A virtual press conference from Sound & Video Contractor

Archive by Brad Gibson

Grand Ole Opry Installs New Carl Tatz Design PhantomFocus™ System (PFS™)

- Iconic venue replaces its legacy PFS™ with the latest technology and protocols -

Nashville, TN: As part of a recent control room upgrade, the Grand Ole Opry has installed a new PhantomFocus™ System (PFS™) – 2 to replace its legacy PFS. Included in the upgrade are custom PFS-positioned Genelec 8250A monitors and a new Studer Vista 9 console. “We’re very gratified to know that PFS users are choosing to replace or upgrade their original systems with the newer technology that renders dramatic sonic improvements over the previous iterations,” states TEC Award-winning studio designer and creator of the PFS, Carl Tatz.

Grand Ole Opry/Ryman Auditorium Chief Broadcast Engineer King Williams describes his experience of upgrading from the older legacy PFS to the current offering: “Having worked with the Phantom Focus System for a number of years in both our broadcast rooms (Opry and Ryman Auditorium), I was pretty certain that I knew how it was going to sound when Carl brought in the new equipment to upgrade our current PFS after the installation of the Studer Vista 9. I was right and I was wrong. It was a familiar sound, yes, but the detail was increased by at least a factor of 2, and that was fairly astounding.”

Williams further explains, “The Phantom Focus System is a tool to be used for both diagnostics and artistic achievement – you know what is wrong immediately, and getting to what is right is easier than ever before. Thanks, Carl!”

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Broadcast Production Mixer Michael Abbott Uses Waves MultiRack SoundGrid® and Plugins on NBC’s The Voice

TEL AVIV, ISRAEL — Broadcast production mixer Michael Abbott (NBC’s The Voice)is part of a growing trend of live and broadcast audio professionals using tools from Waves Audio’s WavesLive division (http://www.waves.com/live-sound), a leader in all live sound market segments and an innovative developer of solutions for live platforms. As The Voice entered its live performance phase, leading up to the crowning of winner Josh Kaufman in May, Abbott inserted the Waves SoundGrid® processing platform and Waves MultiRack with plugins into the show’s vocal microphone signal chains, running them through a Calrec Alpha console. By using Waves plugins on the microphones used by the judges, host, contestants and guests on the Emmy®-winning TV talent competition, Abbott was able to significantly improve the clarity and quality of the live broadcast audio.

“I typically mix in environments that have a very high noise ambient floor (HVAC, fans, etc.), so you have to utilize these tools,” says Abbott, whose resumé includes American Idol, Shark Tank, Survivor, Rising Star, The X Factor, and productions such as the annual GRAMMY® Awards. On The Voice, with Hugh Healy, NEP Denali broadcast systems engineer, Abbott integrated the redundant Waves SoundGrid server, together with an eight-fader MIDI controller, into the company’s Denali Silver truck. Abbott mixes the production’s audio elements, and the music mix is created by Randy Faustino in his Creative Sound Solutions mobile production vehicle parked nearby.

Abbott selected the SoundGrid system following discussions with Brian Riordan, owner of Levels Audio Post in Hollywood, who mixes the audio for the preliminary episodes of The Voice. “For the five live weeks, we try to create the same kind of sound-field as the posted shows, which is the majority of the season,” says Abbott. “What SoundGrid has allowed me to do is emulate the intelligibility and crisp sound Brian has in his post-production mix and transfer it to a live broadcast environment.”

Abbott previously used five outboard noise processing hardware units on the lavalier mics worn by Adam Levine, Shakira, Usher and Blake Shelton — the celebrity judges on certain seasons of The Voice — plus the contestant’s handheld mic. Now, through the judicious use of Waves plugins, Abbott has been able to significantly clean up the singing and dialogue channels by controlling the levels of the enthusiastic audience and reducing noise from the air conditioning and loud on-set equipment which was leaking into the live microphones.

