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Yamaha Training Heads to Redmond, Washington

BUENA PARK, Calif.— YCATS (Yamaha Commercial Audio Training Seminars) training sessions have been set for Overland Christian Church Redmond, Washington and open to all audio professionals, free of charge. The three-day session dates are November 8-10 from 8:00 am – 5:00 pm with classes being held for advanced users of the Yamaha M7CL digital console, a workshop for the LS9 digital console, digital network and systems design clinic, and a showcase of NEXO speaker technology (GEO Series, PS Series, 45N12, RS Series Subs, GeoSUB, and NXAMP).

The M7CL advanced training is a one-day course that will reveal the depth of the M7CL and will discuss how best to utilize the console to the full extent of its capabilities. Attendees will expand their knowledge of the console and its capabilities with an opportunity to apply what is learned using multi-track audio on the new M7CL-ES digital mixing console.

The LS9 workshop is a half-day, hands-on course, learning the basics of mixing on an LS9 digital console. Attendees will become more familiar with the console layout; learn how to navigate the system, setup mix busses as an aux or group, and how to route signal to the effects units, with an opportunity to apply what is learned using multi-track audio.

The digital network and systems design clinic is a full-day course offering an array of audio networking, acoustic system design, and systems solutions workshops. The workshops will benefit anyone interested in upgrading or designing audio systems.

Registration deadline for all sessions is November 6. To register for Yamaha class sessions, visit http://www.yamahacommercialaudiosystems.com/training.php?catID=11001.
To register for NEXO showcase, email ycats@yamaha.com.

On November 10 from 9:00 am – 4:00 pm, an Audio Master Class will be held as part of the Christian Musician Summit at Overlake Christian Church with Yamaha’s Jake Cody, Mark Rush, and Peter Robinson teaching an audio boot camp for church volunteers. Cost: $99 per person. For course syllabus and registration visit: http://www.christianmusiciansummit.com/templates/cuscms/details.asp?id=32393&PID=805358.

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Minnesota Church Stays On Leading Edge of Technology With Upgrade To 96k/Optics-Capable SD10 Console

Minnesota’s Eagle Brook Church prides itself on staying at the leading edge of technology for its ever-evolving production and broadcast needs. In 2010, the thriving house of worship, which opened in late 2005 and accommodates over 2100 in stadium-style seating—retooled its overall technical infrastructure at its main Lino Lakes campus location, adding three DiGiCo SD8 consoles and DiGiRacks for FOH, monitors and video broadcast production. Flash-forward to the spring of 2011, and the audio team is at it again. Working closely with Audio Logic Systems, the latest upgrade set in motion swapped two of the SD8s at FoH and monitor world with one of DiGiCo’s newest 96k/2 gig optics-capable SD10B broadcast console loaded with the DiGiCo Waves SoundGrid plug-in bundle. They also added three SDRacks, one dedicated to the SD10 and the other two distributed within the facility. In turn, the two SD8s and DiGiRacks were migrated to the Spring Lake Park and Woodbury facilities. The changes at the main Lino Lakes campus had a ripple effect throughout, allowing all the Eagle Brook engineers at each facility to mix on similar DiGiCo platforms.

Audio mix pro Adam Bufis was brought in to work as audio director, to transition and streamline the multiple facilities, to facilitate the newest gear integrations, and to provide a mix position for the broadcast hub at the main location. With a decade of touring experience working with major Christian artists from Casting Crowns to Lincoln Brewster, and Israel Houghton for the last several years, Bufis brought a savvy technical prowess and mixing expertise to the church. The choice of the broadcast console offered many great features for live sound and for Bufis, including 5.1 surround, fader backstop solo and more.

“Originally, the radar was out to get a newer or bigger desk at our main broadcast location,” Bufis explained. “I’d mixed a ton on the SD7 and have a lot of experience on that and with DiGiCo, and really liked the added benefits available with the optical network. We started to look at what it would take to get an SD7 into our main campus as our needs were growing there. We also wanted to bump up to 96K, and I personally wanted to bring in the Waves plug-in package. So when the SD10 came out, it was almost a no-brainer just the cost-factor. With the SD8s, I was filling all 60 channels plus returning stuff with insert returns on groups, so to expand it out to a bigger channel count was almost a necessary move for us. With our ever-expanding band and orchestra, and all the loop/track/bass stuff, that starts adding up as does the input channels. Another big push for me was to get it all running on optical, using an RME MADI bridge for distribution. Before, we were running RME MADI signals to a bunch of different areas for recording and multitrack stuff. With the optical network, it just made the whole system a lot more functional and easy to use, versus flipping switches and changing routing on the MADI bridges. I can do it all basically at the desk now.

