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Archive by Brad Gibson

GUITAR CENTER OPENS NEW STORE AND LESSONS STUDIO IN NW TUCSON, ARIZONA

NW Tucson location features on-site lessons, new repair services, and vast inventory selection

ANNOUNCEMENT HIGHLIGHTS:

Guitar Center has opened its 260th store location in the U.S.
GC Garage service will provide a range of musical instrument repair services
GC Studios, a lessons facility supporting the local music scene, is at the store, located at 3830 W. River RD. Suite 110, Tucson, AZ 85741

(Los Angeles, CA) – Guitar Center, the world’s largest retailer of guitars, amplifiers, drums, keyboards, recording, live sound, DJ and lighting equipment, opened its 260th location, in NW Tucson, Arizona, on June 5, 2014. The store, located at 3830 W. River RD. Suite 110, Tucson, AZ 85741, is also part of a new wave of Guitar Center retail stores that feature lesson spaces, which allows GC to offer additional music lessons, special programs and expanded opportunities for local musicians. This store is the second GC location to serve the Tucson area.

NW TUCSON STORE LOCATION BACKGROUNDER:

Vast Product Selection and Low Prices – Guitar Center NW Tucson brings an unprecedented selection of products to the area, all backed by Guitar Center’s guarantee and available at attractive prices. The store features the latest in guitars, amplifiers, percussion instruments and keyboards, as well as live sound, DJ, lighting and recording equipment.
Guitar Center Studios – Deeply vested in expanding and enhancing the local music scene, Guitar Center NW Tucson also brings Guitar Center Studios to the new location. The fully-equipped, in-house lesson space is giving area residents of all ages and skill levels access to affordable music lessons. Sourcing locally trained store employees as certified instructors, courses will be offered on guitar, bass, keys and drums, as well as vocals and recording techniques using Pro Tools, Logic Pro and GarageBand.
Guitar Center Garage – Guitar Center NW Tucson includes GC Garage, the store’s on-site guitar repair service, offering a host of services, including electronics repair, hardware customization, fretwork, structural repairs, cosmetic enhancements, setup and maintenances.

Guitar Center NW Tucson: Additional In-Store Programs and Opportunities Include:

Guitar Center’s “Endless Aisle” – Tucson customers can now shop from Guitar Center’s new multi-channel “endless aisle,” which extends the in-store inventory to over $400 million in new and used products from across the nation. Shoppers will be able to purchase in-store, online and via phone, with the option to have products shipped to their home or to the store for convenient pick up.
At: Guitar Center Programs – Throughout the calendar year, Guitar Center NW Tucson will host an array of free events, such as artist workshops, lessons, product launches and performances, as a part of the company’s ongoing commitment to educating and assisting unsigned artists. These programs aim to provide musicians with the opportunities and exposure essential to achieving their music goals.
Recording Made Easy – Available at all Guitar Center locations, the Recording Made Easy program is a four-week, user-friendly series of weekly classes occurring Saturdays from 10:00 to 11:00 a.m.

In addition to special programs at the new NW Tucson store, Guitar Center offers year-round programs designed to spearhead creativity and highlight promising undiscovered talent. Programs have included Your Next Record, Guitar Center On-Stage, Guitar Center Singer-Songwriter, and Guitar Center’s Drum-Off.

Guitar Center NW Tucson Store and Studio Hours:
Mon-Fri: 10:00 AM – 8:00 PM
Sat: 10:00 AM – 7:00 PM
Sun: 12:00 PM – 6:00 PM

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Classic Rock Revue “Raiding the Rock Vault” to Take Place Thursday, June 19, at the LVH Theater

Be a guest of Bose at the LVH – Las Vegas Hotel & Casino Theater, adjacent to the convention center, and hear this live performance through a Bose RoomMatch® system; the show is Free and open to all

Framingham, MA, June 6, 2014 – At the upcoming InfoComm show in Las Vegas, Bose® Professional Systems will be showcasing its acclaimed RoomMatch® system at a Free concert on Thursday, June 19, 2014, at the LVH Theater – directly adjacent to the Las Vegas Convention Center, the site of InfoComm exhibitions. The show will include the noted musical revue Raiding The Rock Vault, which features 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). The 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.