“For instance,” he says, “for Shakira’s track, I have two Waves Noise Suppressors on her mic. I use the first WNS to control noise from 100 to 1200 Hz. I filter a second WNS on the same track starting at 1,200 Hz — a pass-through from the first WNS — on up to 9 KHz cycles. I don’t need all the spurious high end; there’s some severe high-end hisses and transients on this stage.”

Abbott has MultiRack mapped to hot buttons on his MIDI controller for quick access to the microphone channels being processed. “The exciting thing about MultiRack is that it’s also given me the ability to use plugins to warm things up,” he says. “I had a Waves Platinum bundle that I applied to SoundGrid. I’m using API 550s on the front end of the mics. The C6 Multiband Compressor is a spectacular tool, too. I also utilized the CLA-76 compressor/limiters; the 76 emulation smooths out the peak transients. I’ve only scratched the surface with what this system can do.”

The biggest challenge is host Carson Daly’s handheld mic, Abbott reports. “There’s no way I can put a lav mic on him. But with that presence of a hand mic in a live environment, and with four coaches who want to speak spontaneously, I had to use the Dan Dugan E-1 automixing hardware. Now I use the Waves Dugan Automixer in SoundGrid.”

The voice-activated Waves Dugan Automixer plugin automatically controls mic gains, reducing interference from adjacent mics and attenuating background noise. Andrew “Fletch” Fletcher, the show’s front-of-house mixer, also employs the Dugan Automixer and WNS plugins on a DiGiCo SD7 console to prevent unwanted coloration from the house PA system from getting into the microphones and adversely affecting Abbott’s broadcast mix.

Abbott did not originally plan to implement SoundGrid until the next season of The Voice, which is scheduled to open in Fall 2014 on NBC. But he and Healy were so impressed when they were evaluating the system that they decided to try it. “We really didn’t have the intent to put it in place, but we rolled the dice after quite a bit of vetting — overall it’s been very robust. Hugh and I were both stunned by how seamless the transition was,” he reports. Not that Abbott had any real concerns about getting the system up and running: “I have used Waves’ Tech Support with very fast responses. Their support has been phenomenal.”

Visit http://www.waveslive.com for more information.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Listen Technologies Ships Wi-Fi Personal Listening Products

— Based on extensive research and testing with venue owners and end users, company innovates with Wi-Fi Personal Listening solutions —

— Using digital Wi-Fi transmission, audio is delivered to any Wi-Fi-enabled device with audio streaming capability, such as an iPhone or Android —

BLUFFDALE, UT — Listen Technologies Corporation, a leading designer, manufacturer and distributor of assistive listening products for over 15 years, is pleased to announce that it recently began shipping its Wi-Fi Personal Listening products. These systems offer a no-hassle listening experience by broadcasting audio from multiple televisions or other audio sources using digital Wi-Fi transmission. The sound is then delivered to any Wi-Fi-enabled device with audio streaming capability, such as an iPhone or Android. This system allows contractors and system integrators to upgrade the listening experience for customers in venues such as fitness centers, sports bars, airports and waiting rooms.

Two versions of the system are currently available: LS-PL-10 and the LS-PL-20, for 10- and 20-channel configurations, each with the following features:

LAN port to connect to Wireless Access Points for Wi-Fi broadcast of the Personal Listening network
ISP connectivity to provide Internet access for users connected to the Personal Listening network
Users can listen to any of the audio inputs via smartphone and the Personal Listening App, available as a free download for iOS and Android devices
Low latency
Preconfigured Wi-Fi and server settings, simply connect your TV audio or other sources
Management of channel names
Future software updates will add enhancements and increased functionality

These systems are already proving to be the right solution for a range of businesses.

“With Listen’s Wi-Fi Personal Listening system, we were able to offer our members the ability to listen to any of our TV’s anywhere in our club using their own iPhone or Android device,” stated Scott Felsted, CEO, Gold’s Gym Utah. “Our members are definitely more comfortable using their own headphones or ear buds, and it has eliminated the hassle of maintaining extra AV hardware at each machine.”

