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Masque Sound Swings to the Beat for Chicago’s Theatrical Event of the Season, The Jungle Book

Equipment Package Captures Indian-Inspired Music to Enchant Audiences of All Ages

CHICAGO, JULY 29, 2013 – This summer The Jungle Book has swung into Chicago’s famed Goodman Theatre, enchanting audience members with its exuberant song and dance routines set against the backdrop of the Indian jungle. To give this new stage musical’s sound an authentic feel, Sound Designer Ray Nardelli turned to Masque Sound, a leading theatrical sound reinforcement, installation and design company, for a custom audio equipment package.

The Jungle Book is a music- and movement-filled adventure chronicling young Mowgli’s coming-of-age in the Indian jungle. Tony Award-winning Director Mary Zimmerman’s adaptation is based on Nobel Laureate Rudyard Kipling’s 1894 collection of stories and Walt Disney’s 1967 animated film, presenting the movie’s best-loved songs in wholly new Indian-inspired arrangements.

Nardelli’s involvement with The Jungle Book began in February, when Zimmerman and Music Director Doug Peck held a music workshop that brought together six Chicago swing/jazz musicians and six Indian instrumentalists playing sitars, tablas and carnatic violins to fuse songs and styles to create a sound unique to this production.

“The challenges in designing the sound for The Jungle Book were two-fold,” says Nardelli. “Not only did we have to balance these Indian instruments with Western jazz instruments, but we also had to integrate the musicians into the show by moving them from the orchestra pit to the stage for certain songs. As a result, the channel count of the show skyrocketed to a whopping 140.”

Moving the musicians between the orchestra pit and the stage several times during the show required a highly mobile audio package. To meet this challenge, Masque Sound created a custom solution for The Jungle Book that adapted the microphones into the wireless. According to Nardelli, “Blending the music with the action on stage was critical to the overall atmosphere of the show. Masque Sound’s work in micing up the Indian instruments, really helped make this possible. When they came on board, I knew we were going to have all of the expert service and equipment we needed to achieve this.”

For The Jungle Book, Masque Sound provided a custom Sennheiser wireless microphone package as well as a Yamaha CL5 digital mixing console. The company also supplied the show with an extensive speaker package from Meyer, including 13 M’elodie speakers, three Galileo UPMs for front fill, two 600-HP high-powered subwoofers and two Rio 32×16 boxes (one for the actors and one for the musicians’ pit). Masque Sound also supplied UPMs for each of Goodman Theatre’s 16 opera boxes, as the boxes were too far off axis. In addition, Masque Sound worked with Nardelli and David Naunton, the Goodman’s House Audio Supervisor to provide frequency coordination for the show to ensure all the frequencies in use did not cause signal interference.

“Working with Masque Sound always takes a huge weight off my shoulders,” adds Nardelli. “I have worked with them many times in the past and I just trust them. Their services are really the best in the industry. They are very conscientious of the details, and always take great care to ensure we are happy with their services.”

The Jungle Book is playing through August 18 at Goodman Theatre, located at 170 North Dearborn in Chicago. For more information, call (312) 443-3800 or visit www.GoodmanTheatre.org.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies” and “Once” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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Sound Devices Demonstrates 788T with Latest Firmware and Production Capabilities at SMPTE Australia 2013

SYDNEY, JULY 22, 2013 — Sound Devices, specialists in portable audio and video products for field production, will be on-site at The Society of Motion Picture and Television Engineers biennial conference and exhibition, SMPTE13, demonstrating its latest solutions for content creators in the motion-imaging, sound and broadcast industries (John Barry Sales, Stand C29). The company will exhibit its flagship 788T and 788T-SSD digital audio recorders with the latest firmware update, Version 3.0.

With the influx of multi-tracking in the field and on set, the 788T has become the next-generation digital audio recorder for advanced sound mixers who require additional isolated tracks. It boasts eight full-featured inputs and records to up to 12 tracks. It accepts either microphone or line-level signals, provides 48-V phantom power for condenser microphones, offers peak limiters for microphone inputs and features fully adjustable high-pass filters—all in a compact package. Routing flexibility allows each input to be routed to left/right mixed tracks, isolated tracks or aux tracks.

