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SYMETRIX PROMOTES BROOKE MACOMBER TO DIRECTOR OF MARKETING

SEATTLE, WASHINGTON – AUGUST 2012: Symetrix announces that its former Director of Business Development, Brooke Macomber, is now Director of Marketing. In her new role, Macomber will manage the planning and execution of Symetrix’ worldwide promotional efforts so as to support the company’s continued growth. Macomber possesses nearly a decade of experience in the professional audio industry, familiarity with Symetrix’ operations, and both an MBA and a Global Business Certificate from the University of Washington, which together put her in an excellent position to increase Symetrix’ market share in the United States and abroad.

“Brooke came to Symetrix in 2006 to serve as our Sales and Marketing Manager,” said Paul Roberts, who recently vacated the Vice President of Sales and Marketing position to assume the responsibility of CEO for Symetrix. “After that, she rose to become Director of Business Development, and I’m very pleased that she will now serve as our Director of Marketing. Brooke’s personality and expertise will undoubtedly guide Symetrix to ever greater success.” Macomber will report directly to Roberts. Her expanded department is will be responsible for all areas of marketing, advertising, PR, communications, and business development.

“I am eager to take on the Director of Marketing role,” said Macomber. “Symetrix’ strength is founded on an unwavering commitment to empower customers with robust, affordable, forward-thinking professional audio DSP hardware and software. We listen to what audio professionals want, we deliver brilliant products that answer those calls, and we stand behind our work. The coming year will undoubtedly be one of our biggest. Our R&D calendar is packed with amazing new product releases, and with the recent introductions of SymNet Edge and SymNet Radius, there is a lot for me and my team to promote. I look forward to working with the extremely talented individuals in the Symetrix sales and marketing department, and I look forward to supporting our customers and end users in every way possible through honest and engaging marketing and communications.”

ABOUT SYMETRIX Sound professionals rely upon the performance, value and reliability of audio mixing, routing and processing products from Symetrix. For more information on Symetrix professional audio products, please visit www.symetrix.co or call +1 (425) 778-7728.

MSM Gives Bowlus Fine Arts and Cultural Center a Jump Start

BUENA PARK, Calif.—In 1960, when local citizen and banker Thomas H. Bowlus directed that his estate be used to benefit a cultural arts center, he may not have imagined that the Bowlus Fine Arts and Cultural Center (Iola, Kansas) would celebrate its 48th anniversary this year and a major audio upgrade.

MSM Systems (Lawrence, Kansas) was chosen to complete the upgrade in time for the center’s anniversary celebration. The 750-seat Bowlus Fine Arts and Cultural Center mission is defined as “to broaden the cultural background of area youth and make available to the citizens of the area facilities, programs and entertainment not otherwise available.” When the Center originally opened its doors in 1964, it welcomed such artist luminaries as Count Basie, Marcel Marceau, Jungle Jack Hanna, and Lionel Hampton, and more recently Big Bad Voodoo Daddy, to name a few.

“I had worked with MSM in the past and have been very pleased,” states Jeff Jordan, Technical Director at the Bowlus Center. “In determining a bid winner, customer service weighed in very high! Almost all of our shows occur in the evening and on weekends, so we needed a company that would answer the phone at 9:00 pm on a Saturday night if we had a problem. Working with MSM systems has turned out to be a great choice for the Bowlus Fine Arts Center. Everyone at MSM, from the owner to the intern, was on site and did a fantastic job. I wish every company we dealt with had this much passion and a great work ethic as the guys at MSM. The best people to work with are the ones that find solutions to problems they encounter that were unforeseen.”

“I chose NEXO speakers as the line array because they were the exact fit for the space,” states Kent Clasen, President of MSM Systems. “I demonstrated a GEO S12 system for Jeff, and he loved what he heard. When I told him it fit the Center’s budget, he was very excited.”

The main audio upgrade consists of a Yamaha M7CL-48 digital audio console, two Yamaha P3500 amps, ten NEXO GEO S12 line array boxes hung in a vertically arrayed formation five per side, two NEXO RS18 Ray Subs located in the pit, two NEXO PS8s used for front fills, JBL SRX721M monitors, and a Clearcom Intercom system. Two NEXO 4×4 NXAmps were also installed to power the system. “The integrated NXAMP system has over 30,000 watts in eight rack spaces with FIR filters,’ says Clasen, ‘and the new presets in the NXamp are really great with a flat phase response.”