Doors open at 5:00, immediately after the exhibition floor closes, and the concert will start at 5:30. The concert is open to all, and a cash bar will be available. Come join Bose and hear what a RoomMatch system can do with the rock and roll classics!

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.

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Listen Technologies Positions for Growth and Expansion

— Company continues to expand and posture itself for the next phase of rapid growth —

BLUFFDALE, UT, June 6, 2014 — Listen Technologies Corporation, a leading designer, manufacturer and distributor of personal listening products for over 15 years, is positioning for its next phase of rapid growth and expansion by making key executive level changes. The company has begun to unveil a comprehensive business plan involving new product introductions, brand positioning, sales channels, marketing and customer service. Two key management appointments are being announced by Russell Gentner, CEO of Listen Technologies, that further emphasize the company’s commitment to ongoing expansion while ensuring the growth of Listen Technologies in the coming years.

Cory Schaeffer, former Vice President of Sales, has been appointed to the newly created position of Vice President of Business Development. In her new role, Cory will focus on business development by strengthening Listen’s relationships within the existing channel while expanding the company’s reach and penetration into new markets. Cory’s long-term relationships that she has developed over the years with representatives, consultants, integrators and distributors in the audio-visual industry, along with her true passion for the technologies and solutions offered by this market sector, make her an ideal fit for this new position.

Tim Schaeffer, formerly the Vice President of Strategic Development, has been appointed to the position of Vice President of Sales, Worldwide. With a rich history in sales and marketing management within the professional audio and system integration market sectors, during his tenure at Listen, Tim has been instrumental in the growth of the company and identifying new sales opportunities. In his new position, Tim will continue to capitalize on his unique skill set and guide the company with increased sales and market initiatives.

“We are extremely fortunate to have such deep experience in our management team that we are able to make the changes needed to take our company into the next phase of growth,” stated Russell Gentner. “Cory is an expert in pioneering new relationships, products and markets, which makes her perfect for spearheading new Business Development, while Tim is masterful at identifying and developing successful sales channels while maintaining strong customer relationships. I am thrilled to have both of them in these key positions.”

Photo Caption: Pictured L-R: Cory Schaeffer, Listen Technologies Vice President of Business Development; Tim Schaeffer, Listen Technologies Vice President of Sales, Worldwide; and Russell Gentner, Listen Technologies CEO.

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GUITAR CENTER ANNOUNCES JIMMY PAGE “NUMBER TWO” GIBSON LES PAUL CHARITY AUCTIONS

Proceeds from the auction of these highly sought-after guitars will benefit Little Kids Rock and USO charities

ANNOUNCEMENT HIGHLIGHTS:

Two rare limited-edition guitars, both individually numbered, signed and played by Jimmy Page, to be offered in GC’s first-ever online charity auctions
Auctions to take place Thursday, June 19, 2014, 4PM PDT, through Sunday, June 29, 2014, 4PM PDT
Proceeds from the auctions will benefit the Little Kids Rock and USO charities

Los Angeles, CA (June 3, 2014): Guitar Center, the world’s largest retailer of guitars, amplifiers, drums, keyboards, recording, live sound, DJ and lighting equipment, announces its first-ever online charity auctions, of two custom Jimmy Page “Number Two” Gibson Les Paul guitars. Proceeds from the auctions will benefit the Little Kids Rock and USO charities. The auctions will take place on eBay (www.ebay.com/jimmypagelespaul) starting Thursday, June 19, 2014, 4PM PDT, through Sunday, June 29, 2014, 4PM PDT. The minimum bid is $20,000 for each guitar, and each comes with a certificate of authenticity.