Further positioning the 788T as one of the foremost solutions for today’s evolving production standards, Version 3.0 is a free download for all existing and new 788T users offering a 192-kHz sampling rate for up to four tracks (L through B) recording to one drive. It provides for scene, take, notes, false takes, circle and track name metadata to be synched between C-Linked 788Ts. Version 3 firmware also features digital input limiters for AES3 and AES42 inputs, perfect for digital microphones. Additional enhancements include a left/right tone identification mode with a shortcut to toggle the mode on or off, added user-customizable CL-9 encoder adjustments, which affect trim gain and EQ frequency, and the option to decode MS into LR MIX only and leave ISO tracks as un-decoded MS.

In addition, Version 3.0 offers a new timecode mode, “Free Run – Auto Output Mute.” This is the same as the “Free” run mode, but mutes the “Lemo” timecode output when stopped and can be used to roll external devices when the “Rec-Run” timecode is not suitable. In addition to overall faster drive formatting, the latest firmware features an upgraded external low-voltage threshold, now 11.3V, along with various overall system improvements and optimizations.

“SMPTE is a leading technical society for the industry and we look forward to attending the conference once again this year,” says Ed Capp, Global Director of Sales for Sound Devices. “We believe attendees will be pleased to learn more about the new upgrades to the 788T and how the product can continue to be a mainstay in their production rigs, especially as audio production techniques continue to evolve.”

788T/788T-SSD users can download Version 3.0, by visiting: http://www.sounddevices.com/download/788t-firmware/download/.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

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Optocore Network Patches in Pet Shop Boys

Band’s Audio Crew Chooses Fiber System as Reliable, Cost-Effective Solution to Copper for Latest Tour

LONDON, JULY 18, 2013 — While mixing the Pet Shop Boys’ current Electric world tour, the band’s longtime sound engineers, Holger Schwark (FOH) and Seamus Fenton (monitors), needed to transfer signals and keep the sound within the digital domain. In order to do so, the duo have been relying on a multicore system from Optocore, the leading provider of scalable, high-bandwidth, low-latency fiber-optic networks for the transmission of audio, video and data in a variety of markets, including pro AV, live and fixed installations and broadcast.

The Optocore system (aided by experienced Capital Sound system technician Al Woods) plays a vital role in the tour and recently ensured the delivery of a dynamic set, including the 80’s hits Always On My Mind and West End Girls, during the synth-pop band’s performance at London’s O2 Arena. Handling the tour’s production is Capital Sound, which is utilizing a Nexo STM PA line array to provide the audio.

Schwark, a longtime Optocore user, has been relying on two Optocore DD4ME MADI converters in his compact FOH side rack for years, with a third DD4ME at the monitor desk. For the Electric tour, Schwark and Fenton chose the compact DiGiCo SD10-24 consoles and a DiGiCo SD-Rack at the monitor desk. While these consoles come equipped with an optical loop interface, the duo decided instead to run Optocore as an independent network in order to keep the entire workflow digital. Having the Optocore system in place gave the team greater flexibility to patch signals between their “playback world,” the SD-Rack, the two mixing desks, a MADI-equipped Mac Mini at FOH and FX units at FOH, along with an additional independent MADI output for occasional multichannel recording.

The selection process began during a previous tour in 2009, when the duo’s DiGiCo SD8 consoles did not have optical connections. “Since we use MADI-enabled multichannel playback equipment on stage, I did not want to rely on copper connections, so I was looking for a reliable, redundant fiber system that would also guarantee that the digital clocks on stage and FOH stayed in perfect sync at all times,” says Schwark. “Once we started using Optocore DD4MEs, it quickly became obvious how much extra flexibility they gave us in patching communication mics across or sending FOH special effects back to monitors, without needing an XLR return core,” he says.

Meanwhile, for his work with the monitors, Fenton has been running two fibers out of his Optocore system that are linked to FOH and merge two MADI streams. The DiGiCo SD-Rack, which provides inputs for mics, as well as live keyboards, is connected to the monitor console via BNC MADI cables, with full control over gains, etc., from the monitor desk. A second MADI output on the SD-Rack feeds one of the DD4ME inputs, to be picked up by FOH and the recording output. “We decided early on that gain control from FOH is not required,” says Fenton, “We only have a few mics anyway and rarely change their gains.”

The multitrack playback, which contains an essential part of Pet Shop Boys’ music, originates in a redundant pair of MADI-equipped computers near the monitor desk that have been combined using a DirectOut EXBOX.BLDS switchover unit, which feeds the other DD4ME input on stage.

The first output of that DD4ME goes into the monitor desk, carrying the multitrack playback, comms mics and some effects from FOH, while the second output is reserved for recording.