Clasen added that the Yamaha M7CL was a great choice for the Center because it can be used with ease at either front of house or monitors by visiting engineers. “The Bowlus’ previous system was in operation for almost 50 years, so we had to come up with a system that would last!”

Director Susan Raines and Jordan were very hands on in making sure they got the best system. “The decision to enhance our system was based on the requirement for increased clarity and coverage with the ability to do everything from just one presenter on stage to a full band and everything in between,” adds Jordan. “The Bowlus has a very dynamic season every year; we do the local high school’s play, a community theatre musical, our local community college’s annual musical, the Bowlus’ Five Series Shows, and a Gospel concert series. The Bowlus needed an installed sound system that could do it all, rather than continuing to rent a system, and I believe we got one! This year will be the first time our local clients will be able to use a sound system of this quality,” says Jordan.”

The Bowlus Fine Arts and Cultural Center will host the 20th Annual Buster Keaton Celebration this September. For more information on the Bowlus Fine Arts Center, visit www.bowluscenter.org.

For more information on MSM Systems, visit www.msmsystemsinc.com.

For more information on Yamaha and NEXO products, visit www.yamahaca.com.

-END-

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical sup

Dual DiGiCo SD7s Drive Monitors On Springsteen World Tour

It’s been nearly forty years since Springsteen’s debut Greetings From Asbury Park, NJ, and judging from the 3-hour-plus shows, sold-out arenas, and glowing critical reviews, both rocker and band [minus the late, beloved saxophonist Clarence Clemons and keyboardist Danny Federici] are still regaling in their ‘Glory Days.’ With the Wrecking Ball Tour, in support of their 17th studio album, Springsteen & Co are heading into a two-month U.S. fall stadium tour following a massive world tour that started in March of 2012 taking them around the globe. Solotech US Corp. is the tour’s production provider.

Critical monitor mixes for the 18-piece band are split in two between engineers Monty Carlo and Troy Milner and for the first time ever they’re employing a pair of DiGiCo SD7s outfitted with the Waves SoundGrid bundle. At stage left is Carlo, who’s been with Springsteen since ’92, handling a mix of wedges and in-ears for Bruce, guitarists Steven Van Zandt and Patti Scialfa, keyboardist Roy Bittan, background vocalists, and a five-piece horn section. Milner, onboard since 2001, is at stage right taking care of drummer Max Weinberg, guitarist Nils Lofgren, bassist Garry Talent, keyboardist Charlie Giordano and multi-instrumentalist, Soozie Tyrell.

The engineers specifically chose the SD7 for its flexibility and ability to grow with the size of the production, including the massive amounts of I/O capabilities that it offered. Onboard features from snapshots to multiband compressors and the Waves pro plug-in bundle offered lots of extra functionality.

“From 2002-2009 we used Yamaha PM1D’s for monitors,” Carlo explains. “Since then, our band has grown from 9 musicians to 18 on this tour with the occasional guest on top of that. We needed something that could handle a large number of inputs, (over 100), and a massive amount of outputs, about 56 on each side of the stage. The DiGiCo SD7 was the only console I found that could accomplish what I was going to ask of it. Before this tour, I’d never actually mixed on a DiGiCo of any variety. I spent some time in the past year building the console with the Offline Editor and getting familiar with its layout and feature set. In November 2011, I got together with Troy in Nashville and we spent a couple of days with Matt Larson getting a hands-on training session with the desk. Following that, we spent the first 3 months of 2012 in rehearsals and doing some small promo events (Grammy’s, Jimmy Fallon and SXSW Festival). With the addition of a horn section and percussionist a lot of songs ended up with slightly different arrangements and we spent a fair amount if time working through the new album since not many of the band members had worked on it in its entirety.”

“We needed consoles that could handle a lot of inputs and outputs and be flexible,” adds Milner. “Before rehearsals began, we still didn’t have a concrete plan for what was going to be needed as far as band members and layouts. Things were constantly changing even into the first run of shows. I used the SD7 last year with Garth Brooks—and the D5 on numerous tours with Michael W. Smith, Mercy Me, and Amy Grant—and it performed perfectly.”

