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Archive by Brad Gibson

Focusrite’s RedNet System Helps Georgia Southern University’s Ambitious Electronic Ensemble Music Program Push the Boundaries of Music Recording and Composition

Eight RedNet 1 units offer precision 24-bit A-D and D-A conversion and I/O for bringing in analog audio signals from the program’s studio and delivering them digitally to any part of the campus’ network

Los Angeles, CA, November 7, 2013 – RedNet, Focusrite’s flagship range of Ethernet-networked audio interfaces, based around the Dante Ethernet protocol, can take music and recording to places it might never have gone. That’s what’s taking place at Georgia Southern University, where the school’s music technology department is moving forward with an innovative curriculum. The program utilizes eight RedNet 1 devices, which offer eight channels of line-level analog I/O with Focusrite’s precision 24-bit A-D and D-A conversion, to connect acoustical and electronic performances from the school’s electronic ensemble. This allows students to manipulate the audio in real time, creating entirely new compositions in the process.

For instance, as John Thompson, the school’s Associate Professor, Music Technology, explains, a performance by a clarinet in one of any number of venues across the campus, including a performing arts center or a black-box theater, can be routed via RedNet onto the school’s local-area network and back to the program’s recording studio. In the process, students can access that signal and apply a huge array of processing to it, using the original performance as a trigger for other types of sound generation, creating an entirely new work. All of this is made possible by RedNet’s near-zero latency and highly flexible routing capabilities. And the entire campus can be the recordings’ canvas, thanks to the RedNet’s routing capability.

“We’re routing everything through a Cisco switch, and using RedNet we’ve been able to create a very complex routing infrastructure with very little cabling,” explains Thompson. “That ability to access the network, combined with the extremely low latency, is what makes this work. In addition to the interesting potential of networked audio in musical performance, we get the bonus of excellent converters in the RedNet 1s. The audio quality is outstanding with a crisp and focused image.”

The RedNet devices, which were purchased through Sales Associate Jim Swain at Sweetwater, are central to Thompson and Georgia Southern University’s unique and ambitious program achieving its goals. The University’s hallmark is “a culture of engagement that bridges theory with practice,” the school’s website explains, and that’s exactly what the Music Technology’s program’s adventurous agenda does.

“RedNet really takes us to places few educational or musical programs can go,” says Thompson. “It changes the mindset. Instead of letting us just find new ways of doing old things, RedNet lets us discover new ways of doing entirely new things. That’s really an accomplishment.”

RedNet is Focusrite’s range of modular Ethernet-networked audio interfaces that harnesses the power of Audinate’s tried and tested Dante digital audio networking system to bring studio quality sound to any modern audio application. Fundamentally, RedNet is an extremely scalable, near zero latency audio distribution system that can be used to expand I/O channel count, interface digital components, and/or bridge between Pro Tools|HD or MADI and the Dante audio network. RedNet 1 connects to your network with a single Ethernet cable.

For more information on the full RedNet range of Ethernet-networked audio interfaces, please visit www.focusrite.com/rednet.

About RedNet 1:
RedNet 1 offers eight channels of line-level analog in and out, with Focusrite’s precision 24-bit A-D and D-A conversion for superb audio performance, and 119-dB dynamic range at sample rates up to 192 kHz. The rear panel includes standard DB25 connectors for analogue patchbay or breakout cable interfacing. RedNet 2 adds 16 analog channels in and out to your RedNet network and can be located anywhere you can run an Ethernet cable. Featuring Focusrite’s precision 24-bit A-D and D-A conversion for superb audio performance, it delivers 119-dB dynamic range at sample rates up to 192-kHz. The rear panel includes standard DB25 connectors for analog patchbay or breakout cable interfacing.

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Audio Engineering Society Welcomes New President Dr. Sean Olive

— Noted audio researcher, educator and recording engineer/producer assumes role of President,
taking over from Frank Wells —

— Olive’s expertise and experience will help frame and strengthen the direction of AES leading into the 137th Convention in Los Angeles and beyond —

New York, NY, November 6, 2013 — Following closely on the heels of the 135th Audio Engineering Society (AES) Convention, held Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City, which was hailed as one of the AES’s biggest successes in recent memory, the AES welcomes Dr. Sean Olive as its new President, taking over from outgoing President Frank Wells. Currently serving as Director, Acoustic Research, HARMAN International, Olive is based in Northridge, California, placing him in an ideal location to guide the AES into the 137th Convention, which will take place in Los Angeles in the fall of 2014.