“Number Two” is a 1959 Les Paul, one of Jimmy Page’s prized guitars, obtained in the early 1970s and used consistently by Page ever since. He had the electronics altered to get the widest possible range of sounds from two humbucker pickups, and had the neck shaved to match his “Number One” Les Paul. Four years ago, Gibson Custom painstakingly recreated “Number Two” in an extremely limited run. These guitars were built to Page’s exact specifications, faithfully replicating the iconic aged flame maple top, faded “Page Burst 2” finish, and even the dings, dents and wear marks. Only 25 of these Aged and Signed guitars were released worldwide, and all 25 of them were individually played, signed and numbered by Jimmy Page. Jimmy kept #1 for himself and the remaining 24 guitars instantly became highly valued collector’s items. After half a decade, Guitar Center is opening the vault and offering #2 and #5 in this special charity auction.

THE STORY AND GUITAR FEATURES
The Custom Shop Jimmy Page “Number Two” Les Paul was recreated with intense, millimeter-by-millimeter examination of Page’s original guitar, inside and out. The process of getting it right involved the production of a number of hand-built prototypes, each of which was checked and critiqued in detail by Page himself. Approval of the final iteration was only offered after the legendary artist had intricately examined and extensively played this last prototype in his London home—after which it was given the thumbs-up, worthy of being the template for the Custom Shop Jimmy Page “Number Two” Les Paul. Only 325 examples were produced in total: 100 aged by vintage-reproduction master Tom Murphy; 25 more aged by Tom Murphy and signed by Jimmy Page; and 200 finished to Gibson’s VOS specs.

Body
Crafted from a uniquely figured two-piece Eastern maple top attached to a one-piece, solid, lightweight, genuine mahogany back, the Custom Shop Jimmy Page “Number Two” Les Paul follows the body lines and dimensions of the original ’59 Les Paul Standard.

Neck and Headstock
The neck of the Custom Shop Jimmy Page “Number Two” Les Paul is constructed from one piece, quarter-sawn, lightweight mahogany for improved strength and resonance. The luthiers in Gibson’s Custom Shop carefully match the grains and weights of these guitars’ bodies and necks to optimize tone and sustain.

Hardware
The Jimmy Page “Number Two” Les Paul is equipped with top of the line hardware. From the Grover tuners to the stopbar tailpiece to the period-correct “antique bell” truss rod cover, it retains and replicates every bit of its predecessor’s strength.

Electronics
On this Les Paul, each of the controls’ potentiometers has been replaced with a push-pull pot for individual pickup switching functions, while two miniature push-pull DPDT switches have been mounted under the pickguard to provide additional universal switching functions. Note: due to trademark issues and per Jimmy’s directive, the bobbins on the Jimmy Page “Number Two” Les Paul reissue are black instead of crème.

Photo Caption 1: Jimmy Page (photo by Ross Halfin).

Photo Caption 2: Two Jimmy Page “Number Two” Gibson Les Paul Guitars, being auctioned by Guitar Center to benefit Little Kids Rock and USO.

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Listen Technologies Introduces iDSP Products

— Company introduces next-generation assistive listening products, based on direct input from consultants, system integrators, venue owners and end users —

BLUFFDALE, UTAH, June 3, 2014 — Listen Technologies Corporation, a leading designer, manufacturer and distributor of assistive listening products for over 15 years, is pleased to introduce its iDSP (Intelligent Digital Signal Processing) products. In creating the iDSP solutions, Listen Technologies considered all aspects of how the product would be used, focusing on the user experience and ease of dispensing, inventory management and battery management at the venue – all based on input from consultants, system integrators, venue owners and end users. The result is a significantly improved listening experience, including an integrated neck loop/lanyard; streamlined dispensing, collecting and care; and environmentally friendly advanced battery technology – in the smallest, lightest device of its kind.