With approximately 96 inputs alone coming from the stage, plus effects and talkbacks, Carlo is managing about 112 inputs total from stage left. Being able to mix mono and stereo sources on the same fader bank as I want to see them on the desk is a huge deal for him. “I love not losing two faders to a stereo input or output as used to happen on the 1D. The level you can customize the surface is so flexible and easy to change that as your input list and band grows you aren’t stuck simply adding channels at the end of the console. Being able to rebuild the desk in a way that better suits your workflow in mid-tour is a great luxury. Plus, the multiband compressors on each channel are a great tool that I’ve been using more than I thought I would.”

Carlo’s got his favorite Waves plug-ins. “On my in-ear mixes I use the C-6 compressor and Kramer PIE compressor across the mixes. I’m using the H-EQ as an insert on Bruce’s vocal channel to allow me to get a few additional bands of EQ that I can use for tight notches on troublesome frequencies. For effects I’m using H-Delay, TrueVerb and Renaissance Verb. I’m also using GTR Stomp and Amp plug-ins on Bruce’s guitar lines in case of a problem with his amps/cabinets on stage.”

Over at stage right, Milner mixes a staggering 140 inputs, comprised of a fair amount of effects for drums and guitars, in addition to a combo of wedges and in-ear systems, including Shure PSM1000′s for ears and a mix of Audio Analysts wedges consisting of SLP115, SLP212, plus a couple of double Audio Analysts 18″ sub cabinets for drum subs.

“I double assign the drum inputs so I can tailor them for the drummer independently from everyone else. Again, another great super easy feature on the SD7. One of the biggest challenges on this tour is just the large amount of inputs and outputs we have to deal with up onstage. We have settled in now but we still have plenty of options to easily add, change or move things around without reinventing the wheel. We also have a great Talk Back system for all the techs and backline guys that are in our ears at all times, so we can be attending to issues before anyone is even aware what is happening.”

Milner’s found a plethora of onboard features and functionality helpful in his day-to-day workflow. “Being able to assign the rotary knobs on each bank to a specific function is very handy. I’m using one row for Compressor Thresholds and on my drum input bank I use one row at my Gate Threshold. Max Weinberg is a very dynamic player and I’m constantly adjusting those gates for each song and throughout each song to keep things under control for him. Also, having the ability to move any fader to any place on the desk is so great. After mixing a few shows, I learned that just moving a few inputs to other banks and reordering my outputs could vastly improve my current layout. Such a great feature! I’m also finding all kinds of new things to use the Macro Keys for now. One is that between songs when the stage is dark, it can be a little hard to see the band onstage, so I have macro key that dims all the lights and monitors down so its easier to see what they might need. Also, using a Macro Key to switch the extra video monitor inputs. I’m getting a full production feed as well as other feeds and I can just use a macro to select the one I need for any given song.”

“For most of my reverbs I’m using the Renaissance Reverb and it sounds great in every application—from drums to background vocals to horns. I’m also using the SuperTap for some delay/slap effects on the drums and horns. The Waves C6 is one of my go-to plug-ins for just about anything, and I’m using it on the snare and toms to shape the sound in the ears and also on some vocals. The CLA-76 Bluey is another favorite, and the list goes on and on. It’s great to be able to easily try out all these fantastic plug-ins on inputs and or outputs to see what works for each application.”

One of the biggest challenges with the Springsteen show is the set list, which they receive literally 5 minutes prior to the start of the show. Not only does it change from night to night, but also during the show, Bruce can veer off the list at a moment’s notice. The snapshot feature has become invaluable for both engineers.

“With the PM1D, I had a sheet with all my scenes that I would have to jump around during the show,” Carlo recalls. “With the SD7′s snapshot panel, I can order the list as Bruce intends to do the show, but then when he decides to jump to something off the list, it’s as easy to get to as typing the first letter of the song until I get to the desired snapshot. Right now, I’m at around 130 snapshots.”

“We never know what Bruce will do next or what song he will pull out, so being able to load those snapshots quickly is a challenge,” adds Milner. “I use the keyboard and just type the first letter of the song and it will jump through all those snapshots starting with that letter. Then you can fire the snapshot with the space bar very quickly. This is usually not a problem on other tours but with over 150 snapshots it can take time to go through them all. I have an external monitor hooked on the ‘B’ engine so with everything mirrored to the ‘A’ engine I can make sure I’m running in complete redundancy at all times.”

