27, 2013 — The new AT5040 Cardioid Condenser Studio Vocal Microphone from Audio-Technica, a leading innovator in transducer technology for over 50 years, has recently been used on a wide variety of projects from top producers and engineers in the industry.

GRAMMY® Award-winning producer, mixer and engineer Joe Chiccarelli (whose credits include The Strokes, The Killers, Jason Mraz and others) recently employed the AT5040 for vocals in the studio. “I used the AT5040 on the upcoming album for the Madden Brothers on Capitol Records. I was quite impressed with its clear and honest high end. The off-axis rejection is a smooth as any mic can be. It has a way of removing the control room glass in front of the sound – it has a really honest ‘right in the room’ type of sound. Very impressive.”

Multiple GRAMMY Award-winning engineer and producer Al Schmitt (Paul McCartney, Sam Cooke, Frank Sinatra and others), stated, “I recently used the AT5040 on vocals and was completely happy with the results. I also used it on a bass trombone solo and it sounded fantastic – the musician said it was the best his trombone ever sounded.”

David Reitzas, known for his work with Barbra Streisand, Madonna, and David Foster, states, “I used the AT5040 on a recent project for artist Pamela Lillard. I was blown away with how the AT5040 sounded! This is by far the best mic that Audio-Technica has ever made!”

Richard Chycki (Rush, Aerosmith, Needtobreathe, Our Lady Peace and others) has been a longtime fan of Audio-Technica microphones. He says, “I regularly use several models of Audio-Technica mics for their sound quality as well as their innovative design, consistency and reliability. For the new Dream Theater album, by pairing the right mic with the source, we captured some pretty amazing audio with a minimum of outboard trickery. For instance, the AT5040, with its amazing sensitivity and ultra-low noise floor, was an absolute joy to use, on acoustic guitar in particular.”

Multiple GRAMMY Award winner Frank Filipetti (Foreigner, James Taylor, Barbra Streisand, others) used the AT5040 to capture the full range of one of America’s most iconic music eras and sounds. Motown The Musical officially opened earlier this year at the Lunt-Fontanne Theatre and features timeless hit songs such as “What’s Going On,” “Ain’t Too Proud To Beg,” “Baby I Need Your Loving,” “My Girl,” “Dancing in the Street” and “I Heard It Through The Grapevine.” On the cast recording for Motown The Musical, Filipetti used the new AT5040 for the first time. “I placed it in the vocal booth with Brandon Victor Dixon, who plays Berry Gordy in the show, and it instantly sounded fantastic,” Filipetti recalls. “The vocals just came alive. When Bryan Terrell Clark, who plays Marvin Gaye in the show, heard it, he said he just had to sing through it, too. This was the greatest test you could put a vocal microphone through – in front of the best singers on Broadway – and the AT5040 held up to the high expectations of the users!”

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

Photo Caption 1: Pictured L-R: Mixer, engineer and producer Dave Reitzas and recording artist Pamela Lillard, pictured with Audio-Technica’s AT5040 Cardioid Condenser Studio Vocal Microphone, which they used for a recent recording session.

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Bose® RoomMatch® System Solves Two Problems for Winnipeg’s Rowandale Baptist Church

Speech intelligibility and the sound quality of louder worship music were problems at opposite ends of the aural spectrum, but the Bose® RoomMatch® system addressed both of them, offering articulate speech and full-range audio for the music

Framingham, Massachusetts, November 25, 2013 – Rowandale Baptist Church in Winnipeg, Manitoba, where an average of 220 worshipers assemble each Sunday, faced the same issues that confront many churches as they aspire to have their message delivered clearly and articulately, while presenting music that is powerfully performed and inspiring. Unfortunately, in many of the acoustical environments typical of houses of worship, getting a single sound system to address both needs can be difficult. Rowandale Baptist Church found its answer with a RoomMatch® system from Bose® Professional Systems. Installed earlier this year by audio systems specialist Sound Art in Winnipeg, the new system consists of a center-hung cluster comprising one RM7020 module atop a RM12040 module, plus one RM9040 module used as a balcony delay speaker and a pair of MB24 modular subwoofers (chosen in place of the RoomMatch RMS215 subwoofer due to space issues), all powered by Bose PowerMatch® PM8500 and PM8500N amplifiers. From the moment it was first turned on, the RoomMatch system delivered everything the church was looking for: clean, articulate and powerful sound that evenly covered the entire worship space.

“The church, which had had some experience with the brand in the past, actually contacted Bose Professional Systems directly, and Bose then asked John [Loewen, head of Sound Art’s sales and installation division] and I to take a look at it,” recalls Ian Skrabek, Project Manager at Sound Art for this installation. “Like many churches, they were looking for a way to make speech clearer and get it to cover the interior of the church more evenly. At the same time, their worship music performances had become increasingly louder and more powerful – a new youth service to be held twice a month would include a full band playing contemporary-style music. Specifically for this service they were concerned about meeting high volume and bass requirements. They needed a sound system that could handle that with full-range sound and do so without any distortion.”

Skrabek felt confident that they could successfully address both issues with technology from Bose. Skrabek and Loewen chose RoomMatch array modules for their ability to handle high SPL levels in a more compact form factor, as well as their wide selection of coverage patterns to choose from and their smooth natural sound. “One of the really remarkable things about the RoomMatch systems is how few modules you actually need to cover a space,” marvels Skrabek. Two modules essentially gave us four zones of coverage, which distributes the sound very evenly.”

Furthermore, the PowerMatch amplifiers can be networked or not, depending upon the needs of the project. Sound Art used a PowerMatch PM8500N amplifier, networking the RoomMatch center cluster and balcony delay speakers together, while separately powering the MB24 subwoofers, which are soffited beneath the stage, with a PM8500 amplifier. “The PowerMatch amps are able to deliver an incredible amount of power from a standard 15-amp AC outlet, and all system processing was done with the DSP in the PowerMatch amps,” Skrabek notes. “The church was extremely happy with the outcome. The resulting sound coverage from the RoomMatch modules is very consistent everywhere in the room and balcony. The sound system is now capable of accurately reproducing the most delicate sounds right up to concert-volume sound with thunderous bass. They got everything they were looking to achieve.”

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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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