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Archive by Brad Gibson

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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Audio Facility Ravenswork Sets Up Shop at Video Editorial House Lost Planet with Genelec Active Monitoring System

— Mixer/sound designer Robert Feist’s Ravenswork commercial audio studio found a new home at long-time collaborator Lost Planet’s video editorial facility, and Feist’s new audio suite features a Genelec 5.1 surround monitoring array —

NATICK, MA, February 29, 2012 — Commercial media advertising has been a tough business for the last decade but many lucky talents have found ways to stay on top. When Robert Feist, owner of the three-room Ravenswork commercial audio facility in Venice, California, felt the economy’s pinch in recent years, he created synergy by moving his studio and its high-end commercial work into the space of a long-time collaborator, video editorial facility Lost Planet, in Santa Monica. Together, the two companies have increased their work at the high end of commercial media with top-level talent and technology. Part of that has been the inclusion, from the moment the new audio studio opened at Lost Planet last June, of a Genelec 5.1 surround monitoring system, consisting of three Genelec 8250A Bi-Amplified DSP Monitors for the L-C-R array, a pair of Genelec 8240A Bi-Amplified DSP Monitors for the left and right rear surrounds, and a Genelec 7270A Active DSP Subwoofer.

Feist says that the Genelec surround monitoring system was put to the test immediately upon the opening of the room with the first commercial worked on there, promoting GRAMMY Award®-winning vocalist Beyoncé’s exclusive distribution arrangement with retailer Target. “The commercial had very critical audio requirements – the monitoring had to be perfect, consistent and accurate, and that’s just what the Genelecs gave me,” says Feist, who also uses a pair of Genelec 1029A speakers as desktop monitors.

Since then, Feist and the Genelec speakers have applied their talents to other commercial projects for clients including Nike, Mazda, Google and Absolut Vodka, including Absolut’s award-winning “Absolut Blank” campaign that features over two dozen artists.

“The Genelecs are great speakers for monitoring and mixing,” says Feist, who uses them for both broadcast and theatrical mix versions of the commercial spots he works on. “They’re not just a purchase, they’re an investment – one which is already bringing great results for us and our clients.”

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

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EAW® Names Steve Davis Service Manager

Pro audio veteran Davis has worked with EAW® in different capacities for 25 years

Whitinsville, MA, USA, February 27, 2012 – EAW®, a world leader in audio system technology for over 30 years, appointed Steve Davis to the position of EAW Service Manager. A longtime member of the extended EAW family, Davis for many years held this same position, before shifting his focus to his company Performance Audio of New England (PANE), where he continued to contribute with his service expertise. Coincidentally, PANE has been located in the same mill complex where EAW designs and manufactures its loudspeakers. The announcement was made by Jeff Rocha, EAW President, and reflects the company’s dedication to enhanced communications and direct access to resources for greater overall efficiency and faster turnaround on service issues.

Having worked as an EAW employee then a contract vendor, Davis is now in his 25th year as EAW’s primary service resource. As a result of the new appointment, he will soon relocate to a new dedicated space in EAW’s manufacturing complex. With communications streamlined and with service connected directly to the rest of EAW’s resources, customer service issues will be resolved more quickly, efficiently and effectively, having a major impact for EAW customers.

Rocha states, “Steve Davis is one of the most trusted resources – indeed, one of the most trusted names – in all of pro audio. When customers send a loudspeaker to Steve for service or repair, they do so with complete faith in his ability to solve their problems. He is truly world-class, and it’s great to have him back on the team. With Steve again on board, we are one step closer to reaching our goal of being a fully integrated organization with the necessary complement of internal resources to comprehensively serve our customers’ needs.”

Davis notes, “To tell the truth, it’s not that big a change for me, because I’ve been servicing EAW products all along. I know that EAW has recently brought back many of the familiar names from the past, and they’ve all felt like a homecoming. I never really went that far away.”

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

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GUITAR CENTER CONTINUES TO EXPAND AS IT OPENS NEW STORE LOCATION IN SALEM, OREGON

— Company hits milestone with 225th location —

— New store offers on-site lessons and repair services —

Westlake Village, CA (February 27, 2012) – On February 16, 2012, Guitar Center hit a milestone by opening its 225th retail location, Guitar Center Salem, at 6325 Ulali Drive NE, Keizer, OR 97303. Guitar Center Salem’s grand opening introduced customers to a vast selection of products and a dedicated staff with unparalleled musical knowledge and experience. To commemorate the store opening, Guitar Center hosted a Grand Opening Weekend celebration (Feb. 16-19) featuring exclusive savings, gear giveaways and free events for local musicians. The grand opening also included free live performances throughout the weekend.

Guitar Center’s newest Oregon location features showrooms equipped with the latest products for musicians – from guitars, amplifiers, percussion instruments and keyboards to live sound, DJ, lighting and recording equipment. In addition to the special Grand Opening Weekend programming, shoppers who came out early also enjoyed exclusive savings throughout opening weekend, including deals on guitar and drum essentials.

