With dual 15-inch, 1400W woofers and a maximum output of >130dB; what started as an exercise to push loudspeaker performance limits is now a reality for audio and home theater enthusiasts.

Huntington Beach, CA – July 24, 2012 – Pro Audio Technology (PRO), the leader in loudspeakers and DSP-programmable amplifier systems for residential properties, today announced the SCR-3215sm loudspeaker, a seven foot tall, 350 pound four-way reference speaker designed for placement behind acoustically transparent screens. The culmination of more than 25 years in high-performance loudspeaker design by lifelong loudspeaker designer and PRO founder Paul Hales, the 3215 is truly a statement product.

Starting with the drivers, Pro Audio Technology went big, opting for dual 15-inch, 1400W woofers which offer a low frequency sensitivity of 102dB with one watt of input power. With over 350 square inches of surface area supported by a massive 30 pound motor system, the 3215 moves a lot of air to produce highly impactful bass. With four-inch voice coils, thermal power handling is maximized, allowing the SCR-3215sm to play at live concert sound pressure levels for extended periods of time without fear of driver failure.

At the heart of the SCR-3215sm’s mid/high frequency assembly is a 41-pound ultra high-output (114dB / 1 watt) compression driver. Its seven-inch carbon fiber diaphragm provides pistonic motion over three and one half octaves, resulting in the most effortless, coherent, and dynamically correct rendering of vocals and instrumentation possible. Dispersion and acoustic power transfer are controlled via a constant directivity horn with over 800 square inches of effective radiating surface – more than 40 times the radiating area of a typical cone midrange.

Upper-mid and high frequencies for the SCR-3215sm are supplied via a state-of-the-art coaxial compression driver utilizing an annular polymer diaphragm for silky smooth midrange and treble and uncolored harmonics to beyond 30 kHz. Mated to a large format 18� x 22� horn, the high frequency system provides 396 square inches of radiating surface to drive the air; or the equivalent of more than 500 one-inch dome tweeters per speaker. As in commercial cinema systems, the SCR-3215sm mid/high frequency assembly employs tri-amplification to maximize the performance of each driver in the system.

When paired with companion PMA Amplifiers the SCR-3215sm speakers are part of a sophisticated digital cinema system employing advanced DSP to redefine the industry’s concept of “accuracy� and sonic realism. Maximum output is >130 dB, making the SCR-3215 the definitive loudspeaker of choice for large to very large room applications, and those who desire a visceral concert experience in their home. Because they are designed to perform behind transparent screens at “Reference Levels� from more than 12 meters away, the 3215’s are also ideal for home theater installations.

“I designed my first loudspeaker when I was 16 and have never stopped looking for ways to improve speaker technology,� said Paul Hales, founder of Pro Audio Technology. “The 3215 loudspeaker started as a laboratory experiment to see how far we could push the limits of audio performance, and now it’s a reality with orders already in place. Our dealers can’t wait to let customers hear them in person.�

For more information about Pro Audio Technology products, visit www.proaudiotechnology.com.

Pro Audio Technology custom designs and manufactures DSP-driven loudspeakers and amplifiers with preeminent consumer and professional-grade audio engineering technology to produce sonically accurate, inherently robust audio systems. Pro Audio Technology loudspeakers are built with the amplifier as a critical part of the signal path, resulting in performance optimized systems that deliver a dynamic, true-to-life listening experience. The sound system of choice for discerning music and home theater enthusiasts, Pro Audio Technology is available globally through an elite group of high-end residential custom installers.

When the Las Vegas Strip’s world-famous Fountains of Bellagio added new music to its repertoire for the first time in six years, Crest Audio® power amplifiers and MediaMatrix® digital networked audio processors were there to help bring the magic to the throngs who flock to this spectacular man-made oasis.

The Bellagio recently added iconic pop songs “Lucy in the Sky With Diamonds,� “Billie Jean,� and Glenn Miller’s “In The Mood�—with a multitude of Crest Audio CKi™ Series power amplifiers—to the playlist at the most celebrated, beloved free attraction on the Las Vegas Strip.