For both engineers, the SD7 has proved to be a reliable and accommodating asset for this complex and unpredictable production.

Carlo says he’s found the SD7 to be one of the most flexible consoles out there. “I can configure it to look and operate exactly the way I need it to depending on what type of show/band I’m going to be mixing on it. It sounds great, it’s warm and full without any brittle or sterile characteristics that other consoles sometimes have. Looking ahead, and depending on the show, I might be inclined to try something a bit smaller than the SD7, however, the redundancy inherent in the SD7 with its dual engines and power supplies is a solid feature.”

Milner agrees. “Absolutely, I’ll be using DiGiCo again. They sound great and are so flexible to use especially with a large number of inputs and outputs and with all the different SD console options out now, it makes finding the right desk for each application simple. On this tour, the band seems to be really happy—and with 18 people on stage and all those open mics things can get messy really fast. We seem to have found a good balance for each band member and what works for them on any given song. The SD7 sounds great and is very neutral-sounding. It doesn’t seem to color the sound at all which is nice. You can start with the source and if that sounds good, then you know things will sound great with the console. I don’t know of any other desk out there right now that can do what we are asking of these consoles. With 140 inputs, 52 outputs and around 150 snapshots (and that number is always growing) we are making these desks earn their keep!”

SYMETRIX EXPANDS SYMNET AUDIO DSP WITH RADIUS 12×8

SEATTLE, WASHINGTON – AUGUST 2012: Symetrix announces the Radius 12×8, a Dante™-networkable, fixed I/O, open-architecture digital signal processor expanding the innovative SymNet platform.

Radius may be installed as a standalone processor or used in conjunction with SymNet Edge or third party Dante(tm) network-enabled devices to achieve the scalability and flexibility needed to meet the specifications of the simplest to the most complex installations.

“The Radius 12×8 is an extremely powerful installed sound DSP making use of one of the industry’s most popular input/output form factors – 12×8,” said Paul Roberts, CEO. “In response to integrator feedback, the SymNet Radius 12×8 includes ARC-WEB, our simple, yet powerful, browser-based user-control technology, compatible with Apple and Android smartphones and tablets.”

Audinate’s award-winning Dante technology is leading the way networks are connected by transporting high-quality media over standard IT networks. Dante delivers a no-hassle, self-configuring, true plug-and-play digital audio network that uses standard Internet Protocols.

Lee Ellison, Audinate’s CEO remarks “Symetrix has done their research and is seizing the opportunity with the launch of the Radius 12×8, their second Dante-enabled product to hit the market this year. ” Ellison adds, “With the new Radius, customers will be able to easily connect to the many other Dante-enabled products now available which in turn offers a broader networked solution for everyone.”

KEY PRODUCT BENEFITS AND FEATURES
• Plug-and-play networking enables multiple Radius and Edge units to function as building blocks in a scalable system design, from one DSP to many.
• Easy transition to Radius 12×8 with advanced training available online 24/7 and Symetrix technical support staff available for design assistance.
• Twelve mic/line inputs, eight line outputs.
• Configure with SymNet Composer software with over 600 DSP modules.
• Internal gigabit and 10/100 switches eliminate the need for third-party switches in most systems.
• Network audio expansion using Dante protocol over standard IT networks. 64 transmit and 64 receive channels. Ultra low latency.
• User control: Symetrix ARC wall panels, ARC-WEB web app, SymNet SymVue, third-party touch screens.

ABOUT SYMETRIX Sound professionals rely upon the performance, value and reliability of audio mixing, routing and processing products from Symetrix. For more information on Symetrix professional audio products, please visit www.symetrix.co or call +1 (425) 778-7728.

ANALOG ACTIVIST MIXER JEFF JULIANO SHARES HIS PASSION FOR METRIC HALO’S CHANNELSTRIP

SAFETY HARBOR, FLORIDA – AUGUST 2012: Although he started out his career as both a recording engineer and a mix engineer, Jeff Juliano has since heeded his passion and focused his talents to become a mix engineer exclusively. A blessed blend of intuition and elbow grease has earned Juliano work with artists such as John Mayer, Jason Mraz, Train, Shinedown, O.A.R., Dave Matthews, Paramore, Green River Ordinance and All Time Low. These days, the flexible, but opinionated, Juliano works out of a state-of-the-art home studio, where he has amassed an impressive collection of analog outboard processors that find their way into almost every mix he does. And although he feels that most plug-ins can’t compete with the analog processing at his disposal, there is one that does: Metric Halo’s ChannelStrip. It too finds its way into almost every mix he does.

“With most plug-ins, I end up having to put five other plug-ins behind it,” said Juliano. “When I find that I’m adding a compressor and then a filter bank and then something else on top of the first plug-in, it’s because the first plug-in isn’t really doing what I want it to do. Not so with ChannelStrip.” Metric Halo ChannelStrip (an earlier version of which was installed on Juliano’s first Pro Tools rig back in the late 1990s) delivers a fully-featured gate, compressor, and equalizer in every instance.

Because Juliano is a self-described freak about analog gear, the bar for good digital plug-ins is much higher than it might otherwise be. His studio is loaded with outboard gear, both new and vintage, from manufacturers such as API, Neve, Manley, Empirical Labs, and Inward Connections. “ChannelStrip is so good that I often disable an analog send that isn’t doing the job in favor of ChannelStrip,” Juliano said. “The dynamics are reactive and the equalizer has air and warmth. ChannelStrip is useful both as an enhancement for tracks that are decent to begin with and as an emergency repair for tracks that have big problems. It’s a one-stop shop, and there’s a reason why it’s still an industry standard after well over a decade on the market. In fact, I just mixed a single “Champions” by O.A.R. and B.o.B that was recently released as part of Duracell’s campaign to support the 2012 London Olympic Games. I used the Channel Strip on every channel of that session.”

Juliano asserts that not only does ChannelStrip sound good, but it sounds good fast. “In this business, anything that I can use that will speed my work and allow me to have a life… I’ll buy that product,” he laughed. “Really, if I can finish a mix that sounds fantastic with time left over to enjoy dinner with my wife and kid and maybe go play some soccer in the backyard… why wouldn’t I?” On the business side of things, Juliano points out that the timelines for project completion have shrunk – and continue to shrink. “People give me a 25-song live recording and tell me it needs to be available on iTunes in three weeks,” he said. “To me, that’s crazy, but at the same time, it’s realistic these days. With ChannelStrip, I get immediate results. Boom! Moving on! That’s important not only as speed for speed’s sake, but also for maintaining my creative vibe. With other plug-ins, I can get bogged down with things that aren’t really happening, and that can kill my creative vibe.”

Like some sort of law (“thou shalt push technology to the brink”), Juliano notes that session sizes have been keeping pace with the exponential increase in processing speeds and storage capacity. He’s typically handed about 150-tracks per pop song. “There are still only two speakers,” he laughed. “I can – and often do – have ChannelStrip on one hundred tracks. Each instance gives me all the fundamentals – gate, compressor, and EQ – with quality that sits proudly with my big-name analog outboard gear. It’s really an invaluable tool. It saves the day, again and again.”

ABOUT METRIC HALO
Now based in the sunny city of Safety Harbor, Florida, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and future-proof hardware. www.mhlabs.com

CTS Audio Uses New Yamaha CL Consoles at High Profile Christian Events

BUENA PARK, Calif.—Women of Faith, the nation’s largest live event for women has unveiled its most transformational tour yet entitled “Celebrate What Matters.” The cross-country tour highlights some never-before-seen elements including a live worship band, a new state-of-the art stage, and live ballet. The four-month, 23-city North American tour launched on August 3rd in Columbus, Ohio with a diverse line up of 27 well-known speakers, authors, musicians, and performers including inspirational speakers Ann Voskamp, Jennie Allen, Pat Smith, and Liz Curtis Higgs. Multi-award winning musical guest CeCe Winans returned for the tour again this year along with Mandisa, Amy Grant, Selah. Sheila Walsh, Patsy Clairmont, Sandi Patty, Brenda Warner, Marilyn Meberg, Andy Andrews, Ken Davis, and Lisa Harper.

CTS Audio (Nashville), who has supported Women of Faith for over 12 years, is providing two of the new Yamaha CL5 Digital Consoles for front of house and monitors and two RIO 3224 boxes for the east coast with a similar set up for the west coast dates.

“We selected to use the new Yamaha CL consoles on the “Celebrate What Matters” tour because of its smaller footprint, its digital networking capabilities with Dante, and input and output capabilities,” states Mike Taylor, Vice President, CTS Audio. “The console is the best sounding console that Yamaha has put out so far in the digital market. With the internal add ons offered in the desk, plug ins aren’t even needed.” Prior to setting out on the tour, CTS audio engineers obtained in-house training by Yamaha Commercial Audio Systems staff.

In July, CTS Audio provided Yamaha CL consoles for the Covenant High In Christ Youth Conference (CHIC), a tri-annual event, with performances by Chris Tomlin, Skillet, La Crae, Michael Gungor, Willow Creek Worship Team, and over 6,000 high school students in attendance. For this event, CTS Audio provided four CL5 consoles, two at front of house, two at monitors, and four RIO 3224 boxes. “The set up for this event was unique in that we daisy chained all the equipment together to form one large network for openings and worship acts,” says Taylor. “We did this so that inputs/outputs could be called into any surface we wanted for maximum flexibility. With the new platform, we were able to run one network and have 128 inputs and 64 outputs available. This was important since we needed all of them for our house band from Willow Creek as well as the guest bands.”

Up to eight external Rio (Remote I/O) boxes can be used for a total of 256 channels via the Dante digital network. The 5U rack space Rio3224-D includes 32 remote controlled mic/line inputs, 16 line outputs, and four AES-3 outs. The 3U Rio1608-D includes 16 remote controlled mic/line inputs and eight line outputs. Dante network I/O can easily be set up and patched utilizing familiar paradigms within the console user interface, with no external software required for network operations.

The goal of the CHIC Conference is to help high school age students in their walk with Christ, something that matches up perfectly with the core of CTS Audio’s beliefs. “Being part of such a moving event is something that is near to my heart,” states FOH engineer Jon Schwarz.

CTS Audio staff was on site for guest engineers who required CL training, if necessary. However, Taylor said the engineers found it easy to step up and get to work because the console is laid out in a simple-to-follow-through process. “We were also able to load engineer files from other Yamaha products seamlessly. Everyone left talking about how fantastic the desk sounded.”

For more information on CTS Audio, visit www.ctsaudio.com.

For more information on the Yamaha CL Digital Console and RIO, visit www.yamahaca.com.

-END-

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

WEST PALM BEACH CHURCH RE-ENERGIZED WITH ASHLY NE AMPS AND PROCESSORS

holynamejesus_church.JPGWEST PALM BEACH, FLORIDA – AUGUST 2012: Holy Name of Jesus Catholic Church in West Palm Beach, Florida has seen tremendous growth in its fifty-eight year history. In the military surplus warehouse that served as its first sanctuary, early sermons competed with wildlife, rain, and muffled announcements from the dog track across the street. HNJCC grew into – and out of – a more

DANLEY SPEAKERS SET THE TONE IN A FABULOUS LOUISVILLE BACKYARD

louisville_backyard_speakers.JPGLOUISVILLE, KENTUCKY – AUGUST 2012: Odds are that your backyard is unlike Glenn Hogan’s backyard. Hogan is the founder, president, and CEO of Hogan Real Estate, and his grand Louisville, Kentucky home reflects the success of his business. A decade ago, Hogan hired the forward-thinking A/V integrators of Phantom Theater and Sound (West Chester, Ohio) to thread an awe-inspiring sound system throughout his more

BUOYED BY SYMETRIX JUPITER AND ARC-WEB TECHNOLOGY DEGANGE SOUND SOLUTIONS FINDS ITS NICHE IN THE INSTALLATION MARKET

john_degange.JPGBELMONT, NEW HAMPSHIRE – AUGUST 2012: Last fall, Daddy’s Junky Music Store, a New England retailer of thirty-nine years, closed all twelve of its locations. One employee, John DeGange, who had risen to the position of installed sound manager, walked away and started all over again. With a client list, established industry contacts, and a working more

MIKAEL JOHNSTON EXPANDS HIS MUSICAL REACH WITH AN API 1608 CONSOLE

mikael_johnston.JPGJESSUP, MARYLAND – AUGUST 2012: Mikael Johnston got his start in the music industry as a founding member of Mephisto Odyssey in 1993, one of the first American Electronic Dance Music acts to sign to Warner Brothers Records. From there, his charisma and solid musical sense led to a steady stream of writing, production, engineering and remix work with bands such as Jane’s more

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