With installations in fitness centers, sport bars and tourist centers across North America, Listen is confident this new technology will be a perfect complement to its RF, IR and Loop technologies. These facilities are thrilled about the elimination of the hassle of maintaining, upgrading and servicing the hardware used for multiple TV screens and other sources. The result is happier customers who are able to use their devices for personal listening.

“When we launched our Android and iOS apps in December of 2013, the response was extremely positive,” stated Russell Gentner, CEO of Listen Technologies. “Wi-Fi Personal Listening Products are obviously the next phase in assistive listening, and we are proud to lead the charge in being able not only to provide an enhanced customer experience but also to raise the profile of assistive listening to the mainstream community.”

Photo Caption 1: The Listen Technologies Wi-Fi Personal Listening system.

Photo Caption 2: The Listen Technologies “Personal Listening” App.

Photo Caption 3: The Listen Technologies “Personal Listening” App being used by a gym member.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Bose® Announces New Accessory Cards for ControlSpace® and PowerMatch® Components

Framingham, MA – Bose® Professional Systems continues to expand the functionality of its ControlSpace® and PowerMatch® digital audio processing and amplifier systems with several new input and output accessory cards.

The new ControlSpace cards, each for the ESP-00 II engineered sound processor, include the ControlSpace 4-Ch Mic/Line Input Card II; ControlSpace 4-Ch Line Output Card II and ControlSpace General Purpose I/O (GPIO) Card II. These cards expand the interconnection options available for the Bose ESP-00 II, making the processor suitable for a wider range of installation applications. The ESP-00 II processor features eight available I/O expansion slots that accommodate any combination of analog and digital cards, and supports up to a total of 64 bi-directional channels.

The ControlSpace Mic/Line Input Card II boasts >117 dB dynamic range, improved distortion and crosstalk performance, with adjustable gain up to +64 dB to accommodate both microphone and line level analog sources. The ControlSpace Line Output Card II features >115 dB dynamic range and is capable of +24 dBu analog output. The ControlSpace GPIO II 8×8 expansion card provides enhanced general purpose analog and digital connectivity for easier integration with output devices such as LEDs and relays. Additionally, the GPIO II card will replace the standard GPIO card that ships with the ESP-00 II processor. Up to two GPIO II cards may be fitted. These new cards will be available starting September 2014.

For PowerMatch configurable professional power amplifiers, Bose is introducing the PowerMatch AES3 8-Channel Input Card in response to customer requests for a direct connection from digital audio mixing consoles. PowerMatch amplifiers continue to show versatility and suitability for even the most demanding applications, and the introduction of the AES3 card expands its versatility even further; the new PowerMatch AES3 card represents the fourth option card available for the PowerMatch amplifier line, joining the Dante™, CobraNet™ and ESPLink audio networking options available today. The PowerMatch AES3 card offers “thru” connectors for fail-safe daisy-chaining to multiple PowerMatch amplifiers. The PowerMatch AES3 input card will be available October 2014.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Focusrite RedNet to Be Part of OCA Alliance Demonstration at InfoComm, Showing Benefits of Standards-Based Open Control Architecture

Fast-Growing Association’s Initial Demo at Booth C11547 Includes Technologies from Global Leaders in Audio Systems, Including Focusrite’s RedNet 4

Los Angeles, CA – The OCA Alliance, a global consortium of companies developing the Open Control Architecture (OCA) as an open standard for controlling professional AV devices, is demonstrating its flexible, robust technology for the first time at this year’s InfoComm, booth C11547.

The Alliance is exhibiting some of the first products implementing OCA from its member companies with technical experts present to explain the technology and the demonstration. Notably, RedNet, Focusrite’s acclaimed range of Ethernet-networked studio interfaces based around the tried-and-tested Audinate Dante Ethernet audio networking system, will be featured as a key part of the demonstration.

The specific interoperabilities addressed in the demonstration include a Focusrite RedNet 4 Ethernet networked studio interface, a Bosch Audio Processing Switch (APS), and a d&b D80 amplifier interoperating and being controlled by a software application developed by OCA Alliance members. Also in the demonstration are two other capabilities: a d&b R1 remote control software controlling the d&b D80 amplifier, along with a Focusrite control program controlling the RedNet 4

Jeff Berryman of Bosch, the OCA Alliance’s Technical Workgroup Chair, said everything is interoperating as expected. “I am pleased to report that the demonstration is a major success,” he said. “When one controller changes something, the addressed device changes the value accordingly and the other controllers monitor the changes correctly.”