The 8½-acre body of water that welcomes visitors to the Bellagio features more than 1,200 water cannons, including 16 “extreme shooters� capable of sending water streams up to 500 feet in the air, as well as a mood-setting fog system and nearly 5,000 lights to illuminate the display seven nights a week. Each fountain is programmed and maintained by a team of 30 specialists, and in its 14 years of operation, the Fountains of Bellagio have never missed a show due to a technical issue.

A team of Crest Audio networkable power amplifiers provide rock-solid, high-quality sound reinforcement for the Fountains of Bellagio. The system includes 79 Crest Audio CKi 800V amps, 21 CKi 1600V amps, two CKi 800S amps, and one CKi 1600S amp, all of which are outfitted with Nx Ethernet cards for networking with the Peavey® MediaMatrix® NION® n6 processor, which controls the zones, volume, EQ, mapping and more for the entire audio system. more

a href=”http://blog.svconline.com/briefingroom/wp-content/uploads/2012/07/ventuz.jpg”>Ventuz Technology, provider of high-end interactive graphics software technologies for advanced 2D/3D real-time broadcast graphic and innovative interactive in-studio applications continues to build momentum worldwide for its software solutions.

Used throughout the broadcast, live presentation and digital signage markets, the Ventuz software suite is considered one of the most innovative solutions available today. It specifically addresses the challenges creative agencies are facing in keeping up with the technological and presentation needs of customers as well as helping broadcasters produce, manage and deliver high-end 2D / 3D on-air and in-studio graphics efficiently and economically. Regardless of the application, the openness of the Ventuz software allows for a variety of external control capabilities, such as multi-touch functionality enabling communication with any input device connected to a standard Windows PC.

Its easy to use authoring and animation environment offers an open framework of building blocks, which means users not only have a complete toolset for creating compelling content, but it also supports seamless integration with 3rd party applications. The unsurpassed flexibility of the Ventuz 3D engine provides unique possibilities to utilize designs for both broadcast on-air graphics and interactive in-studio applications.

The growing customer-base of Ventuz Technology speaks to the increasing awareness of this state-of-the-art software suite:

Broadcasters using Ventuz software for Television Programs:
• FOX USA: Next Generation FoxBox
Ventuz software drives all live sporting event clock and score graphics for Fox Sports Net (FSN) nationwide broadcasting of all major sports leagues and events.

• Who wants to be a Millionaire?
The British company Cat&Mouse, service provider for game show graphics and control, has used Ventuz for virtually all of their productions. Among their shows are renowned formats, such as Who wants to be a Millionaire, Power of 10, and Million Pound Drop.

• Political Programs
Ventuz software powered a touchscreen for the interactive TV presentation of graphs and analysis charts of coverage of several election broadcasts by WDR in Germany.

• Broadcast Sports
Swedish TV network Kanal 75 switched over to Ventuz software as its 3D graphics engine and character generator for live horse racing coverage in its off-track betting centers.

• TTR World Snowboard Tour:
Rayd and E.I.M. Solutions created a full sports on-air graphics and live-display solution with Ventuz software for the Ticket To Ride World Snowboard Tour.

Ventuz provides a powerful environment for the creation of 3D graphics regardless of how complex the on-air or presentation graphics requirements are. Its intuitive toolset offers real productivity & operational enhancements, a vast number of 2D and 3D design and text effects, as well as real-time 3D rendering. Ventuz is a versatile solution for creating rich and engaging content and designs efficiently and without being limited by the technology.

About Ventuz Technology:
Ventuz Technology offers hardware-agnostic, resolution-independent 2D/3D real-time software and technology for graphics design, authoring, and control of non-linear animation and interactive 2D/3D presentations, 3D rendering, as well as video wall and multi-display presentations.