The iDSP 72MHz receiver revolutionizes how an RF system works, offering precise clarity with 20 dB less hiss than other RF receivers. The new integrated neck loop improves the experience for people who have hearing aids and cochlear implants with telecoils. Sleek and small (smaller than an iPhone), the iDSP receiver has a field-replaceable, non-proprietary rechargeable lithium-ion battery, making obsolete the use of alkaline and NiMH batteries. Battery life is eight hours, with a 2.5-hour charge time. Two versions of the receiver are available: LR-4200-072 Intelligent DSP RF Receiver (72 MHz) and LR-5200-072 Advanced Intelligent DSP RF Receiver (72 MHz). The LR-5200 Advanced Receiver features the ability for end users to select multiple channels for applications such as language interpretation.

System components include the charging tray, which can be mounted in several ways; charging case; optional cable management system; earphones (foamless, solving certain sanitary issues); log book; setup/inventory software; and signage.

LR-4200 and LR-5200 Receiver features:

Small size
Display for inventory unit number, battery level, channel
Integrated neck loop/lanyard incorporating an advanced DSP loop driver
Advanced lithium-ion battery and battery management
Programmable channel names
Customization using setup with iDSP software
Venue inventory management with iDSP software
Two headphone jacks accommodate neck loop/lanyard or two sets of headphones (could be shared if needed)
Convenient USB port, making it easy to set up software and apply updates

Russell Gentner, CEO of Listen Technologies, states, “Our goal with iDSP was to deliver a product that truly provides an exceptional listening experience, for places that provide assistive listening, as well as their customers. We intently listened to their needs and then delivered products that meet those needs. I’m really proud of our team and their ability to develop, produce, announce, and ship such an outstanding product. iDSP is a game-changer.”

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AES 54th International Conference to Feature Focus on Audio Forensics – Techniques, Technologies and Practice

New York, NY, June 4, 2014 — The AES 54th International Conference on Audio Forensics is set to take place June 12-14, 2014, at the Holiday Inn Bloomsbury in London. Dedicated to exploring techniques, technologies and advancements in the field of Audio Forensics, the conference will provide a platform for sharing research related to the forensic application of speech/signal processing, acoustical analyses, audio authentication and the examination of methodologies and best practices. Chairpersons for this conference are Mark Huckvale and Jeff M. Smith.

The AES 54th Conference – the fifth AES event devoted to the technical developments and practical approaches developing in the field of Audio Forensics – will act as a hub for researchers and practitioners to exchange ideas and foster new approaches to address challenges that are evolving every day in the industry. Opening ceremonies will feature a special keynote speech entitled “Cognitive Bias in the Interpretation of Forensic Evidence” given by esteemed cognitive neuroscientist Dr. Itiel Dror.

Three full days of sessions include Tutorials and Papers on a host of related subjects covering a variety of Audio Forensic topics. Tutorials will include “Automatic Speaker Recognition with Degraded and Enhanced Speech,” “Dereverberation Algorithms in a Nutshell – a signal processing introduction,” “Digital Audio Authenticity” and “Speech Intelligibility.” Each day will also include multiple paper presentation sessions on topics including Forensic Speaker Comparison, Reverberation and Room Acoustics, Audio Authenticity, Speech Enhancement and Intelligibility, Forensic Musicology and Gunshot Analysis.

AES Executive Director Bob Moses stated, ”We are really pleased with the growth and development of our Audio Forensics-related programs and events over the past decade. For the audio engineering community, these forensic specialists continue to push the boundaries of our understanding of sound in our everyday lives. Some of the most important recordings are ones that were never intended to be captured or that take place under unimaginable circumstances. The AES and its sponsors are dedicated to promoting the science and technologies that make audio forensics work so valuable to us all.”

Supporters of the AES 54th International Conference include Platinum Sponsor CEDAR Audio, along with Conference Sponsors AGNITiO, iZotope, Oxford Wave Research, Salient Sciences and Voxalys.

For complete program details and registration information, visit http://www.aes.org/conferences/54/.