To accomplish his optical networking dream, Bufis was able to run an HMA fiber optics loop for backup redundancies and a total of 2 SD Racks, and 1 DiGiRack placed in various locations in the building—two near the stage and one in the broadcast studio—to supply the different audio feeds from each source. “The addition of the SDRacks, even at 48K took a step up! It had a much more clean and clear sound. I’ve always been a fan of the DiGiCo sound anyway, but it made a noticeable difference to us merely by just changing that. And then once we bumped up to 96K, it was even more of a noticeable difference with overall clarity and sonic performance.”

At FOH on a typical weekend, Bufis estimates Eagle Brook is running 40-45 inputs total to handle its service flow, which he says is a 50/50 mix of music and message. “We rely heavily on the production aspect for our worship experience, using LEDs, video, lighting and of course audio. We have a full band comprised of drums, bass, a few guitars, usually 4 stereo keyboard channels-worth of inputs, sometimes a small horn section of 3-5 pieces and normally we’re running anywhere from 5 to 8 background vocals and we incorporate a lot of loop-based stuff from Pro Tools. Typically, I’m running anywhere from 2-10 channels of anything from a percussive loop to a string loop to a vocal loop or whatever, and on our bigger weekends, we incorporate orchestral string sections, the biggest of which was 30-pieces, where I was running 101 analog inputs and 60 digital ones. I was able to lay the SD10 out so that I could change scenes and inputs, and to generally manage that many inputs on not a whole lot of faders for the live side of things.”

As for outputs, the SD10 is accommodating quite a few in the sanctuary for its “robust” PA. “As our room seats just under 3000 in our main campus, I have a few different hangs with group outputs going to each zone: my main L/R, main outhangs, separate controls for front, outfills and subs, and we have a 70-volt distribution system throughout the building that handles mainly overhead-type speakers that we send a feed to. I also have a full split for our broadcast suite SD8, that is outputting all 24 groups of stereo outputs to 48 digital input devices from DVRs to digital recorders to our broadcast send. We use a Mako system that utilizes microwave technology to send point-to-point signals to our other campuses, which is how they receive our simulcast message in HD video and AES audio. We have a center HD screen in each location that comes down right to the stage floor with a 6’ projected image of our pastor, and it surprises most people because it’s pretty life-like. All of that is done in HD, from the filming to the projection to the broadcast, and it’s pretty impressive. It gives the small church building a large church feel. All campuses have a live band and their own worship pastor, so outside of running our Lino Lakes simulcast sermon, it gives each of the satellite locations the opportunity to be unique.”

When asked to single out some of his favorite features on their new console, Bufis couldn’t help but rave about the SD10’s expandable GPI and GPO connections, as well as the configurable Smart Key Macros. “The GPI/GPO is huge! I love using GPI triggers out of my console to fire lobby music to start, credits to roll, and for my CD to start and stop recording—all of that is all pre-programmed in my snapshots and then controlled through GPI triggers. That, on the setup side of things, has made rolling through show time very seamless, and has taken it almost from a two-man job to a one-man position at FOH, where I’m firing everything from hardware to music. Also, I love the Smart Keys on the SD10. I love identifying them with coloring and digital labeling. Having more than just the macro buttons, I’ve started getting into more advanced shows where I have 80-100 snapshots, and it’s nice to lay those out on the Smart Keys to visually go to something quickly if I need to. I’d say those are the two biggest things I’ve found to love. However, I have to say I also really like the black color of the console. Black and gray are my two favorite colors, and the look of it is very stealthy.”

It was important for Bufis to add the Waves SoundGrid bundle in order to streamline and simplify his outboard gear. “All of our outboard gear is now completely gone; we ripped out all our BSS and Drawmer outboard stuff and now I am basically rocking the Waves SoundGrid and the console at FOH. I love all the onboard offerings from DiGiCo, but the addition of the Waves package has given the console a new character. In particular, I use the Mercury bundle quite a bit, which gives me a plethora to pick through. I use a lot of the CLA compressors on vocals and drums, and the Fairchild compressors used on bass and guitar give it an amazing character. Basically, I don’t use any onboard compression right now; most of it is done mainly through the CLA or the Fairchild’s. I do use the SSL master bus on the output of the master. I’ve started to use some of the SSL channel strips for some of the EQ and on a few vocal channels, and I use another inserted SSL or CLA EQ. Again, sonic performance is key for me and I just love the sound of some of these compressors. I’m using about 12 of the 16 racks, racked on various drums, mainly rhythm section inputs, and I’m using the compressors on vocals. I’m using one Ultramaximizer, usually on my outputs, as well as for broadcasting, so it has a more mastered sound going out to our campuses.” There are lots of things to access in my toolbox artistically.