The DD4ME was designed to offer digital I/O compatibility with a range of devices, such as digital consoles with coaxial BNC MADI I/Os. The huge amount of channels exchanged by a single DD4ME makes it a highly cost-effective interface, with two MADI input and two MADI output ports allowing the transmission of up to 128 input and 128 output digital audio channels per device.

At the FOH end of the two fiber cables, fitted with standard expanded beam connectors, the two DD4ME devices have a total of four MADI I/Os — two connected to the MADI ports of the FOH desk, offering a theoretical maximum of 112 channels each way between the console and the Optocore network. The third DD4ME MADI I/O is taken by a Mac Mini with DiGiCo’s UB MADI interface, featuring tasks like system alignment tools, analyzers, live plugin processing and recording for virtual sound checks, while the final MADI I/O connects to a TC6000 reverb, with a DirectOut EXBOX.AES converter in line.

“Optocore is our entire backbone,” says Schwark. “It allows me to patch everything through the network. I connect both of the consoles’ ports to the network, as well as my peripherals, and can now use the desk’s built-in tricks for virtual soundchecks for, say, 40 recorded channels, while still connecting to my reverb engines and analyzer software on the higher-numbered channels. It works beautifully well and makes the best use of the existing I/O on the back of the desk, without adding a bulky local I/O rack.

“From the first day, what I loved about this system was its reliability, and the fact that it has ‘Link 1′ and ‘Link 2′ LEDs for the fiber connections, so I can see if communication with the stage end is established. This means that we don’t have to do extensive line checks anymore, which is great in festival situations where we don’t use our own cables, but rather festival-provided DiGiCo-style fibers. Plug it in, wait until the other end has plugged in by occasionally checking the Link LEDs, check if the shout mic works … line check done!”

Fenton agrees, praising the Optocore system. “It is a phenomenally flexible tool,” he says. “It just always works!”

About Optocore
Based in Munich, Germany, Optocore is the world market leading provider of scalable, high-bandwidth, low–latency fiber-optic networks for the transmission of audio, video and data. For 19 years, Optocore has been continuously innovating and setting new standards with regards to digital network technology. Optocore builds and develops synchronous optical fiber and CAT5 based network solutions for broadcast professionals, fixed installations and live event applications. Utilizing leading-edge technology and high-quality components Optocore guarantees durability and therefore long-term market and customer satisfaction. Due to the open system architecture, Optocore’s platform offers other manufacturers the option to transfer conventional standard audio, video and data formats used in the pro audio industry, via a fiber and CAT5 network. Technical expertise, QoS and an extensive support structure are guaranteed to all customers, together with the highest level of quality controls. For more information, visit www.optocore.com.

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Special Event Services Relies On Massive Outline Speaker System for Justin Moore Tour

System Features GTO, GTO-DF, Butterfly, Mantas, LIPF and Lab 21 Speakers

WINSTON-SALEM, NC, JULY 17, 2013 – Special Event Services (SES) deployed an immense Outline GTO-based sound system for the 2013 Justin Moore Outlaws Like Me concert tour, presented at major arenas and concert venues across the country. With Outline’s exclusive OpenArray 3D Simulation Software, SES employed the company’s integrated flying hardware system to achieve audience coverage and uniform, sterling sound quality at each stop. This setup was elemental to delivering the excitement of Justin Moore’s performances for both his heavy country rock hits and emotional ballads.

The entire mix of Outline GTO, GTO-DF, Butterfly, Mantas, LIPF and Lab 21 speakers offered audience members a sonic experience unmatched by any other system on the market. “The most significant aspect of the Outline system that we used for Justin Moore is that it replicates everything I give it without coloration,” says Jeff Oliver, front-of-house engineer for Justin Moore. “Every stage source, from all the guitar amps and microphones, to the drum kit and Justin’s vocals, are faithfully reproduced at each venue with unbelievable consistency. Such replication can be difficult to achieve live, and the Outline system does so with ease. The system puts out exactly what I put in, and I think that is the hardest aspect to achieve for live, touring concerts. With Outline, the sound is so good that the audience members feel like they are on the stage with the band no matter where they are sitting. Once you work with Outline, you get the chance to learn how an intimate sound can be achieved in a large arena.”

SES is a veteran company that has earned an international reputation for designing and deploying audio and lighting systems satisfying the needs of a broad range of audiences and venue types. The team at SES relies on the sophisticated integrated flying hardware system included on each speaker in conjunction with Outline’s exclusive OpenArray 3D simulation software to achieve stunning results.