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AES136 Berlin Highlights Project Studio Expo and Special Sound for Picture Programming

New York, NY, May 30, 2014 — Celebrating the success of the 136th Audio Engineering Society Convention, which took place April 26 – 29, 2014 at the Estrel Hotel and Convention Center in Berlin, Germany, the AES continues to forge new territory with its successful tracks and programs at recent Conventions. Making its European debut was the heavily-attended Project Studio Expo, sponsored by DPA Microphones, as well as an expanded Sound for Picture track, of interest to many of today’s leading professionals. Additional Technical Program events, manufacturer exhibitions, tech tours and more rounded out the Convention, which paved the way for AES138, which will next year be held in Poland (as announced at the Berlin opening ceremonies).

As proven popular at recent AES Conventions in San Francisco and New York City, the Project Studio Expo offered a unique set of presentations appropriate for all levels of today’s home-based and professional studio environments. Programs included Basic Microphone Technology; Professional Mixes from Your Project Studio – Common Mistakes, Immediate Solutions; Electronic Dance Music: Live Performance Mixing Techniques; The Business of Being in the Music Business; How Did They Get that Sound?; Advanced Vocal Editing; Mastering Engineering – The Link to Your Audience and more. Hosted by notable industry engineers, educators, journalists and sponsors, the Project Studio Expo once again offered a unique chance to experience music production with top talent, tools and techniques.

AES136 Berlin also featured an extensive Sound for Picture track, organized by Brian McCarty, chair of the Sound for Digital Cinema and Television Technical Committee. The Convention provided a platform for extensive discussions on the direction and future of immersive sound in cinema, television and video gaming. The attendance by a wide range of leading professionals in these fields, combined with the depth of knowledge contained in the AES membership, showed the advantages of cohesive and science-driven solutions for audio with UHDTV and other new media platforms.

Followup information from the AES 136th International Convention in Berlin can be found on the AES136 web page, including photos and downloadable convention papers from the extensive AES eLibrary.

Photo Caption 1: AES Presenter Stephen Webber, pictured with the crowd at the Project Studio Expo at AES136 in Berlin.

Photo Caption 2: Brian McCarty, chair of the Sound for Digital Cinema and Television Technical Committee at AES136, welcomes attendees to the Sound for Picture track.

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Recording Industry Golf Tournament™ (RIGT) Announces Updated List of Sponsor Partners

— Annual charity event to be held at Malibu Country Club on Monday, June 2 —

— Hyundai Motor America offers special opportunities for tournament participants —

Los Angeles, CA, May 27, 2014 — The 2014 Recording Industry Golf Tournament™ (RIGT) has announced additional sponsors for the event, which will be held Monday, June 2, 2014, at Malibu Golf Club (12:00 noon shotgun start). The event is again being organized by seasoned event producer Karen Dunn of KMD Productions and will benefit the music program at A Place Called Home, a dynamic community center and safe haven in South Central Los Angeles where underserved youth 8-21 years old are empowered to take ownership of the quality and direction of their lives through programs in education, arts, and well-being. Recording veterans Ed Cherney and Al Schmitt will return as Honorary Co-Chairs for the afternoon’s festivities.

Newly announced sponsors include Audio Engineering Society (AES), Avid, Bob Hodas Acoustic Analysis, Full Sail University, Universal Mastering, Vintage King Audio and Westlake Recording Studios. These names join previously announced sponsors Audio-Technica, Clyne Media, Dave Collins Mastering, Design FX Audio, GC Pro/Sterling Audio, JBL Professional®, NAMM, PreSonus, The Recording Studio Insurance Program, Record Plant, SAE LA, studioexpresso.com / AlterMedia and TransAudioGroup.

Additionally, Hyundai Motor America is working closely with KMD Productions to offer a series of special opportunities to tournament participants. Some of these include a hole-in-one opportunity for an all-new 2015 Hyundai Genesis; prizes for other Par 3’s (e.g. Travis Mathew Apparel, Fairmont golf vacation); prizes for longest drive and closest to the pin ($150 value for each); premium giveaways (Sleeve of Titleist Pro V1) at registration area; test drive Incentive offer for Taylor Made wedge ($100 value); and a full expense paid trip for two winners to attend Hyundai Invitational National Final in Las Vegas at Cascata. In addition, Hyundai Motor America is making a contribution to the tournament’s charitable endeavors.

