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Archive by Brad Gibson

EAW® Launches Red Certification™ Training

Two-day seminar on Powercube™ power and processing module yields maximum results

Prolight + Sound, Frankfurt, Germany, March 21, 2012 – EAW® (Halle 8.0, Stand F21) today announced the launch of their Red Certification™ training program in support of their Powercube™ power and processing modules. EAW will award the Red Certification status after completion of a two-day seminar conducted at the customer’s location. EAW President Jeff Rocha made the announcement.

“Powercubes deliver tremendous capabilities to owners of EAW mobile production line array systems,” Rocha said. “Red Certification ensures that Powercube owners get the most out of these exciting, new products.”

The Red Certification training seminar was designed by EAW Technical Training Manager Bernie Broderick, a long time mobile production and concert touring veteran as well as an experienced instructor. Broderick will deliver the training seminars in North America and will work with EAW’s world-wide Application Support Group members to deliver the seminars globally.

“EAW’s line array technology is far too advanced for users to just hang a bunch of modules and hope they sound good,” Broderick said. “After completing the Red Certification training, EAW line array owners will fully understand the suite of tools that EAW provides, and they’ll know how these tools work together to deliver consistent results from venue to venue.”

The Red Certification training seminar consists of several sections, including:
• Point source physics
• Array design fundamentals
• Line array physics
• EAW Resolution™ array design and modeling software
• EAW Greybox™ settings
• Hands-on array rigging

According to Broderick, the training seminars build toward a complete understanding of EAW’s sophisticated approach to line array design, control and execution. By carefully integrating modeling software, rigging hardware and digital signal processing, users can build arrays for a range of venues and enjoy consistent results from various designs.

“Once users understand that the ‘basics’ of line array physics are incredibly complicated,” Broderick said, “they’ll appreciate the crucial role that EAW Resolution plays in designing arrays for a given venue. As soon as they start to rely on Resolution, they’ll understand why Greybox settings are the best way to get the performance they need. If they can build the array with the correct angles between the modules and apply the correct Greybox settings, they should get the results that Resolution predicts. It’s just that simple.”

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

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Xantech Control Solutions Are a Sure Bet for Albany OTB Clubhouse Race Book

— Keeping tabs on 249 separate flat-panel displays for ardent horse-race wagerers is a snap, thanks to Xantech WIC1200 Web Intelligent Controller and Xantech CSPLCD64GW and CWTC10 wired and wireless touchpanels —

CARLSBAD, CA, March 13, 2012 — Albany, New York residents don’t have to go to Las Vegas or Atlantic City for off-track betting action in comfortable surroundings and lots of options. Instead, they can stay right on Central Avenue in the state capitol at the new OTB Clubhouse Race Book, where they can watch live horse racing and other sports on 249 flat-screen panels throughout the OTB super-parlor, a one-of-a-kind flagship facility featuring fine dining and a theater-sized screen, among other amenities. Behind the scenes, keeping the Racing Center running smoothly are technology solutions from Xantech, a leader in the field of audio/video remote control and distribution. The entire AV system, consisting of 249 Sharp 60-inch LCD displays and Sony 55- and 46-inch flat-panel displays, as well as the sound system, is controlled via six Xantech WIC1200 Web Intelligent Controllers and five Xantech CSPLCD64GW 6.4″ Commercial Touchscreen Displays and CWTC10 10.4” Wireless Touch Controllers. The Xantech units and other AV systems components were installed and integrated by Com Tech, Inc.

Chuck Zarriello, President of Com Tech, says the project had tight deadlines and required a control system that was reliable, cost-effective and flexible enough to integrate both the latest flat-screen displays and 20 older models that were taken from the previous OTB location that the new Tele-Plex Racing Center was replacing. “The WIC1200 is a fantastic controller – powerful and intuitive and easy to use,” says Zarriello, “but just as important is that it’s very cost-effective – we could not have gotten this level of control from other manufacturers at this price.” Zariello says that the cost-effectiveness of the Xantech products creates more than cost savings – it creates confidence. For instance, he says, the wireless touchpanels act as a backup for the wired panels, which control global on/off and channel select for any combination of all of the displays. “That creates a fully redundant system that’s incredibly reliable and at an affordable cost,” he explains. “And the WIC1200s are the glue that holds the entire system together.”