At monitor world, he also swapped out their in-ear monitoring system. “Before we were using an Aviom system for a segment of the in-ears as we have a split of mixed ears as well as personal mixers in use. Stepping up to the new Roland M48 mixers, they have an SMADI device, which takes a MADI signal and converts it to their REAC system, allowing me to pipe a MADI signal from the console to feed to the Roland units. That too, was a pretty night-and-day upgrade for us. It has great functionality and really expanded what we do by allowing me to assign each mixer its own set of channel counts. Before, with the Aviom system, you only got a generic 16 channels to patch to. Now, with the Roland, you can patch everybody’s mixer separate from each other. It gives you a whole lot of flexibility with band members wanting specific things on those mixers.”

Bufis is running a Pro Tools rig on the FOH console, routed off a MADI connection from the SDRack and uses the GPI/GPOs to trigger the start and stop of those session files within Pro Tools. This was key in order to streamline both FOH and monitor functions into one console. The use of Smart Key Macros was key in managing monitor outputs. “The snapshots there are pretty robust and using the macros to lay those out functionally and color-code them is huge, as is the ability to rack more than two racks. We quickly grew out of just having two racks into three, and now even four and five MADI devices. So with the SD10, we can have a couple of optical racks and MADI racks needed in both those positions.”

With services on both weekend days, the audio team has built in time on Sunday morning to do a recap of previous productions. This playback is a way for everyone, including the band, to take a disconnected look and listen to the overall production experience and to share feedback on what works and what needs improvement. “We’re getting amazing feedback from them on how the whole system is performing, from the sonic quality to the mix. I would say, from musicians to pastors alike, the addition of the SD10s, SD Racks and optics, has definitely been an improvement and noticed by all, which is amazing as many of us come from a secular and Christian touring background and bring more of a show-type mentality to how things are done here. We like the term, ‘go big or go home.’ We try to stay relevant and like keep an eye out on what other houses of worship within the US are doing and I think in comparison, we fare quite high. All of us hold to a pretty high production value and standard and we’re pretty progressive on stage and set design, too. We’re constantly adding gear to stay on top of the latest technology. For us, the addition of the newest DiGiCo console was such a great thing. When I look at a console, the biggest thing for me is the sound quality. I can kind of get around hard-to-function desks or ones that may not be as intuitive if the sound quality is there. What I love about the SD10 is it has it all: a massively huge sonic quality and an easy to use, intuitive, fully functional user interface. And that for me, hands-down, is why I think it’s the best for us as a facility and for me as a mix engineer.”

Visual Acuity broadens skill base with new hire

Theatre lighting and production specialist Damian Andrews becomes a Lead Consultant, Project Development at Visual Acuity.

Theatre lighting and production specialist Damian Andrews becomes a Lead Consultant, Project Development at Visual Acuity.

Theatre lighting and production specialist Damian Andrews becomes a Lead Consultant, Project Development at Visual Acuity.

Independent technology consultancy Visual Acuity is expanding once again, this time appointing Damian Andrews to the position of Lead Consultant, Project Development. Andrews brings a fresh perspective to the consultancy with a wealth of experience working in various project roles ranging from client user, owner,operator and integrator.

This key role has both internal and customer-facing dimensions, as Blair Parkin, Managing Director, Visual Acuity, explains:

“The technological scope of our work continues to develop, as does our geographical reach – we are currently working on projects as far afield as Asia, the Middle East, the US and Europe.

“Damian will lead and champion our customers’ interests and provide advice and support to architects, building engineers, vendors and other service providers on each project.”

In addition to project-management expertise, Andrews also brings specialist skills in stage lighting and production to the party – significantly broadening Visual Acuity’s range of technological competencies as the diversity of the company’s customer base continues to grow.

Andrews’ industry experience dates back to the mid-1990s when, while studying for a Diploma in Audio Visual Design, he worked in the technical department of the UK’s Middlesbrough Theatre. He subsequently studied Electrical Engineering for Theatre, before embarking on a large-scale musical as production electrician and working as Company Stage Manager for the Carl Rosa Opera Company. Several years travelling the world as a technical manager in the cruise-ship industry culminated in the appointment as Senior Production Manager on the Queen Mary 2 overseeing the operation of multiple and varied entertainment spaces.

“The QM2 featured the world’s first Planetarium at Sea, and it was while working there that I developed a passion for planetarium design, technology and content,” Andrews explains. “After returning to dry land to work as an event technician and convention-centre operations manager in New Zealand, I was delighted to be approached by Sky-Skan, Inc., to work on a planetarium installation for them there.”

Andrews subsequently worked on other planetarium projects for Sky-Skan all over the world, including the California Academy of Sciences in San Francisco – which is where he first came to the attention of Visual Acuity. He now joins Visual Acuity from Staging Connections, an event services company in Melbourne, Australia, where he was Operations Manager. Prior to that, he was Technical Director and Chief Lighting Technician at the Gaiety Theatre, Dublin, Ireland.

Andrews has returned to the UK where he will be based at Visual Acuity’s Brighton HQ. “This appointment gives me the perfect opportunity to use the skills I have gained from working in varied industries around the globe, to compliment what is already a well-respected and experienced team,” he concludes. “I am absolutely delighted to be joining Visual Acuity.”

www.visual-acuity.com

Prism Projection Introduces Next Generation RevEAL Studio Fresnel at LDI 2011

Prism Projection, Inc. will be offering attendees at LDI 2011 the opportunity to see the next generation of lighting technology with not only a product launch but also a head to head comparison of source technologies. With the launch of the third generation RevEAL Studio Fresnel 3 (SF3) Prism expands their multi-award winning RevEAL line of products by offering designers yet another way to use LED technology as their primary source within a familiar fixture format. Another highlight of the Prism booth (#1519) will be the head to head comparison of the popular RevEAL Profile luminaire with an ETC Source Four 750-Watt ellipsoidal. Stop in and see why so many designers consider the RevEAL Profile a true ‘go to’ option for primary illumination.

“Many lighting designers consider the 750-Watt Source Four as a benchmark when comparing lights,” notes Garrett Young, President and Founder of Prism Projection, Inc. “During the show, we will give attendees the opportunity to see the Source Four alongside our RevEAL Profile, which we consider to be the future of framing profile spotlights. It has the output of traditional sources at a fraction of the power consumption, while still providing designers with beam-shaping shutters and edge-to-edge crisp projections coupled with high color rendering and excellent output.”

Many designers have quickly embraced the RevEAL Profile, which has received multiple awards throughout the industry, including the Best Debuting Product in the Lighting Category at last year’s LDI. The RevEAL Profile is a true high-CRI, LED Profile Spot with a lumen output of 16,000 lumens, a variable Correlated Color Temperature (CCT) range of 2,800–6,500K, an adjustable focus from hard to a very soft edge, changeable lenses for beam angles from 14º–70º, and a flat field. It also has four shutters on a tri-plane; accepts M-size gobos; uses DMX, Art-Net, or local control; and features a universal power input of 90–260V AC.prism-reveal-studio-barndoors.jpg

Debuting at LDI this year, is Prism’s new Studio Fresnel 3, with an output of 7,600 lumens and a Color Rendering Index (CRI) > 92, offers the ability to get clean cuts with standard barndoors and a wider range of beam angle adjustment—from a very narrow 8° to an extra wide 70°. The SF3 uses a manual zoom focus mechanism to smoothly and easily go from spot to flood. “We’ve been able to reduce the source size to enable the SF3 to work with the barndoor as well as allow for the tighter spot without any loss in output from the previous two models, adds Young.” Both the SF1 and SF2 will still be available in the Prism RevEAL line alongside the SF3 giving people the choice of the right tool for their particular application.

The SF3 reacts to the cuts and shaping of barndoors the same as a conventional Fresnel fixture and is the same form factor as a traditional 8” Fresnel. With a total power draw of 250-Watts, the SF3 is brighter than a 1kW Fresnel with a tungsten source. The RevEAL Studio Fresnels provide high lumen output, unparalleled color rendering, tunable CCT from 2,800–8,000K, a wide color palette with repeatability, and beam quality guaranteed by TrueSource® color management technology.

“We wanted to give lighting designers the ability to use our products in a similar manner that they are used to working,” says Young. “With the design of the SF3, we built on the accomplishments of the previous Studio Fresnel models and added in the ability to work seamlessly with a standard barndoor in shaping the beam. We were also able to engineer a tighter spot focus going from the previous narrow spot of 20° now down to an 8° spot.”
Both the RevEAL Studio Fresnel 3 and the RevEAL Profile will be demonstrated alongside the multi-award winning RevEAL Color Wash luminaire. Also be sure to come in for the head to head comparison of the RevEAL Profile to the ETC Source Four taking place each day in Prism’s booth #1519 at LDI.

Prism Projection – See what you’ve been missing.®

For more information about Prism Projection, Inc., please go to: www.prismprojection.com

About Prism Projection, Inc.
In the fall of 2009 Prism introduced the first of the RevEAL line of products, the Color Wash. Almost instantly the RevEAL CW generated industry awards and attention, including Best Debuting Product for Lighting at LDI 2009. In 2010, Prism again moved LED technology forward with the debut of the RevEAL Profile. RevEAL has received numerous product awards from LDI, WFX, ABTT, and Live Design tradeshows and magazines. Prism Projection’s products create specific colored light with high rendering indexes in instruments capable of maintaining that color output. The innovative TrueSource® color management and calibration system allows products to deliver exact color without many of the operational concerns of other LED systems.

PRG Debuts Best Boy 4000™ Spot and More at LDI 2011

prg_brand.jpgProduction Resource Group, L.L.C. (PRG), will launch the highly anticipated Best Boy 4000™ Spot Luminaire at LDI 2011, the leading live entertainment technology trade show held in Orlando from October 28 through October 30. Attendees will be the first to see the “all-in-one” Best Boy, a 20,000+ lumen, 700-watt fixture with an all-inclusive feature set and no compromises in performance.

Other products in the PRG booth, #1127, include the PRG V676™ and V476™ Lighting Control Consoles and the new Mbox Director™ application that allows remote control or offline editing of the Mbox EXtreme® media server. Along with PRG’s award-winning proprietary products, will be the ChamSys MagicQ MQ100 Console and ChainMaster ¼, ½ and 1-ton capacity Fixed Speed Motors. In addition, there will be the new PRG Nocturne V-18 LED Video Modules, a product that is quickly becoming the most widely specified LED screen more

SeaChanger HMI Luminaire Range Debuts at LDI 2011

SeaChanger HMI ProfileSeaChanger is expanding its product line with three new luminaires all using a highly efficient 575W HMI lamp. The new 24,000 lumen SeaChanger HMI will be on display in SeaChanger’s booth (#108) at LDI 2011 in Orlando, Florida October 28-30. The SeaChanger HMI fixtures join the current SeaChanger range that employs tungsten and plasma light sources. Designers now have more lamp choices for the revolutionary color changing SeaChanger Color Engine. The SeaChanger HMI is available in Profile, Wash, and Exterior-rated models.

The SeaChanger HMI is a true lighting innovation in DMX color changing technology. With its 575W lamp, this highly efficient HMI fixture produces an impressive 24,000 lumens at 34 lumens per watt. The SeaChanger HMI uses the patented SeaChanger Color Engine, a dynamic CYM dichroic color mixing system along with a smooth mechanical dimmer. Matching SeaChanger’s patented CYM color more

Eastern Star Church Opens Northwest Campus

BUENA PARK, Calif.—CSD, Inc. of Fort Wayne, Indiana recently completed a design/build project for the new Northwest Campus of Eastern Star Church in Indianapolis. The church began its history in 1920 with a congregation of 12, and now, three campuses later, has grown to a congregation of over 25,000. The new location was required to fill the need for a larger worship space to accommodate the growing congregation. It also provides a presence for Eastern Star Church on the west side of the city.

“We were chosen as the church’s design/build partner for audio, video and lighting, including systems for the sanctuary as well as significant performance systems in auxiliary spaces such as a chapel, conference rooms, youth and the children’s area,” states Doug Hood, Owner/President, CSD.

A major undertaking, the 3,000-seat contemporary gospel northwest campus features a choir, band, praise team and for most sermons, has 120 members located on the stage. Its new audio system is centered around a NEXO GEO S12 line array consisting of 14 GEO S1210s and 27 GEO S1230s all in white, Yamaha PM5D-RH digital audio console at front of house, and M7CL-48 used for monitors.

“We always stay on top of new products from manufacturers, and since CSD and Eastern Star Church were looking for a high output, yet, small format speaker system that could keep up with the high-energy worship style of the church, we knew the NEXO system would be a perfect fit,” says Hood.

Hood noted that Yamaha consoles were chosen for this location, as was the case with the first two Eastern Star Church campuses, and that console familiarity by church staff members plays a large part. “Another deciding factor for us was the similarity in the M7CL experience as compared to the PM5D. We felt it was important for volunteers to be able to move from monitors to FOH with as little change as possible.

Additional audio system components include 12 NEXO PS15s and four PS10s, NEXO Alpha Subs, eight 4×4 NXAMPs, and one 4×1 NXAMP. CSD also installed DLP 10K Digital Projectors, a Panasonic PTZ Cam System, and ETC and Leprecon lighting systems. Two Yamaha P3500S amps, two P7000S amps, Aviom Personal Mixing, Aviom Digital Snake, and Worx Audio speakers are used in perimeter rooms.

For more information on CSD, email doug@csdus.com or visit http://www.csdus.com.

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

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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. The company remains the official U.S. and Canadian distributor for all NEXO speaker products. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

Sound Works Productions Supports ALS Walk

CHICAGO—Now in its ninth year, the Les Turner Foundation ALS Walk 4 Life recently took place at Montrose Harbor in Chicago, and turned to Sound Works Productions (Frankfort, Illinois) for their audio production needs. The Walk4Life is one of the world’s largest ALS gatherings, and this year more than 5,000 walkers gathered to add to the already $6 million in pledges received since the Foundation began.

“The Foundation determined that this year they needed a sound system that would let speeches and music be heard throughout the entire park setting,” states Daniel Nickleski, Sound Works Productions, Inc. “We decided that our NEXO GEO S12 system would be the perfect fit.” The audio rig was comprised of seven NEXO GEO S1210s and one GEO S1230 line array per side along with four RS18 Ray Subs per side and three NEXO NXAMP 4x4s. The walkers were treated to music by Beatles cover band American English whose engineer, Nickleski said, was ‘absolutely thrilled with the NEXO sound system and one of the best mid-sized line arrays he has ever mixed on.’

“Every last person could hear all speeches without issue,” Nickleski added. “At the end of the event, the client said they were thrilled with the quality of audio and service we provided.”

For more information on Sound Works Productions, visit wwww.SoundWorksPro.com.

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

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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. The company remains the official U.S. and Canadian distributor for all NEXO speaker products. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

MASTER COMPOSER DOUGLAS CUOMO RELIES ON METRIC HALO CHANNELSTRIP PLUG-IN TO SPEED THE APPROVALS

doug_cuomo.JPG

©2011 Dan Fried, H&H Photographers

HOPEWELL JUNCTION, NEW YORK – OCTOBER 2011: Douglas Cuomo’s remarkable aptitude for creating engaging music across genres has earned him renown in the concert halls and on the operatic and theatrical stages of the world. To appreciate the tremendous scope of Cuomo’s work, it may be sufficient to note that his work has been commissioned by both Chanticleer and Britney Spears. But Cuomo also maintains a prolific career as a composer for film and television, where his ability to create genuine music of any style is a rare and valuable commodity. Among his credits are literally hundreds of themes, scores, and incidental music for network television (including Sex and the City, Homicide: Life on the Streets, Committed), film (including In the Weeds, Naked in New York, and Lie Down with Dogs), and documentaries (including Crazy Love, America’s River, and National Geographic Explorer). Part of what explains Cuomo’s high volume of more

ACIR Pro Supports Bennett’s 85th Birthday Bash at The Met

bennett-birthday-bash-acir-pm5d.jpg

EGG HARBOR TOWNSHIP, N.J.—Founded in 1883 and now in its 128th season, The Metropolitan Opera is the vibrant home for talented singers, conductors, composers, orchestra musicians, and dancers from around the world. Known as the venue for the world’s greatest voices, The Met recently hosted the 85th birthday celebration of legendary singer, Tony Bennett. Singing at The Met was not only the singer’s birthday gift to himself, but to the sold-out crowd that flocked to the 3800-seat venue’s Lincoln Center address. Guest artists included Elton John, Aretha Franklin, and Alejandro Sanz.

ACIR Professional (Egg Harbor Township, N.J.) provided the audio necessary to reinforce the sound at The Met in order to achieve the live sound to which Mr. Bennett has become accustomed. A Yamaha PM5D-EX was the console of choice for long-time Bennett front of house engineer, Tom Young. Young, whose rider preference is a PM5D, said the 5D-EX more

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