“There are a few key spots still available for players who want to join us for this great event,” stated Dunn. “I am looking forward to another great tournament that benefits a very worthy cause. See you on June second!”

In addition to the 18 holes of pristine golfing, the day will include a $1 million hole-in-one opportunity, contests for longest drive and longest putt, a “closest to the pin” competition, “funnest hole,” a putting contest, a helicopter ball drop, a silent auction and more. Dunn and the Record Plant’s Rose Mann-Cherney will be driving the “world famous tequila cart” to make sure all of the day’s participants are playing their best.

More information on the tournament and its participants is available at http://www.recordingindustrygolftournament.com/, or call Karen Dunn at 925-708-0307. Register here: http://www.eventbrite.com/e/2014-recording-industry-golf-tournament-tickets-10567095467. “Like” the RIGT on Facebook: https://www.facebook.com/2014RecordingIndustryGolfTournament.

Register here for the Helicopter Ball Drop: http://lu6717.wix.com/recording-industry.

About A Place Called Home:
A Place Called Home (www.apch.org) is a dynamic community center and safe haven in South Central Los Angeles where underserved youth 8-21 years old are empowered to take ownership of the quality and direction of their lives through programs in education, arts, and well-being. APCH provides support and opportunities that increase the likelihood that young people will stay in school, go on to higher education and viable jobs, and make a meaningful difference in their communities and the world. Music and recording are key components of the organization’s program offering, and the APCH youth band performs and records on a regular basis.

About KMD Productions
Based in the San Francisco Bay Area, KMD Productions offers full-service event production across the US for businesses and individuals, providing a range of services needed to make events an overwhelming success. KMD Productions can handle all the details of your fundraiser, corporate function or trade show event. Whether you’re looking to launch a new product, get better brand recognition or raise money for your worthwhile charity, KMD Productions has the resources and experience to help you achieve your goals.

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Additional Sponsors Announced for Inaugural Pensado Awards

Growing list of manufacturers and organizations pledge their support for new awards show

LOS ANGELES, CA, May 27, 2014 — Pensado Awards, an upcoming award show acknowledging today’s emerging brand of music professional and “recognizing the faces behind the sound,” is pleased to announce additional sponsor partners in advance of the award ceremony next month. Created by the producers of the acclaimed online video series Pensado’s Place, the Pensado Awards are set to take place June 28, 2014, at the Fairmont Miramar in Santa Monica, California, and broadcast online globally one week later.

The list of sponsors comprises some of the most prominent names in professional audio, M.I. and audio education. Newly announced Title Sponsors include Blackout and The Recording Academy® Producers & Engineers Wing®, with the following newly added Supporting Sponsors: Bedrock LA, The EchoBar Recording Studios, Full Sail University®, G-Technology®, Gobbler, Larrabee Studios, Record Plant, Studio at The Palms and Ultimate Ears. These names join the following previously-announced Title Sponsors: Audio-Technica, Avid, The Blackbird Academy, Recording Connection, Slate Media Technology and Vintage King, as well as the following previously-announced Supporting Sponsors: Barefoot Sound, Indaba Music, iZotope, Morris Light and Sound and Studio 202. Additional sponsors are being added at a rapid rate, and a complete list will be announced in the weeks leading up to the ceremony.

Co-hosting will be singer-songwriter Lisa Loeb along with producer-engineers Chris Lord-Alge (Muse, Pink, Foo Fighters, Avril Lavigne, Green Day, Daughtry, Paramore, Black Eyed Peas), Marcella Araica (Britney Spears, Madonna, Pink, Duran Duran, Keri Hilson) and Young Guru (Jay Z, Beyonce, Mariah Carey).