Xantech’s Web Intelligent Controller WIC1200 is a stand-alone room controller for Networked/Web-based control featuring 2 IR Ports, 2 Serial Ports, 2 Contact Closure ports, and 2 Digital I/O ports as well as 2 Ethernet ports (one with POE) for TCP/IP telnet control with less intrusion into facility IP networks. On its own, the Web Intelligent Controller is an Event-driven component with two RS232 ports (configurable for RS422 and RS232) and a single IP port. The Event Manager is capable of Timed Events, Calendar Events, Telnet and Serial Events as well a full FTP site, Web Server and Email Server. The Xantech SPLCD64GW 6.4″ Smartpad LCD graphic touchpanels and CWTC10 10.4” WiFi touch-panel controllers give users the convenience and simplicity of a touchpanel controller in a self-contained unit that is easy to install, easy to program, and, perhaps best of all, easy to afford. Its 640 x 480 resolution with 64K color provides outstanding graphics and clarity.

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

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Waves Audio V9 (Version 9) Plugins Now Available

KNOXVILLE, TN, March 19, 2012 — Waves Audio, the industry-leading developer of professional audio digital signal processing technologies, announces the availability of V9, the new version of Waves plugins. Featuring 64-bit support, faster scanning, faster loading, and faster processing, Waves Version 9 opens up new dimensions of high performance plugin power.

One of Version 9’s most highly anticipated features is 64-bit operating system support. Now Waves users can unleash the power of massive amounts of RAM memory in the DAW hosts of their choice. V9 also marks the introduction of Waves’ new easy-to-use authorization system, Waves License Center, which eliminates use of the iLok, ushering in an era of simplicity, flexibility, mobility and security. Waves License Center offers users authorization activation straight to their computer or any USB flash drive; easy license management; license mobility via USB flash drive or users’ License Cloud; and one-click license recovery in the case of lost or damaged devices.

With new V9 plugins added to Waves’ Gold, Platinum, Diamond and Horizon bundles, there’s never been a better time for users to renew their Waves Update Plan coverage. New plugins in Horizon: Kramer Master Tape; PIE Compressor; HLS Channel; Bass Rider; CLA Guitars; Maserati Drums; OneKnob Filter; and OneKnob Driver. New plugins in Diamond: GTR3 Software; OneKnob Filter; and OneKnob Driver. New plugins in Platinum: GTR3 Software and OneKnob Driver. New plugin in Gold: GTR3 Software.

Waves V9 is now available. Visit www.waves.com for more information.

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EAW® Names Alex Schloesser Asia/Pacific Sales Director

Pro audio veteran will head up EAW® sales efforts in the region

Whitinsville, MA, USA, March 15, 2012 – EAW®, a world leader in audio system technology for over 30 years, has appointed pro audio veteran Alex Schloesser to the position of EAW Asia-Pacific Sales Director. The announcement was made by Jeff Rocha, EAW President, and reflects EAW’s ongoing commitment to growth in the Asia-Pacific region. In his new capacity, Schloesser will report to and work closely with Davwinder Sheena, LOUD Technologies’ Asia & Pacific-Rim Managing Director.

With more than 20 years in pro audio in and out of his native Germany, Schloesser has a wealth of experience from his past positions. He is fully versed in audio technology, including acoustical simulation and treatment, audio consulting, sound design and studio/control room specifications. He has worked as an engineer and consultant for 24 years, working in R&D as well as in all levels of live performance – system tech, P.A., front-of-house mixing, system design etc.

Schloesser has been a part of installation and system design for stadiums in Germany, Russia and the Middle East; churches in Germany and the U.S; the P.A. system at the Grand Mosque in Mecca etc. He has also served as Head of Audio for two seasons of the German Pop Idol program, as well as a number of other TV shows, totaling well over 12,000 broadcasts. Live system tech credits include MANOWAR’s 2008 tour, Heaven & Hell’s 2010 German tour and 2011 Roxette concerts.