“The opening of our 225th store in Salem, Oregon, is truly a landmark occasion for Guitar Center,” commented Gene Joly, Guitar Center Executive VP of Stores. “Our Salem location further underscores Guitar Center’s ongoing commitment to our customers, and to providing an extensive range of products, services and events. Like all openings in the past year the Salem location reflects our new open format design principles and streamlined merchandising layout.”

The new store also features Guitar Center Studios, an in-house, state-of-the-art lesson facility, which will create unrivalled opportunities for Salem musicians of all ages and skill levels. Guitar Center Studios provides music lessons from beginner to advanced featuring certified instructors teaching world-class curriculum as well as one-on-one courses on Pro Tools, Logic Pro and GarageBand. Guitar Center Studios is now the most modern and affordable lessons facility in the area. Guitar Center Salem also features GC Garage, Guitar Center’s on site guitar repair service. Musicians were able to try out the GC Garage for free on Grand Opening night (Feb. 16). With a guitar purchase, customers also received a free, 22-point personalized set-up.

As part of Guitar Center’s initiatives designed to educate and inspire artists nationwide, Guitar Center Salem offers unique opportunities for musicians to craft their skills, maintain their instruments and experience many other aspects of the music industry first-hand. Musicians interested in learning about the industry are able to come to the store to interact with and ask questions of several industry leaders. Free “Recording Made Easy” classes are conducted every Saturday from 10:00 to 11:00 am. Salem shoppers are also able to enjoy Guitar Center’s new multi-channel “endless aisle,” which includes multiple combinations of product options to conveniently choose from. Not only does the “endless aisle” include Salem inventory, but it also provides easy access to $400 million in new and used inventory located in hundreds of stores and warehouses across the nation. Customers have the ability to combine a variety of in-store, online and phone options to purchase music equipment from anywhere they may be, allowing for a personalized and convenient shopping experience.

In addition to special programs at the new Salem store, Guitar Center offers nationwide programs designed to spearhead creativity and highlight the nation’s most promising undiscovered talent. Salem residents will now be able to participate in these ongoing national events from their hometown:

Guitar Center On-Stage is an annual competition that provides unsigned artists the chance to open for established artists such as Motley Crue, KISS and Jane’s Addiction.

Guitar Center Singer-Songwriter is an artist discovery program that aims to find the nation’s best unsigned singer-songwriter. The winner receives a career-altering prize package including recording three songs with accomplished GRAMMY® Award-winning Producer John Shanks, recording time at the state-of-the-art Brooklyn-based Converse Rubber Tracks studio and $10,000 cash. The grand finale took place in Los Angeles on Feb. 18.

Guitar Center’s King of the Blues is a nationwide amateur guitar skills competition with the goal of finding the next great undiscovered blues guitar player. This year’s winner, Jonathon “Boogie” Long, performed alongside GRAMMY-winning guitarist Warren Haynes at the Grand Finals in LA, and won an incredible prize package valued at over $50,000.

Guitar Center’s Drum-Off, entering its 24th year, is the nationwide search for the next great undiscovered drummer. Drummers from across the nation compete in the world’s largest drum competition, vying for thousands of dollars in prizes and the coveted title of Guitar Center’s Drum-Off Champion. The grand prize package is valued at nearly $50,000.

Guitar Center Salem is open seven days a week. Store hours are 11 a.m. to 9 p.m. Monday through Thursday, 10 a.m. to 8 p.m. Friday, 10 a.m. to 8 p.m. Saturday and 11 a.m. to 6 p.m. Sunday. Guitar Center Studio hours follow the same schedule.

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Lowell Introduces New Rack Bundles

— Rack bundles offer customer convenience —

PACIFIC, MO, February 27, 2012 — Lowell Manufacturing Company, a U.S. manufacturer of professional AV Products for more than 60 years, introduces new rack bundles to their line of racks and enclosures. Customers now have the convenience of ordering a complete rack set-up using a single part number, according to Marketing Communications Manager Kathy Lane.

The new rack bundles are available for Lowell’s gangable racks (LGR series) and enclosed racks (LER series). Bundled accessories are not installed but packaged individually and shipped to the job site along with the rack. Accessories in the “BAV” bundle vary according to size and type of rack ordered but include commonly ordered items for AV rack set-ups like horizontal and vertical cable managers, power strip, fan panel, leg levelers, velcro cable wraps, extra hardware, etc.

Lowell is also offering a ready-to-use, time- and labor-saving option for their new LXR floor rack. The open-frame LXR has a slim (19.2-in. W) footprint that requires only a minimal amount of floor space. While the standard LXR ships unassembled, selecting the “IAV” option means the rack will be pre-assembled and outfitted with accessories that include shelves, vented panels, 15A power strip, vertical cable manager and fine-floor swivel casters to protect wood, marble and tile floors from mars and scratches. The quantity of accessories varies with rack height. The LXR with the “IAV” option is available in 14, 30 or 38 rack units with 21-in. depth.

Lowell also has an “IAV” option of pre-installed accessories for their LER rack series, which is available for 18, 21 or 35 rack units with 27-in. depth.

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

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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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