“The InfoComm show is a great opportunity to present the results of our efforts to the industry and to the public,” said the OCA Marketing Workgroup Chairman, Marc Weber of d&b audiotechnik. “The public InfoComm booth marks the next stage in the evolution of the architecture, which is now becoming more tangible for the user with the first products from these manufacturers entering the market.”

For more information on the RedNet range, go to www.focusrite.com/rednet.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Listen Technologies Partner Ampetronic to Release Suite of Game-Changing Hearing Loop Tools at InfoComm 2014

BLUFFDALE, UT — Listen Technologies Corporation (InfoComm booth C10339), a leading designer, manufacturer and distributor of assistive listening products, and U.S. distributor of Ampetronic, the world-leading provider of audio induction loop systems for assisting individuals with hearing loss, together announce a new product release at InfoComm 2014. Ampetronic will be releasing “Loopworks,” a package of tools and systems with fully integrated expert support that will transform working with hearing loops at all levels. In April 2012 Listen Technologies partnered with Ampetronic to distribute Hearing Loop solutions to customers in the Americas.

At the heart of Loopworks is an online interface that gives rapid access to a suite of knowledge and tools, including measurement systems, design tools, training materials, an Ampetronic knowledge base and rapid access to support for your projects.

At InfoComm 2014 Ampetronic is demonstrating the first module of Loopworks to go live, a completely new and automated test and measurement platform “Loopworks Measure.” Measure combines a smartphone or tablet app with a self-calibrating probe to measure the magnetic fields generated by hearing loop systems.

A back-end web tool automates the process of collecting data, creating certification or test reports and direct access to support from loop experts. Measure brings together excellent value, high performance measurement, and ease of use to create a new end-to-end hearing loop measurement system.

The new system can operate both as a very sophisticated test platform when installing loop systems, and as a very cost effective tool for regular monitoring and maintenance by venue operators or maintenance companies. Much greater adoption of high quality measurement will improve the chance of delivering high quality loop systems for the long term.

Ampetronic is also opening a Beta trial for its Loopworks Designer. Loopworks Designer is a tool for the design, analysis and output of induction loop designs. Used and developed by Ampetronic and its customers over 25 years, Designer is a highly established and proven design tool bringing the best of Ampetronic’s methodologies into the hands of specifiers and contractors.

As Designer makes a transition to an online tool within Loopworks, Ampetronic is inviting participants to join the Beta testing phase. Interested parties can sign up at the Listen booth (C10339) to get exclusive early access to the new tools, as well as the chance to access the Loopworks knowledge base and training materials.

Information about hearing loop technology (also known as audio induction loops or AFILS) is available at www.ampetronic.com.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Bose® Professional Systems to Host Classic Rock Revue “Raiding the Rock Vault” Thursday, June 19, at the LVH Theater During InfoComm

Who: Bose Professional Systems, hosting a FREE performance of noted musical revue Raiding The Rock Vault, featuring a supergroup of rock royalty: Howard Leese on Guitar (Heart, Bad Company); Doug Aldrich on Guitar (Whitesnake); Robin McAuley on Lead Vocals (MSG, Survivor); Paul Shortino on Lead Vocals (Rough Cutt, Quiet Riot); Andrew Freeman on Lead Vocals and Guitars (Lynch Mob, The Offspring); Jay Schellen on drums (Badfinger, Asia); Michael T. Ross on keyboard (Lita Ford Band); and Mark Boals on vocals (Yngwie Malmsteen).