Jeff Rocha states, “Our growth in the Asia-Pacific region has been nothing short of phenomenal. With Alex devoted exclusively to EAW, we now have a resource that can help us build on this momentum. We think Alex can drive the pace of growth even higher.”

Davwinder Sheena adds, “Growth of all LOUD brands in the Asia-Pacific region is what’s driving this hire. Alex has been a part of the global audio community for over two decades, so he knows the players across the region. Thanks to this wealth of experience, he can hit the ground running and take EAW sales to new heights.”

Schloesser notes, “EAW is more than a brand. It’s almost a lifestyle for people in pro audio. Now I get to be a part of this iconic company – a part of the history. Asia is growing, and EAW is growing. My job is to connect those two things. It’s tremendously exciting to think about what kinds of projects we’ll be involved with in the future.”

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

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GC Pro Helps Chicago’s Earhole Studios Stay on the Leading Edge

— Newly installed Avid D-Command mix console was installed over a long weekend and ready to go to work at the beginning of the week thanks to GC Pro’s logistical experience and willingness to be there when needed —

— For over 20 years this successful Chicago Loop music and audio house has worked with top commercial clients, and GC Pro has been a longtime partner —

WESTLAKE VILLAGE, CA, March 13, 2012 — Earhole Studios has been part of Chicago’s thriving commercial music and audio business since 1990, currently serving clients including UPS, Chrysler, Sprite, Motorola, Allstate, BP and other major international brands. One of the reasons this 10-employee facility has been so successful is that they truly partner with their clients, looking for the nuances that will make the outcomes of their collaborations truly unique. That’s also the kind of support that Earhole Studios has long experienced with Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, which has been providing Earhole Studios with sales, service and advice for years.

GC Pro has been the vendor for equipment that has gone into Earhole’s main Chicago location’s three mix rooms and their satellite locations in Los Angeles and Detroit, and even for many of the staff composers’ own personal studios. Most recently, GC Pro provided a new Avid D-Command recording and mix console that was installed in Earhole’s Studio B in Chicago, replacing an Avid Pro Controller there. But GC Pro provided more than just the products that help keep clients like Earhole Studios on the leading edge – they also offer expertise and know-how that makes major transitions like these easier and seamless.

“The new D-Command needed to go in and be up and running over what amounted to a long weekend, which was no simple task,” recalls Eric Lambert, a veteran Composer and Creative Director at Earhole Studios. “What made it happen was that the guys we’ve worked with at GC Pro for years, Dan Scalpone and Javier Briseno, not only got us the equipment we needed but also helped us pre-plan the entire transition from one console to the other. The trick to successfully pulling off a major installation like this is to plan it out in as much detail as possible in advance, in order to keep the amount of downtime for the studio to a minimum, and that’s something that Dan and Javier were incredibly adept at.”

GC Pro’s experienced sales representatives made sure they were available for Earhole’s staffers throughout the weekend of the installation, ready with any last-minute extras. Then there’s what Lambert calls the “last five percent” – the items that almost no amount of planning can allow for until the job is nearly finished. “GC Pro was there for that, too,” he says. “Whatever we needed, whenever we needed it, it was there for us.”

Looking over the studio, Lambert estimates that at least half of the equipment there was procured through GC Pro, including every piece of Avid gear in all of the facilities. Calling on his years of experience in advertising, Lambert offhandedly composes what could be the GC Pro mantra: “Always available, always knowledgeable, always helpful, always there,” he says. “What else could you ask for?”

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

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Carl Tatz Design’s PhantomFocus™ System Goes to School

— Personal studio design guru Carl Tatz shares his design secrets and acclaimed PhantomFocus™ System expertise with students and staff at Berklee College of Music and SAE Nashville, as well as contributing a chapter to Bobby Owsinski’s new tome The Studio Builder’s Handbook —

Nashville, TN: “Carl Tatz has used his previous experience as a studio owner to become not only one of the most forward-looking studio designers today, but an innovator in monitoring technology as well. His PhantomFocus™ System (PFS) monitor tuning protocol is quickly becoming the standard by which all others are measured,” quotes bestselling author and music/technology advisor Bobby Owsinski, who has dedicated an entire chapter in his latest textbook, The Studio Builder’s Handbook, based on a point that Carl Tatz, noted personal studio designer and creator of the PFS, drives home with knowledgeable stealth and experience: “There is nothing more important in a control room than the accuracy of your monitoring.”