Olive’s experience is wide-ranging; his education includes a B. Mus. from University of Toronto, a M. Mus. in sound recording from McGill University and a PhD in sound reproduction from McGill. He served as an audio research scientist for the National Research Council of Canada for several years, before joining the HARMAN team in 1993. He has stayed active in academia, teaching classes at UCLA on occasion, and has been involved in various aspects of the AES’s technical committees and research initiatives. He displays an unwavering passion for audio and the AES organization, and his unique perspective as a musician, educator, recording engineer/producer, audio researcher and consumer places him in an ideal position to guide the course of the society through the next year and help plot that course for coming years.

One set of goals embraced by Olive is to continue diversifying the scope of the AES and its membership. As he points out, “The recording industry has been at times resistant to change, and we are still feeling the effects of the failure to fully embrace digital technology. The ways that consumers are experiencing music are evolving at a rapid rate, with audio as a mobile experience now being much more common than a living room with a hi-fi system. Headphone sales are through the roof, and the AES has a chance to help improve the consistency and quality of the mobile experience. As our membership continues to move toward this world, along with the worlds of film, sound contracting, live sound, automotive audio and gaming, we need to further explore these avenues in order to better serve our members. There is also huge room for AES member expansion into the so-called ‘BRIC’ countries – Brazil, Russia, India and China – and we plan to increase our outreach in those regions. The AES has a tremendous leadership role and a strong membership base, and I look forward to leveraging these assets to assist in the ongoing transition to the AES of the 21st century.”

For further information on the Audio Engineering Society and upcoming events, please visit http://www.aes.org/.

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Auralex® HoverDeck™ Gets Under All-Star Drummer Dane Clark’s Kit on the Ghost Brothers of Darkland County Tour

— Auralex®’s HoverDeck™ Isolation Riser allows Clark’s drum kit to deliver the dark, low sound he needs to for the incredible staged musical written by Stephen King, John Mellencamp and T Bone Burnett —

INDIANAPOLIS, IN, November 5, 2013 – Technology from Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments, is making sure that Dane Clark gets the sound he needs from his drum kit for the critically acclaimed Ghost Brothers of Darkland County, the staged musical collaboration between author Stephen King, singer/songwriter John Mellencamp and composer and producer T Bone Burnett. For the touring version of the show, which debuted at the Alliance Theater in Atlanta in 2012, Clark is using the Auralex HoverMat™ along with Auralex’s popular HoverDeck™ Isolation Riser, which is specifically engineered to reduce coloration from floor resonance by decoupling the drum kit from the structure, resulting in a tighter, purer sound.

Ghost Brothers of Darkland County is a Southern Gothic tale of two brothers who hate one another and are forced by their father to spend time in a haunted cabin, where they are visited by the ghosts of another, deceased set of brothers who also hated one another. “This show needs the drums to be tuned low and sound very dark, so I’m using a hybrid kit made up of various drums and playing with a lot of mallets and brushes on them,” explains Clark, who has recorded and toured with artists including Mellencamp, Ian Hunter of Mott the Hoople, Steve Earle, Donovan and Moby Grape. “It’s a real tribal type of drum sound, and I want the low end to speak as much as possible. The drums sounded very good when we performed the show in Atlanta, but I wanted to see if I could make them even better. I talked with the Auralex guys, and they told me about the HoverDeck. I tried it out and I’m very impressed with it. You can really tell the difference – the drums now have an even clearer, more articulate low end to them. It really works well for the show, and my drum tech loves the HoverDeck because it’s so easy to set up. I’ve gotten tons of compliments on the drum sound.” Clark says he’ll be using the HoverDeck in the studio he’s building in his home in Anderson, Indiana. “It’s just an amazing tool for drums,” he says.

The Auralex HoverDeck solves an age-old problem for drummers. Stages and traditional drum risers sympathetically vibrate (resonate) with the drums and/or PA system. These resonances feed back to the drums and are then picked up by the mics. The Auralex HoverDeck is specifically engineered to reduce coloration from floor resonance by decoupling the drum kit from the structure, resulting in a tighter, more pure sound for both live and studio work. Thanks to the HoverDeck, no longer will hollow stages resonate with a muddy rumble, or will concrete floors suck the tone out of the kit. In the studio, on stage or in the practice room, HoverDeck’s rugged MDF laminate core and web-like ISO-Puck modular risers minimize structure-borne sound transmission and sympathetic vibrations between drums and hardware.

The HoverDeck is available in two models; the HD-64Gig, designed for typical four and five-piece drum kits, and the HD-88Concert, configured for larger drum kits and touring applications. Both configurations utilize a set of low-profile isolating boards that assemble quickly via strategically placed hook and loop fasteners. Either model is offered with an optional rugged road case.

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

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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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