Herb Trawick, the Co-host/Executive Producer and Creator of Pensado’s Place, as well as Manager and Advisor to Co-host Dave Pensado, stated, “We continue to add title and supporting sponsors, and they are all stellar examples of the type of organizations that we are proud to be associated with. We thank them each for their support.”

Dave Pensado (Co-host of Pensado’s Place, GRAMMY®-winning mix engineer, Teacher) echoed Trawick’s sentiments: “As leaders in their respective fields – whether manufacturers, vendors, services, recording facilities, educational institutions, industry associations, etc. – these names represent the lifeblood that runs through the recording industry every day. We could not put on the Pensado Awards without them, much less continue in our day-to-day activities as recording professionals. We are proud they have decided to take part in the Pensado Awards and what the show honors in our community.”

In recent years, developments in music and technology have changed the landscape for producers, songwriters, engineers and musicians, encouraging artists and composers of all types to hone their craft. The Pensado Awards acknowledges these talented individuals and their work, with unique categories including OMG! Mix of the Year; Game Changer Producers Award; Songwriters Break Thru Award; Unique Project Studio (Global); Break Thru Mixer Award; Best Non-English Song (Global); Best Tracking Engineer; Outstanding Achievement in Sound for Film, Television & Gaming; Pensado Giant Award (industry legend); Master of Mastering; Live/FOH Award; AIR Award (Best Assistant, Intern or Runner); Outstanding Brand; Spin Doctor DJ Award; Dave Pensado Educators Award; and Herb Trawick Visionary Award.

About Pensado’s Place
The hour-long weekly web series Pensado’s Place was created nearly four years ago. Co-hosted by legendary mix engineer Dave Pensado (Beyoncé, Christina Aguilera, Kelly Clarkson, Mariah Carey, Elton John, Michael Jackson and more) and show creator Herb Trawick, Pensado’s Place includes interviews with top music industry artists, engineers, producers, mixers, and record executives, as well as in-depth tutorials in production, engineering and mixing. Pensado’s Place has positioned itself as “the most influential show for audio engineers,” mixers and producers (Forbes Magazine) in just three years. Pensado’s Place is more than just a show, as it highlights the very best in the industry of music, gaming, sound identity on film, and audio equipment, with a presence in live events. As a leading educational resource, Pensado’s Place is helping build the next generation of audio greats.

Opportunities are still available to join the over 100 leading music makers and manufacturers, representatives from 75 countries and over 100 schools who are already active supporters of and participants in the inaugural Pensado Awards. Three sponsorship packages are available. To support the Awards, please visit http://pensadoawards.com/sponsorship_info.html.

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Bose® RoomMatch® Loudspeakers Chosen for Boston Opera House

Historic venue with large balcony area wanted to achieve perfect coverage and intelligibility, which was solved by the precise dispersion patterns offered by Bose® RoomMatch® array modules

Framingham, Massachusetts, May 27, 2014 – Located in the heart of the city’s theater district, the historic Boston Opera House is known as one of New England’s most architecturally and aesthetically impressive theaters. Opened in 1928 as B.F. Keith Memorial Theater, the Boston Opera House has hosted scores of classic productions over its 86-year history and saw a massive $50 million renovation in 2004. These days, the majority of the space’s annual 200-plus-show calendar is filled by the Boston Ballet and touring musical theater productions hosted by Broadway in Boston (recent and upcoming shows include Book of Mormon, Phantom of the Opera, Lion King, Motown the Musical, Newsies, Kinky Boots and more). The seating areas are truly expansive, with 2645 total seats and 1303 in the balcony alone. The theater’s owners wanted to ensure that touring productions would have the ability to deliver vocal clarity in the wide mezzanine and balcony, so steps were taken to install a sound reinforcement system serving that area of the venue (the main floor dress circle and part of the mezzanine would continue to be served by touring sound reinforcement systems). After a meticulous audition process, those involved chose RoomMatch® arrays from Bose® Professional Systems to provide clear, even coverage to the balcony of the venue.