Tatz also comments about his recent invitations to lecture at the prestigious Berklee College of Music in Boston, Massachusetts, and the Nashville, Tennessee branch of SAE: “I try to give them something practical they can take with them and use right away in their own home studios.”

“Carl was so gracious to come speak with our senior audio students at SAE Nashville during Acoustics class. The students were very excited to hear about the PhantomFocus System, and the information Carl shared provided an unparalleled educational experience for our students,” comments Crystal Armentrout, Director of Education, SAE Nashville.

Rob Jaczko, Chairman of the Production and Engineering Department at Berklee, recalls, “I thought the students asked some great questions and learned a lot also.”

“There are quite a few things you can do to improve your home studio monitoring that are really quite simple and very rewarding if you are willing to take the initiative to calculate your monitoring position relative to the room’s acoustic peaks and nulls and deal with the first reflection points relative to what I call the Null Positioning Ensemble™,” instructed Tatz.

When Tatz extends this information to its logical end, adding many steps including various decoupling and isolation modules, subwoofer system and powerful DSP, the result is what he has achieved with the PhantomFocus System. “A lot of what I do is about myth-busting, and I’ve broken quite a few in developing the PhantomFocus System, choosing to rely on physics and the resulting sonic performance rather than acoustic superstitions.” And that performance is quite dramatic, as anyone who has experienced the PFS will agree.

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Lowell Introduces Digital Specifier’s Guides for Consultants, Contractors and Systems Integrators

— Online documents make it easy to compare products in easy-to-navigate flip books —

PACIFIC, MO, March 12, 2012 — Lowell Manufacturing Company, a U.S. manufacturer of professional AV Products for more than 60 years, has introduced online Specifier’s Guides designed to be used as a resource by consultants, contractors and systems integrators. The documents can be found in both Flash/“flip-style” and PDF formats at www.lowellmfg.com/main-literature.html. Offering both Flash and PDF formats accommodates multiple platforms, so those accessing from personal computers, tablets, smartphones or other devices can easily view specs in the office or in the field.

The digital books make it easy for users to compare products via spec sheets, instead of going back and forth between web pages or downloading multiple spec sheets for reference. The new Specifier’s Guides are part of an ongoing series of Lowell resources for consultants, contractors and systems integrators. Specifier’s Guides currently available include “Racks & Enclosures,” “Rackware® Accessories,” “Power & Surge Suppression,” and “Packaged Speaker Systems and Soundmasking.” Another book is in the works for speaker assemblies and audio components.
The series of online Specifier’s Guides will be updated on an ongoing basis.

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

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EAW® Loudspeakers Provide Great Sound for “In Performance at the White House: Red, White and Blues”

EAW®’s NTL720 Line Array and NTS250 Subwoofers, installed by Anderson Audio, tame the White House’s East Room with powerful sound for the President, First Lady and guests

Part of the annual “Black History Month” celebration, the event featured blues legends including B.B. King, Jeff Beck, Mick Jagger, Derek Trucks & Susan Tedeschi, Warren Haynes, Keb’ Mo’, Shemekia Copeland and others playing live for President Obama, who joined the ensemble for a verse of “Sweet Home Chicago”