What: The performance, taking place during the InfoComm convention, will showcase the Bose RoomMatch® system. The concert is open to all, and a cash bar will be available. The Raiding the Rock Vault setlist will include classic anthems from such legends as The Rolling Stones, The Who, The Doors, Led Zeppelin, Jimi Hendrix, The Eagles, Queen, AC/DC, Deep Purple, Van Halen, Journey, Free, Aerosmith and more. Come join Bose and hear what a RoomMatch system can do with the rock and roll classics!

When: Thursday, June 19, 2014. Doors open at 5:00, immediately after the exhibition floor closes, and the concert will start at 5:30.

Where: LVH Theater – directly adjacent to the Las Vegas Convention Center, the site of InfoComm exhibitions.

About Raiding The Rock Vault:
Raiding the Rock Vault is The Story of Classic Rock, performed by members of some of the greatest rock bands in history – a two-hour classic rock concert experience that transports the audience from the 1960s to the 1980s with classic anthems from rock’s top acts. This fully live concert experience features a stunning light show, video screens, actors, DJ Narrator, and high quality concert sound production. Voted Best of Las Vegas 2014 in the Review-Journal’s Reader’s Poll and “A fantasy football team in the form of a rock band” by Hollywood Underdog.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

The Audio Engineering Society Comes to Los Angeles for 137th International AES Convention

— AES137 to feature busy itinerary of numerous track sessions, including Recording and Production, the Project Studio Expo, Networked Audio, and more —

— Taking place in the revitalized L.A. Live district, AES137 will be the focal point for all things audio —

New York, NY, June 12, 2014 — The AES 137th International Convention is gearing up to take place October 9-12, 2014, at the Los Angeles Convention Center, located in the revitalized L.A. Live district. Returning to Los Angeles after nearly 12 years, the AES Convention will bring together the world’s largest gathering of audio professionals for four days of the best of what the industry has to offer. Attendees will be able to take advantage of opportunities to hear from top audio industry figures while also sharing in the latest research and technology information through informative papers, tutorials, workshops and special events.

No matter what sector of the industry you are involved in — recording and production, broadcast and streaming, game audio, live sound, post-production, and more — AES137 will have something for everyone. Of special focus this year will be Networked Audio and its integration into our standard workflow, with particular attention to standards such as AES67, MADI, and other networking protocols that the AES has played a large part in shaping. From creating such standards, to maximizing playback potential of the final product, the Audio Engineering Society is the place to connect with the people and technologies on the leading edge of professional audio.

As a recent addition to AES conventions, the popular Project Studio Expo (PSE) presented by Sound On Sound magazine, serves as a venue for focusing on some of the most timely and relevant areas of interest facing today’s personal and project studio users. These comprehensive presentations cover topics of importance for all engineers, producers and recording enthusiasts, without leaving the exhibits showcase area. This fourth edition of the PSE will feature two new and unique presentations: “The Five Most Common Project Studio Recording Mistakes,” presented by Mike Senior of Cambridge Music Technology; and “Project Studio Design,” with acclaimed studio designer John Storyk of the Walters-Storyk Design Group. Both programs will give personal insight into practical project studio issues, from initial design to avoiding common mistakes in workflow and technology.

Visit the AES137 home page for future updates on registration, programs, and special events at http://www.aes.org/events/137/.

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

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Bose® RoomMatch® System Chosen for Atlanta-Area Church of the Apostles

Framingham, MA, June 11, 2014 – A RoomMatch® system from Bose® Professional Systems was recently installed to solve the P.A. needs of Church of the Apostles, a mega-church in the Buckhead district of Atlanta. The installation was performed by Nashville-based firm CTS Audio, based on specifications arrived at in collaboration between CTS, church leadership and Bose personnel.

Interestingly, the church’s media and communications director, Kevin Knox, was initially lukewarm on the idea of a Bose system in the sanctuary. He notes, “I just didn’t associate the Bose brand with professional products.” His mind was changed after he encountered a RoomMatch system demo at WFX. “[The system] had a real warmth that you don’t usually get with a big PA system. It felt like it was right there in the room with you. I got the sense that it would be able to give us what we really needed: good intelligibility in the midrange and full-range sound for music.” The church was leaning in the direction of the RoomMatch system, and it looked to CTS for confirmation – CTS was unversed in the RoomMatch technology, but were likewise convinced and on board with the project after extensive demos and a visit to one of the Bose manufacturing facilities.