Boston Opera House Production Manager Mike Marchetti was leaning toward a system from a different manufacturer; however, he was persuaded by colleagues to hear a demo of the Bose RoomMatch system. After the demo and an A/B shootout on site with his original choice, Mike became convinced that RoomMatch progressive directivity arrays were what he needed. The system was installed by Sudbury, Massachusetts-based Adtech Systems Inc., an award-winning system integrator, founded in 1988, which had already employed Bose RoomMatch and PowerMatch® components in several high profile installations, including Rondileau Center Auditorium at Massachusetts-based Bridgewater State University; Nevins Hall in Framingham, Massachusetts; University of Rhode Island’s Edwards Auditorium; Thompson, Connecticut’s High Pointe Church; and others.

The system, installed under the supervision of Adtech Sales Engineer Charles Crane, includes two RoomMatch arrays, with each array consisting of one RM5505, two RM7010s, one RM12010 and one RM12020 module, along with eight RMU208 small-format foreground/fill loudspeakers for under-balcony and “shadow-killer” fill. Power is handled by four Bose PowerMatch PM8500N 8-channel amplifiers, and processing is handled by a Bose ControlSpace® ESP-00 Engineered Sound Processor. Other components included a full complement of cables, speaker and line-level patch panels, XLR jumpers etc., from Whirlwind® .

Marchetti stated, “Vocal clarity is very important for the type of performances held here, and it was difficult to achieve for some touring systems, especially in the balcony areas. And most notably for productions that have a lot of speech or sung text in dialect – like Dublin accents in Once, or Ugandan accents in Book of Mormon, or rural British in Billy Elliott and such. After I had a demo of a RoomMatch system, I was convinced that it provided the right solution for clear balcony coverage, and it fit well within our budget. When we did the actual A/B shootout at our venue, I invited several of my colleagues whose opinions I trust to be involved in the listening evaluations – these included Steve Colby, Audio Engineer, Boston Pops Orchestra; Bradley S. Berger, Director of Production, Berklee College of Music; Rick Brenner, Sound Designer, Boston Ballet; James Jensen, Exec. Director, Boston Opera House; and Rich Jaffe, President of Broadway in Boston, to name a few. I must admit, I was skeptical at first, but after my mind was made up, I started telling others throughout the industry how impressive the RoomMatch system is. And since the installation, my fondness for the system has grown stronger.”

“I was very pleased that the system specified was a Bose RoomMatch system, as I have recently employed RoomMatch and PowerMatch components in several installations in our area,” stated Charles Crane. “For example, at the University of Rhode Island’s Edwards Auditorium, RoomMatch solved a problem, as their existing system was not covering every seat. In the Boston Opera House application, RoomMatch not only increased coverage but it bolstered speech intelligibility by a significant margin.”

Crane also noted that a unique aspect of the project was matching the color of the theater’s golden/beige décor and painting the Bose modules to match. “Beyond that,” he stated, “things went very smoothly, and the crew at Boston Opera House helped with much of the installation. We had strict instructions to keep the architecture intact due to the historical nature of the building, but there were two holes that had been drilled for a special presentation of Phantom of the Opera years ago. We lucked out, because they were in the exact right spots for our purposes to hang the system. Once the system was up, it required minimal tuning or tweaking to dial in the audio perfectly.”

Marchetti noted the unique challenges of providing sound reinforcement for a variety of genres in a large theater: “If a popular music artist is touring and the sound isn’t getting to the right spots in the venue, the FOH mixer simply adjusts the mix to compensate for the lack of clarity or definition. But Broadway productions are more complicated. They are governed by what the show’s Sound Designer has specified for the overall sound of the show. We have also found that most touring productions are not capable of covering our large balcony with their systems. But now with the Bose RoomMatch system in place, it is no longer a problem. The dispersion patterns that Bose offers are extremely specific, so it was not a challenge to put together exactly the right configuration for our needs. And the response has been enthusiastic from both audience and touring sound engineers. It’s a success all around.”

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