Whitinsville, MA, USA, March 7, 2012 – On Tuesday, February 21, 2012, President Barack Obama and First Lady Michelle Obama marked Black History Month at the White House with a celebration of that most American of roots music – the Blues. “In Performance at the White House: Red, White and Blues” brought together some of the greats of the genre, including B.B. King, Jeff Beck, Mick Jagger, duo Derek Trucks & Susan Tedeschi, Warren Haynes, Keb’ Mo’ and Shemekia Copeland for a once-in-a-lifetime concert. And another great American name was there too, making sure it all came together: EAW®, which has been the choice of Anderson Audio of Harrisburg, Pennsylvania, a premier audio vendor in the Mid-Atlantic region, providing professional audio design, consultation and installation, and the long-time sound reinforcement provider for this auspicious series of concert events. The event was produced by public television station WETA; Ken Ehrlich, executive producer of The GRAMMY® Awards; and Robert Santelli, executive director of The GRAMMY Museum®, for AEG Ehrlich Ventures. Fortunately, many more than those present that evening got to experience the once-in-a-lifetime performance: the event was also broadcast on PBS on Monday, February 27, 2012, and was streamed live on http://whitehouse.gov and http://pbs.org, as well as aired to service members around the world via the American Forces Network.

The PA system consisted of two arrays of four EAW NTL720 Self-Powered Line Array Systems and four NTS250 Large Format Flyable Subwoofers per side, in the front of the 40-ft x 80-ft East Room. Other EAW products used included JF60z Compact Full-Range Loudspeakers for front fills and NT29 Self-Powered Full-Range Loudspeakers for out fills.

The PA system had its work cut out for it on this show. First, instead of the stage being located at one end of the long room, as is usual for most performances in the East Room, the stage for “Red, White and Blues” was set up along one of the long side walls, necessitating hanging the speakers from the lighting truss 16 to 18 feet up and angled sharply downward. This required the ability to widely and evenly disperse the sound. Secondly, the backline was an array of Marshall and Fender amps, two drum kits, a horn section and keyboards – in other words, it was going to get loud.

“This was the loudest show we’ve ever done at the White House,” recalled Chris Anderson, President of Anderson Audio (who has done sound for shows in the East Room since the George W. Bush Administration using EAW equipment), adding that the volume was measured at 105 dB during rehearsals. “We’ve worked with many of these artists in concert before, including Jeff Beck and B.B. King, and we knew they were going to play louder than the other concerts we’ve done in the East Room, so the PA had to sound good at higher volume levels than usual.”

But there were still more challenges: the room itself is highly reverberant, with plaster walls and parquet floors, and since the event would be televised, the sound system had to be nearly invisible. The PA system would have to address all of these issues and do it reliably and with the best sound possible. As Anderson recalled, “I needed low-profile, high-output enclosures with a wide horizontal dispersion pattern, and EAW provided the solution. There are many challenges involved in an event like this – we are shooting a TV show, and the sound system has to be effective in translating the energy and excitement of the show while not getting into any of the camera shots. Frequency response must be smooth and accurate to not interfere with the broadcast mix audio. The EAW system did it all.”

The volume was up there for the show, but, Anderson said, “No one winced. When a sound system sounds honest and real, volume is much less of an issue.” In fact, Ron Reaves, the FOH Mixer on the show, who had just come from mixing the GRAMMY Awards a week earlier, remembers President Obama stopping by during the rehearsal and being asked by an aide if it was too loud. “I knew that the President was going to be sitting literally 12 feet from Jeff Beck’s guitar amp, so when he was asked about the volume, I really wanted to hear what he said,” said Reaves. “The President said, ‘No, it sounds fine,’ so the sound got the Presidential seal of approval before we even started, which was great. The show went fine and sounded fantastic, and that’s what everyone was after.”

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

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Chicago’s Earhole Studios Chooses Genelec Active Monitors

NATICK, MA, March 7, 2012 — Original music and audio post production house Earhole Studios in Chicago has installed a Genelec 5.1 Active DSP Monitoring System as part of an upgrade to surround sound mixing capabilities in Studio B. Concurrently, composer and engineer Eric Lambert acquired a Genelec SE (Small Environment) DSP Monitoring System for his home studio to enable him to seamlessly transfer projects between Earhole Studios and his home composition room.

The new 5.1 system in Earhole’s Studio B comprises five Genelec 8240A Bi-Amplified DSP Monitors for the front LCR array and rear surrounds, with a 7260A Active DSP Subwoofer. Lambert’s home 2.1 setup consists of an 8130A Digital Monitoring System plus an SE7261A Active DSP Subwoofer, which is designed specifically for use with the 8130A stereo pair.