First after vetting the design through Bose Modeler sound system software, CTS’s Director of AVL Integration, Neal Watson, recommended that they add over-balcony fills. This was not a problem, but it did change the space’s low-end characteristics considerably – the original recommendation for Bose RMS215 subwoofers would ideally be augmented with additional 18-inch subs. Unfortunately, at the time, the Bose RMS218 subwoofer had not yet been brought to market; Bose responded by increasing its manufacturing cycles and getting its first six RMS218 units off the production line and to the installation site. The final system consists of 29 RoomMatch modules of varying coverage patterns, along with 18 Bose PowerMatch® amplifiers providing power.

With this PA upgrade, the church’s sound matches the quality of its other media: high-definition video cameras from Sony, a Christie Roadster projector and state-of-the-art lighting. The system also gives a much fuller sound to the music at the church’s services, featuring a combination of a lively praise-and-worship-style sound and congregational singing. Knox notes the congregation’s immediate response: “We got comments about [the fuller sound], but what really told me that the system was a success is that I never heard them sing so loud. It’s really engaging them more.”

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

Scott Bradford, Technical Director of Fellowship Church Knoxville, Chooses to Use Waves MultiRack SoundGrid® Running Waves Plugins

TEL AVIV, ISRAEL, June 11, 2014 — Scott Bradford, Technical Director of the Fellowship Church Knoxville (Knoxville, Tennessee), is part of a growing trend of audio professionals choosing to use plugins from Waves Audio in house-of-worship environments.

Bradford has a long history as a Waves user. He recalls, “I started using Waves when I was in college. I was in a telecommunications program and was also working at Guitar Center. I noticed pretty early on a clear sonic difference between Waves plugins and other brands. There is an immediacy and a noticeable quality difference with any Waves plugins I have used over the years.”

Working in the Fellowship Church, Bradford has made Waves plugins an essential part of the signal chain. He remarks, “We are currently running two Waves-enabled DiGiCo SD8 consoles – one for FOH and one for monitors. Both are equipped with a Waves SoundGrid® Server One using Waves plugins. We also have a recording desk with Waves plugins and three workstations for production staff working on videos and audio. In addition, our two student rooms have been upgraded with Behringer X32 digital mixers, and we are looking to incorporate Waves MultiRack and Waves plugins on those consoles as well.”

On his go-to Waves plugins, Bradford notes, “Here at the Fellowship Church and at the many churches I do training for, I work with volunteers of varying abilities, talents and preferences, so I am always looking for technical tools that are fairly easy to get around – but I also want them to be sonically appealing and very powerful under the hood. Many Waves plugins have been our go-to plugins for exactly these reasons. The volunteers are able to engage their ears and eyes together as they learn to EQ, and the plugins also help them deal with early feedback detection. The Waves SSL 4000 Collection gives our mix the vibe and depth we have always wanted on drums, electric guitars and especially vocals. The Waves CLA Classic Compressors give us that color palette which most vanilla digital consoles cannot offer, and they are extremely easy to get a great sound out of. The Waves C4 Multiband Compressor has been amazing for things like bass, acoustic guitars and vocals. Its presets are fantastic, and its solo and bypass features help me teach my trainees what compression is and what it does.”

All in all, Waves has helped Bradford achieve the goals he has set out for the church’s technical team. He concludes, “Our motto for the technical community at Fellowship is to minimize distractions in the pursuit of technical excellence. Waves has given my team and I the ability to go deeper into training, help our volunteers grasp the main concepts of audio, and achieve a much more pleasing and engaging sonic experience with a lot more ease. We love knowing that we have such powerful tools at our fingertips – tools that help us achieve our technical goals more fully and more easily than ever.”

Visit http://www.waveslive.com for more information.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

About

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.

Calendar

August 2014
M T W T F S S
« Jul    
 123
45678910
11121314151617
18192021222324
25262728293031

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication