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ACCLAIMED MASTERING ENGINEER MATT COLTON RELIES ON ATC SCM150ASL PRO THREE-WAY ACTIVE REFERENCE MONITORS

WEST LONDON, U.K. – MARCH 2014: Matt Colton has been mastering albums for fifteen years. He continues to build on his growing reputation, mastering for the likes of Coldplay, James Blake, Gary Numan, and Metronomy, and his work recently earned him the title of “Mastering Engineer of the Year” from the Music Producers Guild. He has worked at several of London’s most esteemed mastering houses, including Porky’s Mastering, Optimum Mastering, AIR Studios, and Alchemy Mastering, the last of which he recently re-launched with original owners Barry Grint and Phil Kinrade. To maintain his edge, Colton installed a pair of ATC SCM150ASL PRO 3-way active loudspeakers in his critical listening room at the new Alchemy Mastering in West London.

For Colton, there’s more to mastering than simply having access to the latest and greatest ear-bending analog and digital signal processing technologies. “The things that are really important are the acoustics, speakers, amps, convertors, and power supplies, along with the wiring that connects them all together – everything that affects the sound in the room,” he said. “You cannot get around that. So I would rather have a great-sounding room and a workstation with a couple of plug-ins than every piece of hardware ever made and a poor-sounding room, because, no matter how much you say you understand the room, we all react to what’s coming out of the speakers and make our judgments based on how it sounds in the room. If the room is too bassy then the recording is going to be bass light, even if we know the room is too bassy.”

Fundamental to Colton’s current way of working is a pair of ATC SCM150ASL PRO 3-way active loudspeakers. “Having worked at AIR on a really lovely pair of hi-fi speakers, I felt I wanted to go back to studio monitoring and have something that maybe sounded a bit less polished in terms of the actual sound that’s coming out of the speaker,” he said. “So I’m working on a pair of SCM150ASL PROs. I’d previously worked on a pair of SCM200s many years ago, which I loved.”

An unconventional demonstration convinced Colton that the SCM150ASL PRO patently met his critical listening criteria: “I did a lecture at Westminster University in Harrow to over one-hundred people in a really big lecture hall with a massive ceiling height of fifty feet or so. Ben Lilly of ATC brought along a pair of SCM150s and I played some James Blake records with really low sub-bass – down at around 35Hz – and they just sounded glorious. It was a wonderful experience to hear those records played in that room only on a pair of speakers. So, on that basis, I’ve got the 150s in my mastering room – sadly, not quite as big as that lecture hall!”

With well-honed listening skills, Colton is perfectly positioned to provide honest insight into the SCM150ASL PRO in action at Alchemy Mastering. “They’re a direct and honest pair of speakers,” he said. “If the mix sounds good, then it sounds good here; if it doesn’t, then it doesn’t. There’s no flattery on the part of the speakers, though they’re wonderful to listen to when you get it right. I’ve really enjoying working on them.”

ABOUT TRANSAUDIO GROUP TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm. www.transaudiogroup.com

DANLEY SOUND LABS SEEKS INTERNATIONAL DEALERS AND DISTRIBUTORS AT PRO LIGHT AND SOUND

GAINESVILLE, GEORGIA – MARCH 2014: Danley Sound Labs, manufacturer of innovative loudspeakers and subwoofers, will be at booth 8.0N60 (Hall 8.0, Booth N60) at Pro Light & Sound in Frankfurt, Germany March 12 –15, 2014. As Danley approaches its tenth year in business, its solid foundation in the house of worship and theater markets has expanded exponentially into the arena and stadium markets with the introduction of the Danley Genesis and Jericho horns, which deliver line array coverage from point-source designs. To support and sustain that growth, Danley is seeking international dealers and distributors in several key locations to join its team. Interested parties should either contact Jonathan “J.P.” Parker, Director of Sales, and Chad Edwardson, Applications Engineer, or meet them at Pro Light & Sound.

“Although we have many areas of the world covered, there are still numerous holes in Danley’s global dealer and distribution network that need to be filled,” said Parker. “We’re looking forward to meeting with candidates at Pro Light & Sound.” In addition to a collection of its established models, Danley will have its new OS 80 weatherproof loudspeaker and its new SBH-10 Skinny Big Horn at the show. Danley designs have made a big splash in the American and European sports arena market, with Genesis Horn and Jericho horn installations at football stadiums (Lambeau Field and Ralph Wilson Stadium), college American football stadiums (Louisiana State University, Arizona University, Brigham Young University, Michigan State University, and Northwestern University, among many others), and as well as indoor sports arenas.

To set up an appointment contact: J.P. Parker (jp@danleysoundlabs.com) or Chad Edwardson (chad@danleysoundlabs.com)

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.

www.danleysoundlabs.com

48-CHANNEL ANALOG API VISION CONSOLE PLAYS A PART IN FILM

MEMPHIS, TENNESSEE: A 48-channel API Vision console has had a large impact on the fortunes of Ward Archer and his enterprise, Music+Arts Studio. Twenty-five years ago, Archer closed a chapter of his life at the helm of an ad agency to found Archer Records. Six years later, he opened the David Cherry/George Augspurger-designed studio to cater to the label’s artists and has not looked back since.

Music+Arts Studio launched with a 48-channel, discrete, all-analog, surround-sound API Vision console, and prominent members of Memphis’ indie film scene became regular clients over the following years. Like a locomotive building momentum, Music+Arts Studio is currently attracting more and more film work from an expanding geographical base. The ratio of film-related to pure music projects is creeping up on 50:50 thanks, in part, to the API Vision.

“These days, I’m comfortable saying that we have a lot of experience with sound for picture, but that’s owing to some clients that rolled the dice with us in the beginning,” said Archer. “One of our earliest and greatest successes was The Gospel According to Jazz Chapter III, which was recorded live at Reid Temple in Maryland. We took those tracks – which sounded amazing from the moment we pulled them up on the API Vision – and mixed them for stereo and 5.1 [which the Vision is designed to do simultaneously]. The Vision has a transparency and an airiness on the top end that just sounds gorgeous.” The track “It’s What I Do” won a Grammy for Best Gospel Song.

In addition to the API Vision and a killer live room, Music+Arts Studio has catered to its client base by adding an eight-foot Stewart Filmscreen and high-definition projector for film mixing. “It’s a nice, cinematic experience for the director or music supervisor,” said Archer. “We’ll even crank up the [5.1 PMC] monitoring system a bit for the full effect.” The scope of Music+Arts Studio’s film work ranges tremendously, from ADR to scoring to mixing. For example, all of the score recording for the Matthew McConaughey-led drama, Mud, were recorded using the warm analog sound that the API Vision’s circuitry provided. Other projects include the indie film, Cigarette Girl, and mini-series, Headshop.

Despite the film industry windfall, Music+Arts Studio still enjoys tackling strictly-music projects for artists on the Archer Records roster. Recently, Amy LaVere completed Stranger Me, her fourth studio album on Archer Records. Studio manager and engineer Daniel Lynn assisted the project’s producer and engineer Craig Silvey, who had just finished mixing Arcade Fire’s Grammy-winning release, The Suburbs. “Silvey loved the Vision,” said Lynn. “I remember that there was one point during the mixing where we wanted to do some complicated bussing, and it wasn’t immediately apparent how to do it. I called API and got someone on the phone right away. Craig was impressed that we had that kind of rapport!”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

(PHOTO CAPTION) Music+Arts Studio Manager/Engineer Daniel Lynn (right) pictured with Colin Hay (Men at Work) during a recent session.

DPA’s d:facto™ Vocal Microphone Wins New Fans

ran Healey, the lead singer of UK band Travis, and Marti Pellow, the lead singer of Wet Wet Wet, are the latest in the growing list of vocalists to switch to DPA’s d:facto Vocal Microphone. In both cases the artists made the change on the recommendation of their live sound engineer, Tom Wiggans.

“I have no problem recommending DPA’s new d:facto microphone because I’m so impressed with the results it has delivered for Fran and Marti – and for Dougie Payne, Travis’ bass player, who is also using one for his backing vocals,” Wiggans says. “Before I tried d:facto, I had tried quite a few new vocal microphones that made big promises, but always ended up going back to the microphone that people have been using for over 40 years. However, the d:facto’s clarity and ability to capture the true sound source without extraneous background noise has made a real difference to the way I work. I now have much more time to concentrate on other details because my vocal fader is just vocal, I don’t have to deal with anywhere near as much ambient mush bleeding into the mix.”

Tom Wiggans was introduced to the microphone by Rob Ramon, product manager for DPA’s UK distributor, Sound Network.

“Rob was at one of the gigs Travis played at the Roundhouse in London, and afterwards he came backstage and introduced himself,” Wiggans said. “I was already familiar with DPA having used the company’s overhead and instrument mics. When I heard about d:facto I was keen to try one, so Rob arranged a demo. I didn’t get a chance to try it until we were in Paris a few days later. Pablo Wheeler (Travis Monitor Engineer) and I were able to do an A/B comparison with it against the mic Fran usually used. It sounded amazing – so good that after the show I realised I was going to need better reverbs. The difference was really noticeable.”

After such a positive experience, Wiggans was happy to specify two d:facto Vocal Microphones for the rest of the Travis tour, which was taking in a number of South American cities.

“I had one for Fran and one for Dougie, both of whom were delighted with the way their vocals were sounding,” Wiggans says. “We then flew straight to some Scottish shows, and unfortunately all our equipment went astray so we had to borrow stuff for a couple of shows. Thankfully, our gear arrived for the last show, and as soon as the band walked on stage and spotted we had the mics back everyone was much happier. Missing something when you don’t have it is always a good indication of how good it is.”

After completing the Travis tour, Tom Wiggans took his d:facto vocal microphones straight out on the road again – only this time with Wet Wet Wet.

“My original plan was to have Marti try the mic in rehearsal so that we could see how he got on with it, but he was having none of that,” Wiggans says. “He wanted to try it straight away so Chris Trimby (Wets Monitor Engineer) just threw him on stage with it, blind. The d:facto sounded brilliant from the off and Marti was absolutely chuffed to bits. He liked the weight and feel of it in his hand. From a performance point of view he felt it was really well balanced.”

Tom Wiggans has also been using DPA’s d:vote™ 4099 Instrument Microphones to capture drums and brass. These were supplied by SSE Audio Group in the UK and used on the Travis tour.

“The minute we miked up Neil Primroses’ drums with the d:vote 4099, everyone was blown away,” Wiggans says. “People were coming up to me and asking what I’d done to make the drums sound so ‘real’. All the attack that you get with acoustic drums was there – it sounded like you were standing right next to them, only through a PA. They were just as good on Wet Wet Wet’s brass section, which tends to be quite loud. Once again there was no problem with feedback or rejection.”

Both Travis and Wet Wet Wet will be playing live in coming months – Travis is off to the Far East in March/April, while Wet Wet Wet has a number of racecourse gigs lines up for the summer. For Tom Wiggans and for the lead singers, the choice of microphone is now easy.

“It will be DPA’s d:facto without any doubt,” Wiggans says. “From now on, when it comes to vocal mics, it’s always going to be my first choice.”

-ends-

About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.

For more information, please visit www.dpamicrophones.com

FOH ENGINEER ANDY TORRI BRINGS METRIC HALO GEAR TO BIG HEAD TODD AND THE MONSTERS

SAFETY HARBOR, FLORIDA – FEBRUARY 2014: Although Andy Torri enrolled at a Colorado music school in the late 1980s to carefully prepare himself for a life in the world of professional audio, it was a chance meeting at a local bar that held his destiny. Mutual friends introduced Torri to Todd Park Mohr, frontman for the rising act, Big Head Todd & the Monsters. The two became friends, and shortly after Torri found himself at another bar, complaining to Mohr about how hard it was to find sound engineering work in the studios around Colorado. He expected only friendly commiseration, but got a job offer instead.

Since then, Torri has had only two main jobs: FOH engineer for Big Head Todd & the Monsters and studio engineer at KBCO in Boulder. The first gig, from which he took only a short reprieve between 2005 and 2012, took him from guitar-tuning-tee-shirt-sales-plus-mixing-duties in the smoky haze of local bars to his current position of respected FOH engineer at venues of all sizes around the Intermountain West and the nation. At KBCO, Torri engineered in-studio performances by Sting, Coldplay, Stevie Nicks, Dave Matthews, Jack Johnson, Elvis Costello, Willie Nelson, Robert Plant, and countless others. Most of those recordings found their way to KBCO’s wildly popular Studio C Session CDs, the proceeds of which went to charity.

Torri is one of those engineers who trained in the analog world and then successfully navigated the hills, valleys, and occasional rock slides to the state-of-the-art-hybrid digital/analog world that we currently live in. As he personally navigated that transition, he accumulated digital solutions from Metric Halo, and once he grabbed them, he never let them go! The first of those solutions was Metric Halo’s SpectraFoo sound analysis software. “It’s been a constant for me, both live and in the studio,” Torri said. “I love its flexibility. It’s easy to create custom pages of all the tools I need for a particular job. I also love the precision of those tools. I can zoom in or out on frequency, amplitude, or any other parameter and get as much detail or overview as I need.”

Big Head Todd & the Monsters play everything from clubs to theaters to amphitheaters, and the span between load-in and show-time is seldom ample. “We use in-house console and PA system,” Torri explained. “Every day is different, and every system has its own particular quirks.” Using his Metric Halo 2882 interface, Torri takes a feed from the board and compares it with output from a measurement microphone. He continued, “I use the Spectragraph and Spectragram a lot. They immediately reveal the hot spots and trouble areas of a particular system. After correcting those problems, I balance the system using SpectraFoo and some combination of pink noise and my own personal favorite ‘sound engineer songs.’”

Occasionally, Torri will find himself at a venue with sufficient outboard or console-based processing that he can dial in Todd’s voice and the rest of the mix using it. That’s the exception however, and he usually relies on the 2882’s DSP resources and his Metric Halo MIOStrip plug-in. “In addition to getting sound into SpectraFoo, I use the 2882 and MIOStrip to dial in the vocals,” Torri said. “I often use them on bass and/or the house mix as well. The Metric Halo system is rock solid, so I’m comfortable using it live. And it sounds fantastic. A while back, I mixed down some greatest hits tracks using every method of summing that was available to me, including using the 2882’s 80-bit summing. I gave the mixes to the mastering engineer without telling him what all the different codes stood for – it was a blind test. Every time, he chose the 2882 summing. It has a depth and definition to the panning and a warm, solid low end.”

Much like SpectraFoo and the 2882, Torri finds Metric Halo’s MIOStrip to be a tool for all occasions. “MIOStrip has a great sound, which is obviously very important,” he said. “The functionality is great; cuts and gains can be very subtle or very aggressive.” For vocals and instruments, Torri often pairs MIOStrip with the 2882’s “Character” processing, which models different flavors of analog circuits. He usually uses “Soft Sat.”

“Working with Metric Halo has been about more than just the gear,” Torri concluded. “The people behind the company are great. They create great products and stand behind them: SpectraFoo is seventeen years old, and the 2882 is twelve years old. It’s all well supported, updated, and totally relevant. What other company can say that?”

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

Renkus-Heinz Will Be at Pro Light + Sound — Will You?

Frankfurt, Germany — February 2014… Pro Light + Sound, held in tandem with Frankfurt Musikmesse, is one of the year’s largest trade shows for the professional audio, video, music, and media industries. Covering literally acres of aisles within the sprawling Frankfurt Messehalle complex, it’s pretty much impossible to see it all, even in four days’ time.

But if you’re planning on attending this year’s Musikmesse, don’t forget to add a visit to Renkus-Heinz to your must-see list. The leader in digitally steered loudspeaker technology will be displaying their full line of Iconyx steerable line array systems, the world’s most popular and highly acclaimed solution. Full IC Live and IC Live Dual systems will be on display, as well as IC2, and all configurations of third-generation Iconyx IC-R-II systems with triple tweeter technology.

Also on display will be the award winning VARIA line of modular point source array loudspeakers, as well as our exciting new RH Series loudspeakers, and a preview of RHAON2, the new Renkus-Heinz Audio Operation Network — redesigned and rebuilt from the ground up.

As the world’s most experienced manufacturer of digitally steered products, Renkus-Heinz will be offering a quick yet highly effective demonstration of the power of digital beam steering. In less than a minute, you will hear what Iconyx can do for you.

After the demo, register to win an iPad Mini. A winner will be drawn at random at the end of the show. You do not need to be present to win.

Come by Hall 8, Stand M40, and meet with the Renkus-Heinz staff, including VP Sales & Marketing Rik Kirby, VP International Sales Karl Brunvoll, Marketing Manager Margie Ulm, European Sales Manager Håkan Sjöö, and Middle East Sales Manager Norbert Bau, along with representatives from various worldwide distributors. See you in Frankfurt!

 

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Headquartered in Foothill Ranch, California, Renkus-Heinz, Inc. is the worldwide leader in the design and manufacture of audio operations networks, digitally steerable arrays, powered and non-powered loudspeakers, system specific electronics and fully integrated Reference Point Array systems.

 

EMERSON COLLEGE ADDS 32-CHANNEL API 1608 ANALOG CONSOLE WITH AUTOMATION

BOSTON, MASSACHUSETTS – FEBRUARY 2014: Specializing in preparing students for careers in communications and the arts, Emerson College, through a collaborative initiative between VMA Prof. Pierre Archambault and the TRF Audio Group, recently added a 32-channel API 1608 analog console with full automation to its studio facilities to provide high-end sonics and a transitional work-flow between its other studio facilities. The school is located in Boston, Massachusetts and currently enrolls over 4,000 undergraduate and postgraduate students. Among schools of its type, Emerson College is unique for its long history – Charles Wesley Emerson founded it as a school of oratory in 1880 – and its recent growth. The new API 1608 will be used to teach courses in Advanced Recording and Introduction to Sound Design.

“We are a school of communications, focusing on Sound for Visual Media Arts,” said Bruno Caruso, Audio Technical Supervisor with Emerson College. “We use our studio facilities to teach Sound Design, Mix to Picture, ADR, Foley, sound for gaming, and voice-over.” Emerson’s studio facility already contains an entry-level room, with an analog console workflow, and a high-end post-production suite with an Avid ICON Digital workflow. The post-production suite already uses a collection of API 512c mic preamps and an API Channel Strip to handle any source recording. “We were certainly very happy with that sound,” said Caruso. “That was a factor that moved us in the direction of API for our console purchase.”

The goal was to add a studio space that bridged the technological gap between the entry-level room and the post-production suite. “Of course the API sound was an important part of our decision to add a 1608, but there was more to it than that,” said Caruso. “It’s an analog board with a great sound that’s very easy to teach. The students can stand around the board while the Faculty demonstrates techniques. Moreover, including automation gave us a pedagogical bridge between the entry-level room and the post-production suite.”

Emerson College purchased its 32-channel API 1608 through nearby Parsons Audio (Wellesley, Massachusetts). “Everyone at Parsons was great,” said Caruso. “They gave us demos of everything we were considering and lots of other support. They were instrumental in pointing us in the right direction for our needs. Through them, Todd Beeten of Sound Construction built us custom furniture and racks for our facilities” Caruso was also impressed by the help he received from API: “As far as I’m concerned, the entire industry should look to API as an ideal model for customer service. Right off the bat, our phone calls were always answered by an actual person and that’s very reassuring. Their lead technical support guy, Radovan Maricic, had the complete answer to any question we had right on the tip of his tongue. He knows API inside and out, outside and in. There’s no ‘I’ll check into that and get back to you.’ He knows exactly what’s going on, and that made it easy to install and commission the board.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

CAD Audio Unveils Equitek E19 Miniature Earworn Mic

Solon, OH––The Equitek E19 Broadcast and Production miniature earworn microphone combines industry-leading performance with upgraded features and sonic excellence.

Its miniature ergonomic profile, comfortable behind-the-ear design, and field-replaceable cable have been updated for ease of use, comfort and stability to meet and exceed the industry’s newest standards.

The E19 provides maximum intelligibility with natural, accurate reproduction for the most demanding broadcast, house of worship and live performance applications.

Currently available for CAD Audio Wireless with a TA4F-type connector, the E19 will soon be equipped with replacement cables that include TA3F, HRS and locking mini type connectors.

E19 MSRP: $279

For more information about CAD Audio, please call 800.762.9266 or visit www.cadaudio.com.

Landmark Oakland Church Gets VARIA

Oakland, CA – February 2014… Bishop Carl Smith is on a mission, and he’s unapologetic. The members of New Birth Church are encouraged not only to attend church, but to become the church by actively working to improve the quality of the lives of those they touch.

Housed in a mid-19th century Catholic Cathedral, New Birth’s 500-seat sanctuary was an acoustically challenged environment when Concord, CA-based Premier Media Integration, Inc., was brought in to design and install new audio, video, and lighting systems and acoustical treatment. Graham Cooper, President of PMI, contacted Rocky Giannetta, Principal of Layer 8 Inc., to assess the room’s acoustics and assist with systems design.

With Giannetta’s acoustical measurements documenting a reverb time of 3.8 seconds, Layer 8 created an EASE model and designed acoustical treatment and loudspeaker system that PMI would install. While the acoustical treatment reduced reverb to around 1.6 seconds, the environment was still challenging enough to demand an audio system that could keep reflections to a minimum.

“The church has beautiful stained glass throughout the structure,” adds Graham Cooper “Our job was to find places to put the panels that would be aesthetically and architecturally acceptable. Padded chairs, carpet, and, of course, people, also help.”

With reverb down to an almost reasonable level, Giannetta specified the new VARIA line array system from Renkus-Heinz. “We knew that despite our best efforts, the room was not going to be acoustically ideal, and we needed to maximize control of the energy,” he explains. “Typical line arrays would only provide the right directivity in one plane. The client wanted a line array system that would provide the output and headroom for the sound they create, and VARIA fit the bill perfectly.”

The system is comprised of six VARIA VAX101 cabinets per side, with three 7-degree boxes on top and three 15-degree boxes underneath. “With the VARIA’s variable pattern control, we were able to configure coverage from 60 degrees on top to 120 degrees on the bottom,” says Giannetta. Two VAX115S subwoofers per side, along with four DRS18-2 subs on the floor, provide low end reinforcement. The system is powered by Lab.gruppen amplification.

“We’ve been using Renkus-Heinz products on a number of projects, and the clients have always been happy with the results,” says Cooper. “The VARIA system does a great job of focusing the sound on the congregation and keeping it off the walls and reflective surfaces, and the speakers integrate nicely with the room’s architecture. Bishop Smith was emphatic about maintaining the building’s aesthetics, and the VARIA system looks great.”

Giannetta agrees, “the VARIA system was an ideal choice for this project.”

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Headquartered in Foothill Ranch, California, Renkus-Heinz, Inc. is the worldwide leader in the design and manufacture of audio operations networks, digitally steerable arrays, powered and non-powered loudspeakers, system specific electronics and fully integrated Reference Point Array systems.

GRUND AUDIO DESIGN ANNOUNCES GQ SERIES™ LOUDSPEAKERS

**** Photo: Grund Audio Design GQ Series loudspeakers ****

Council Bluffs, IA – February 2014… Grund Audio Design, a pioneering manufacturer of loudspeaker and signal processing products for the audio professional, is pleased to announce the new GQ Series loudspeakers. Encompassing five new models manufactured using MDF enclosures that are internally braced to ensure cabinet rigidity, the GQ Series loudspeakers are available in passive or active designs and are ideal for use by performing musicians and DJs as well as being an outstanding choice for event production, corporate AV, and education. more

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