“Outline’s OpenArray software and the design of the cabinets make setup very fast and straightforward,” says John Kaylor, systems engineer for SES. “We go in, measure the room and do all of the predictions in OpenArray, which is really simple to use. The result is a very detailed and accurate sound across every venue. The system’s automatic function chooses the angles for each cabinet. We set each cabinet in the array accordingly and fly the system quickly and accurately every time. I believe that the Outline system is one of the most powerful and easy-to-use products I’ve ever encountered. When you need it, the system delivers.”

Oliver also helps with flying the system, and while he appreciates its ease, he loves the results. “I’ve heard elements of our band out of this PA system that I never knew were there before,” he states. “The Outline system delivers the level of clarity you generally see in a recording studio, a much more controlled listening environment. The stereo imagery is second to none. There are nuances that you just don’t hear in other speaker systems. The way Outline’s high-end drivers and wave guides are designed reproduces the top end better than anything I’ve ever heard in my entire life. When you pan a guitar in the sound field, you can feel it in the room, you can feel it shift. It just kind of blows your mind that the system reproduces all the way up to 18-19 kHz where all that pretty sonic information is found, like overheads in a drum mix. Things like that give you that spatial feel at a concert, and that is good for the performer and the audience. We have achieved this all because of Outline.”

About Outline
Outline S.r.l., based in Brescia, Italy, is a leading manufacturer of high quality loudspeakers of both powered and un-powered configurations. Founded in 1973, the company has a rich history in the development of high quality loudspeaker systems, test and measurement systems, and holds numerous technology patents. With offices in Italy, The UK, and the USA and over 50 distributors on five continents with more than 4200 venues and users to its credit, Outline has assumed its place among the leaders in the professional audio market.

Masque Sound Returns for an Encore at Renowned Summer Theatre Festivals

WILLIAMSTOWN, MA, JULY 17, 2013—When the Williamstown Theatre Festival kicked off its 2013 summer season on June 26, Masque Sound, a leading theatrical sound reinforcement, installation and design company, celebrated its tenth season of providing audio equipment and services to the highly regarded event. In addition to supporting the Williamstown Theatre Festival this season, Masque Sound is once again providing audio equipment to Shakespeare in the Park at the Delacorte Theater in New York and The Muny in St. Louis.

Taking place in the Berkshires of western Massachusetts, the Williamstown Theatre Festival brings together a vast and impressive group of artists. The festival’s 58th season kicked off with the opening of Animal Crackers on the Main Stage and American Hero on the Nikos Stage.

“Masque Sound has done an incredible job of providing the equipment and services we need to put on plays that sound amazing and captivate our audiences,” says Alex Neumann, sound supervisor, Williamstown Theatre Festival. “Masque Sound always works within our budget without compromising on the quality of the gear we are using. They have been great to work with all these years.”

Managing audio for the Main Stage and Nikos Stage, which put on seven plays throughout the summer season, one of Neumann’s biggest challenges is keeping track of all the gear spread among the separate spaces, including the five smaller venues and five rehearsal spaces. “On the two main stages we turn over shows in 24 hours, so we need to make sure the sound equipment we are using can hold up to the rigors of our crazy schedule,” adds Neumann. “Equipment selection is essential and knowing that Masque Sound consistently provides reliable and well-built gear allows me to focus my attention elsewhere. That is a huge help.”

The two main stages at the Williamstown Theatre Festival feature an array of Meyer Sound and d&b speakers, including Meyer M’elodie line arrays, UPQ-1ps and UPQ-2ps and d&b E0s, E4s and E9s, as well as L-ACOUSTICS 108ps and DV subs. The 511-seat Main theatre features an Avid Profile console, while Nikos is equipped with an Avid SC48 console. For wireless needs, Neumann utilizes the Sennheiser 2000 series, supplementing it with Sennheiser SK 5012 transmitters and EM 1046 receivers.

A host of Broadway talent and recognizable film and television stars will appear on the Williamstown Theatre Festival’s stages throughout the summer, including Heather Lind, Elena Shaddow, James Cromwell and Kate Burton.

Masque Sound is no stranger to supporting regional summer theatre. Its involvement in these types of events dates back over half a century, when it first supplied rental equipment to New York City’s Delacorte Theater for Shakespeare in the Park. The Delacorte Theater became the permanent home of Shakespeare in the Park in 1962, and 51 years later, Masque Sound continues to help New York natives and visitors alike enjoy the free performances each summer season. The majestic, open-air theatre has a seating capacity of 1,800, and more than 100,000 people attend each season.

The company also recently signed on for an additional three summers at The Muny in St. Louis, following a successful eight-year working relationship. Currently in its 95th season, The Muny is America’s largest and oldest outdoor musical theatre, having been a local tradition since 1918.

When working with outdoor venues, such as Delacorte and The Muny, equipment is often exposed to the elements, requiring speakers, consoles, cables and all usable production elements to be protected—making equipment selection essential. Manufacturers such as Meyer Sound have developed water-resistant loudspeakers and rain hoods to protect the speakers from water getting inside. Masque Sound incorporates these weather-resistant products into their equipment packages.

“Although we provide unique audio equipment setups to each of these summer festivals, our goal is to supply the sound designers with the flexible, customized equipment packages they need to create an environment in which every audience member feels a connection to the show,” says Dennis Short, Masque Sound. “It’s exciting for Masque Sound to be involved with these productions and we look forward to working with them for many more summers to come.”

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies” and “Once” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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RTW to Participate in Mediatech 2013 Africa Loudness Summit

Company Will Also Exhibit Latest TouchMonitor Audio Metering Solutions

JOHANNESBURG, SOUTH AFRICA, JULY 15, 2013 ─ RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, is pleased to announce that it will be participating in the Africa Loudness Summit taking place July 17 – July 19 at this year’s Mediatech Show in Johannesburg, South Africa. In addition, RTW will exhibit its TM3, TM7 and TM9 TouchMonitors at the Wild & Marr stands (G30, G38a).

The summit, which features a discussion by Florian Camerer, PLOUD chairman and EBU R-128 co-author, will explore the issue of loudness in Africa—its effect on broadcasters and the potential solutions that various vendors have to offer. RTW will share its expertise in loudness monitoring with a presentation of its range of TouchMonitor loudness meters. The following is a description of the meters that RTW will have on hand:

TM3 and TM3-3G TouchMonitors
Controlled using a touch-sensitive display, the TM3 and TM3-3G both have a budget-friendly base price, a 4.3-inch touchscreen and a stylish exterior allowing for horizontal and vertical placement. They include a large number of graphical and numerical instruments showing single-channel or, in the case of the TM3-3G, any of the eight audio channels contained in a 3G SDI stream used for metering, de-embedding and monitoring 3G SDI audio. Both also include summing-loudness bargraphs, PPM, true peak, SPL, loudness range (LRA), dialnorm and correlation. The TM3 and TM3-3G are highly appealing compact solutions ideal for editorial offices, edit suites and small control rooms.

Both the TM3 and TM3-3G also feature PPM and true-peak instruments and offer comprehensive loudness metering in compliance with all globally relevant standards, including EBU R128, ITU BS.1770-3/1771-1, ATSC A/85 and ARIB. Finally, they also feature the Magic LRA instrument, specifically designed by RTW for intuitive visualization of the loudness range and integrated-loudness parameters. Finally, the units on display will be equipped with the new TM3-SWMC Software license, available as an add-on option, which incorporates a moving-coil emulation display.

TM7 and TM9 TouchMonitors
RTW will have on display its TM7 and TM9 TouchMonitors on display, equipped with the new BLITS instrument option that is part of the new SW20013 software license. The TM7 and TM9, which also include the innovative Magic LRA instrument, feature a seven- and nine-inch touch-sensitive display, respectively, and provide unparalleled flexibility and modularity combined with intuitive control. The software visualizes multiple sources simultaneously. Both support displaying the same signal on multiple instruments in parallel, each with dedicated defaults with both horizontal and vertical operation. The system visualizes up to 16 analog and/or digital sources at the same time.

The TM9 is also capable of providing a view of up to 32 digital channels when the 3G-SDI option is implemented. Along with RTW’s entire TouchMonitor range, the TM7 and TM9 were created to help adhere to all major industry loudness standards, including EBU R128, ITU BS.1770-3/1771-1, ATSC A/85 and ARIB.

ABOUT RTW
For more than 45 years, Cologne-based RTW has accompanied the steady technological progress in the professional audio industry with innovative instruments and technologies for visual audio monitoring in broadcast, production, post production and quality control. Its state-of-the-art audio and loudness metering systems have an excellent reputation throughout the world. With groundbreaking products such as the Surround Sound Analyzer, the company has been a key vendor of professional broadcast and audio metering equipment for decades.

RTW’s ranges of products currently includes the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the TM7 and TM9 units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.

As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by the Cologne, Germany-based RTW, offering further proof of the company’s continued dedication to supporting its customers and dealer networks in the U.S. The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers, further reducing product delivery lead times.

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.

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Cerwin-Vega! P-Series Powered PA System Makes Its Summer NAMM Debut

Massive, Tight Bass, Coupled with Crystal-clear Sound Quality at High Levels, Delivers the Goods for the Pros

There’s no shortage of powered PA systems, but the P-Series from Cerwin-Vega! has made DJs, solo acts, ensembles, bands, presenters and others take notice of the extreme levels of power, bass and clarity that it offers. The system is available at this year’s Summer NAMM (Gibson Brands Booth #1526).

The P-Series family consists of the P1500X powered Loudspeaker (with 1500W peak power, 15-inch low-frequency driver, 1.75-inch high-frequency driver and built-in three-channel mixer) and the P1800X subwoofer (with 2000W peak power and 18-inch low-frequency driver).

“We’re gratified that the P-Series is gaining such rapid acceptance from such a wide variety of users,” says Gus Jursch, acting general manager for Cerwin-Vega!. “It confirms that our decision not to cut corners, and instead, focus like a laser on uncompromised performance was what people truly wanted.”

DJs have particularly demanding requirements because the sound has to be loud, clean and have a defined low-end that punches through on the dance floor. So, when referring to the P Series, it’s noteworthy that DJ Booth.net’s reviewer said “The Cerwin-Vega! P1500X powered speakers are probably the best speakers that we have reviewed thus far in terms of build quality and overall sound quality.”

But the exemplary sound, punch and super-durable construction are also welcome for any pro audio application as well. England’s prestigious Sound on Sound magazine said that “After working with the P-Series for a while, I’m left with an impression of toughness. They are built and perform solidly, and are capable of banging out loud and clear audio all day and night.”

And Pro Audio Review described the P-Series as “One of the most impressive and unique portable PA systems…it remains my personal benchmark of what to expect from a truly pro-grade portable PA.”

Experience the Cerwin-Vega! P-Series — don’t worry, we won’t turn them up all the way — as well as other exceptional product highlights from Gibson Brands, at Summer NAMM.

About Cerwin-Vega!
Cerwin-Vega!, part of the Gibson Pro Audio division, is a leader in the design, manufacture, and distribution of loudspeakers for the home and professional audio markets. Designed in the pursuit of dynamic, accurate sound reproduction since 1954, Cerwin-Vega! products are distributed throughout the world via a network of distributors and dealers in more than 75 countries. For additional information on all Cerwin-Vega! products, please visit us online at www.cerwin-vega.com.

About Gibson Brands (gibson.com)
Gibson Brands, one the fastest-growing companies in the Music and Sound industries, was founded in 1894 and is headquartered in Nashville, Tennessee. Gibson Brands is a global leader in musical instruments, and consumer and professional audio, and is dedicated to bringing the finest experiences by offering exceptional products with world-recognized brands. Gibson has a portfolio of over a hundred well-recognized brand names starting with the number one guitar brand, Gibson. Other brands include: Epiphone, Dobro, Valley Arts, Kramer, Steinberger, Tobias, Slingerland, Maestro, Baldwin, Hamilton, Chickering and Wurlitzer. Audio brands include: KRK Systems, TASCAM, Cerwin-Vega, Stanton, Onkyo, Integra, TEAC and Esoteric. All Gibson Brands are dedicated to Innovation, Prestige and improving the Quality of life of our customers.

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Sound Devices Celebrates 15 Years of Industry Innovation

REEDSBURG, WI, JULY 11, 2013 — Sound Devices is proud to announce its latest company milestone, commemorating 15 years as specialists in portable audio and video products for field production. Founded by three industry veterans in 1998, the company continues to fulfill its original mission—to develop products that help customers achieve the highest quality and performance in their field production workflow. Today, Sound Devices’ growing product portfolio of award-winning audio mixers, recorders, preamplifiers, computer interfaces, and video recorders, offer customers a wide range of essential gear for television and film production.

“We are very proud to celebrate our 15 years in the industry,” says Matt Anderson, Co-founder and President of Sound Devices. “The company has evolved into one of the industry’s most trusted companies, due in large part to the hard work and commitment of our staff.” Jon Tatooles, Co-founder and Vice President of Business Development adds, “We also thank our customers for their loyalty, support and feedback, helping us to reach this milestone in an industry where technology is constantly changing.”

Sound Devices entered the industry with its first broadcast-oriented product, the durable battery-powered MP-1 Portable Microphone Preamp. The company introduced the product and made it available for purchase at the 1999 NAB Show. Today, many elements designed into the MP-1 continue to live in later-generation Sound Devices products, including the battery tube design, high-performance microphone preamplifiers, and durable mechanical construction.

In 2000, Sound Devices introduced its 442 Field Mixer, essentially an over-the-shoulder portable mixing console for production, ENG and film. Developed with input from the industry’s top audio engineers, the 442 offered the audio performance, feature set and mechanical construction demanded by customers with higher expectations for audio from the field.

Soon after, in 2003, Sound Devices announced its entry into the portable digital audio-recording category with its 7-Series Recorders. The 722 and 744T began shipping in early 2005. The 702 and 702T followed, and in 2008, the 788T portable, eight-input, 12-track recorder with time code made its debut in the 7-Series family. Numerous accessories such as the CL-8, CL-9, and CL-WiFi have expanded the number of applications for these recorders, along with numerous feature enhancements through firmware updates.

At the 2011 NAB Show, Sound Devices brought its portable digital recording technology to video with the introduction of its PIX audio/video recorders, PIX 220 and PIX 240. With its strong history of developing high-quality products for the evolving production world, this was a natural progression for Sound Devices. The audio circuitry on the PIX 220 and PIX 240 is based on Sound Devices’ award-winning 7-Series digital audio recorders.

As part of the company’s continued evolution and commitment to its customers and community, Sound Devices relocated its headquarters to a new 27,000 square-foot facility in Reedsburg, Wisconsin, in early 2012. Equipped with state-of-the-art technology, the facility enables Sound Devices to continue to develop new, innovative field-production audio and video products with greater operational capacity. The headquarters is large enough to hold training meetings for its sales representatives and distributors, and offers space for permanent product displays designed for training.

Entering its 15th year, Sound Devices’ commitment to innovation has continued with the introduction of the PIX 260i. The rack-mounted PIX 260i is a file-based audio/video recorder that seamlessly replaces tape-based video decks in production and post-production environments. Its extensive audio capabilities include 32 tracks of audio with analog, AES digital, embedded audio over SDI and HDMI, or Ethernet-based Dante. Powerful network control capabilities include browser-based Ethernet machine control and drag-and-drop network file transfer.

For more information on Sound Devices and its innovations over the last 15 years, visit www.SoundDevices.com or www.facebook.com/sounddevices.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The 15-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

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RTW Adds BLITS Instrument to Its TM7 and TM9 TouchMonitors

COLOGNE, JULY 11, 2013 – RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, has introduced a new BLITS instrument option for its line of TM7 and TM9 TouchMonitors. Part of the SW20013 software license recently issued by the company, the BLITS instrument is designed to generate and analyze BLITS test signals. The new software license with this option is now shipping.

BLITS (Black & Lane’s Ident Tones for Surround) enables testing for channel allocation, level and phase of 5.1 surround signals. Developed in 2004 by Martin Black and Keith Lane at London’s Sky TV, this sequence has gained widespread adoption in international broadcasting.

RTW created a special instrument not only to generate a BLITS test signal, but also to use the BLITS sequence for a user-friendly and comprehensive analysis and display of level, channel allocation, phase, delay and polarity of incoming digital audio signals in 5.1 mode. Adjustable limits complement the analyzer, and the sequence can be accessed from any digital input of the TouchMonitor.

In addition to the analyzer, the BLITS instrument features a signal generator. This feature is capable of generating not only the 5.1 sequence, but also a stereo ident sequence either in EBU 3304 format or as the widely known GLITS tone. A user can choose to place an identification header, similar to a station ident, in front of the test sequence. The signal will then be output through the AES 3 or AES3id output feeds.

The BLITS license option for TM7 and TM9 uses the order code SW20013, and requires users to install the current firmware, version 3.10, first. Users can download the firmware for free by logging in to RTW’s website: http://www.rtw.de/en/sales-support/manuals-software.html.