Initial plans were for an aesthetic makeover of Studio B, which is one of three rooms at Earhole, says Lambert. “But we said, while we’re at it, let’s see if we can make some sonic improvements. We have surround capability in my composition room but that was being used primarily for music and we didn’t really have time to do mixes in that room. We wanted to move mixing to another room so we bought the Genelec 5.1 DSP system.”

Genelec’s AutoCal™ software, the industry’s first integrated process for automated measurement, analysis and adjustment of every monitoring loudspeaker in the control network, has been especially useful, according to Lambert. The system’s multiple setup capability, in particular, which allows the 5.1 Active DSP Monitoring System to be calibrated for several listening positions, has become very popular with Earhole’s clients, he says.

“If you’re sitting in the engineer’s position you have the monitors calibrated specifically for those two ears,” explains Lambert. “But we have a huge room with clients sitting all over the place. A lot of times they’ll be frustrated by the fact that when they’re listening to a surround mix it doesn’t seem focused on them. With that DSP, we can calibrate that sweet spot to those other positions. So you can set up multiple listening positions, expanding the flexibility of the system.”

He continues, “The clients love that it sounds better, but they’re also impressed that a company like ours has that technology. We’ve even had engineers from other facilities around town come in, guys who have been around a long time and really know what’s going on, and they have been really, really impressed. It blows some people’s minds that there is the technology to do that, and it makes Earhole look good, because they’ve never seen that anywhere else.”

The GLM.SE™ (Genelec Loudspeaker Manager for Small Environments) software and the extended AutoCal capabilities of the 7260A Active DSP Subwoofer have allowed Lambert to overcome some challenges in his home studio. “I’ve had a lot of acoustic issues in that room. There’s only so much I can get away with as far as sonic treatment goes. When you share a house with somebody else they don’t necessarily want it to look like a studio, so you make compromises. All of the other speakers that I’ve tried sounded okay but there were always some pretty big issues. But when I got to hear the Genelec DSP system in action at Earhole I realized it actually works. The following night after we got the DSP system installed at work I bought the SE system for home.”

The new SE setup ensures that projects translate accurately and consistently between the studio and his home, according to Lambert. “I’ll start a project at Earhole and have to finish at home, or get a call late, when I’m not at work, and decide to work on things at home. It’s nice to have a similar, consistent monitoring environment at home. They’ve really made all the guesswork go away.”

Lambert reports, “All of our rooms have Genelecs. The other two rooms have older Genelecs that we’ve had for several years. We have some other composers who work in other areas; a couple of them also have Genelecs. It was about 10 years ago that we bought our first pair, and we’ve been happy with Genelecs ever since.”

Tom Wiebe, co-owner of Wiebe Music, which was established in the early 1990s, opened Earhole Studios in December 2003, moving the business and staff, including Lambert, into a new location in Chicago’s River North neighborhood. Simultaneously, the company made the transition from a jingle house into an original music and audio post production venture. Today, recent Earhole clients include Chrysler, UPS, Sprite, Motorola, Allstate, BP and MGD, among others.

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

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LEGENDARY ENGINEERS/PRODUCERS GATHER AT 54TH ANNUAL GRAMMY® AWARDS

SANTA MONICA, Calif. (February 29, 2012) — M3 (Music Mix Mobile), a New Jersey/California-based remote facilities company, were onsite at the 54th Annual GRAMMY® Awards with their Eclipse and Horizon trucks, which served as the control rooms for the broadcast music mixes of all of the GRAMMY Awards musical performances. It’s a real team effort, and several prominent members of the Producers & Engineers Wing® of The Recording Academy®, including John Harris, Leslie Ann Jones, Hank Neuberger, Phil Ramone, and Eric Schilling, began planning months in advance for this extraordinarily complex audio production.

Pictured here on show day in front of the Eclipse broadcast truck are legendary engineers Al Schmitt and Geoff Emerick (who were on site to supervise audio for Paul McCartney), Bob Clearmountain (supervising the Bruce Springsteen mix), and Broadcast Music Mixers John Harris and Eric Schilling. Missing is Telecast Audio Supervisor Hank Neuberger—who took the photo!

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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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