About RTW
For more than 45 years, Cologne-based RTW has accompanied the steady technological progress in the professional audio industry with innovative instruments and technologies for visual audio monitoring in broadcast, production, post production and quality control. Its state-of-the-art audio and loudness metering systems have an excellent reputation throughout the world. With groundbreaking products such as the Surround Sound Analyzer, the company has been a key vendor of professional broadcast and audio metering equipment for decades.

RTW’s range of products currently include the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the TM7 and TM9 units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.

As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by RTW, showing the company’s dedication to supporting its customers and dealer networks in the U.S. The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers.

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.

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Fall Out Boy Hits the Road with RapcoHorizon RoadHog Cables

Band Also Relies on Company’s Custom Looms and Rack Panels for Pristine Audio at Every Performance

NASHVILLE, JULY 11, 2013 ― The RapcoHorizon Company’s RoadHog Cables (Summer NAMM, Booth 1112) will be live on stage when alternative rock group Fall Out Boy heads out on its U.S. Save Rock and Roll arena tour this fall. Fresh off a series of stops in the Midwest this June, the band relies on the RoadHog cables along with a series of custom looms and rack panels to ensure its fans get a top-notch performance every night.

Designed for the working musician, the RoadHog cables are road ready and tour tough, employing the most rugged constructions without sacrificing sound quality. Fall Out Boy will once again call on its RapcoHorizon cables this September to provide pristine sound in a durable casing.

“There’s a definite difference in the quality of RapcoHorizon products compared to other brands on the market,” says Fall Out Boy Guitar/Bass Tech Brian Diaz. “Like the RoadHog Cables, all of the gear they make is rock solid. We’re very happy with what we’ve gotten from them so far.”

RapcoHorizon RoadHog cables are designed to work perfectly no matter how often they are put to use. They are built with PVC outer jackets that are durable and thick, yet flexible, and pure copper conductors and shields. Another benefit of the RapcoHorizon cables is their ability to coil well. The quality of the cables and flexible jacket ensures that they not only lay flat on stage, but also roll up easily without causing bends. This design ensures that the RoadHog cables provide an advanced sound and reliable operation for Fall Out Boy and other touring bands.

“I was introduced to RapcoHorizon through our Front of House Engineer, Brent Okuley, who had been using the cables on a previous project with the band Underoath,” continues Diaz. “He’d had such a good experience with the company and its products that he suggested we invest in them for Fall Out Boy.”

Prior to using RapcoHorizon, Diaz was cutting cabling and creating looms entirely on his own from the limited resources he had available on the road. “I was just making looms and wrapping them up in zip ties or electrical tape,” he explains. “I also only ever used black cables and I would have to label them, but RapcoHorizon set me up with a variety of colors, whichever I wanted. They also have a very wide variety of products that I can choose from to make any type of custom-built loom or system. If I tell them I need something of a very specific length, like 47.5 feet, they’ll make it 47.5 feet for me. That’s pretty neat, because it cuts out a lot of extra work that I’d have to be doing to do that.”

Diaz is especially fond of the custom rear-mounted rack panels that were created for him by The RapcoHorizon Company. “The rack panels are really cool,” he shares. “I’ve had to make those before and I know it is very labor-intensive to make them. They require very specific settings, but RapcoHorizon will just make them and ship them out right away, which is a really big time-saver for me.”

Hailing from Long Island, NY, Diaz has been the guitar/bass tech for Fall Out Boy since 2006. In addition to working with Fall Out Boy, he also hits the road with the likes of Guns N’ Roses, Motion City Soundtrack, Anthrax, Primus and Sum 41. He also previously performed with the bands Edna’s Goldfish and The Reunion Show.

Fall Out Boy is currently promoting its new album, Save Rock and Roll, released on April 16, 2013. Spending most of the summer at home, the band will continue its U.S. tour on September 5, 2013.

The RapcoHorizon Company, located in Jackson, Missouri, is one of the world’s largest manufacturers and suppliers of audio, video, home theater, data and telecommunications interfacing products. Comprising RapcoHorizon, Momentum, Pro Co, Pro Co Data, RAT, RoadHog and StageMASTER, each RapcoHorizon Company brand has developed a reputation in many industries for reliability, and superior sound performance. Used worldwide by concert touring sound companies, video and sound contractors, recording studios, system integrators, audiophiles and musicians, the company’s products provide optimal flexibility and premium performance. The RapcoHorizon Company also has a state-of-the-art Custom Shop to modify existing products or build new devices to meet any need. For more information, please visit the company’s Web site at www.rapcohorizon.com.

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