Ventuz Broadcast:
Ventuz Technology’s Broadcast edition addresses on-air and in-studio broadcast applications, post production motion graphics and 2D/3D workflows. As a field-proven real-time graphics solutions, global broadcast stations currently utilize Ventuz for the 2D/3D authoring and graphic playback of sportscasts, second screen connected TV applications, and in-studio presentations.

Ventuz Pro:
Advertising agencies and the live events industry utilize Ventuz Professional edition for creating, staging and lighting large-scale multimedia client presentations and fully interactive product launches. Digital signage content designers use Ventuz software tools for the creation and display (including touch-screen) for POS. Regardless of the application, customers including Microsoft, Audi, Adidas, Avid, XBOX, D:SF, Skoda, and Porsche use Ventuz technology for unlimited creativity for real-time 3D design, authoring and presentation.

For more information about VENTUZ Technology’s products & services please visit: http://ventuz.com. For USA sales, please contact catrin.beck@ventuz.com.

View the Ventuz YouTube Channel for application examples: http://www.youtube.com/playlist?list=PL47C04DEBB7C43967&feature=plcp

Visual Effects Studio Teams with DNA and Panasonic to Create Dream World

Photo credit: Capitol Records©

(Los Angeles) Ingenuity Engine – an artist driven and owned visual effects studio – completed extensive work on the 3D music video for “Wide Awake,” which was written for the 3D “Katy Perry: Part of Me” film which opened on July 5. The video was directed by Tony T. Datis of production company DNA.

Ingenuity Engine delivered a wide range of shots in both 2D and 3D for the elaborate fantasy video that takes Perry on a journey through her imagination. “Wide Awake” begins with Perry completing the video for “California Gurls.” When she gets back to her dressing room, she falls into another world. In that magical place, she meets a younger version of herself, and the two face obstacles together while they make their way through an elaborate 3D labyrinth.

“All of the visuals we created for “Wide Awake” had to start as 3D elements,” explains David Lebensfeld, Ingenuity Engine creative director. “With fast-paced music videos like this, we generally use a lot of 2D elements and spend most of our time in compositing, but for “Wide Awake” all of the smoke, particle effects, and matte paintings had to be created in 3D and rendered for both eyes, which required significantly more work in the same tight schedule.”

Ingenuity Engine delivered over 140 shots in less than three weeks, including matte paintings, set extensions, various smoke, fog, fireworks and sparks effects, as well as CG elements, including a flock of CG butterflies that fly off Perry’s dress.

“To create the flock we modeled several unique butterflies, using reference photography taken on set,” says Lebensfeld. “Then these individual butterflies were rigged and animated with an initial flight cycle, which was augmented in a particle system to give each butterfly its own unique animation and flight path. Hero foreground butterflies were hand animated to facilitate the transition to the next scene and to take advantage of the depth we were working with in 3D.”

Compositing for “Wide Awake” was done in The Foundry’s NUKE and NUKEX, and tracking was completed in Andersson Technologies’ SynthEyes(tm). The CG was created in Autodesk(r) 3ds Max(r) along with Sitni Sati’s Fume and Thinkbox Software’s Krakatoa(tm).

“We are lucky to have a long history with DNA. Working closely with Tony and the DNA team allowed us to visualize and then execute the look they imagined,” adds Grant Miller, Ingenuity Engine creative director. “Because of the fast-paced nature of the music video industry, speed is essential. We are very proud that we were not only able to deliver this caliber and quantity of work with a very tight post schedule, but in stereo as well. There is talk that “Wide Awake” is going to set the benchmark for 3D music videos, and I think they’re setting that bar really high.”

The video is currently airing worldwide and can be seen at http://www.katyperry.com. Panasonic will showcase the 3D version of “Wide Awake” at consumer electronics trade shows, including IFA in Berlin as well in stores with Panasonic VIERA TVs on display around the world starting this fall.

Credits:
Artist: Katy Perry
Song: “Wide Awake”
Label: Capitol Records
Video Commissioner: Danny Lockwood
Director: Tony T Datis
Production Company: DNA
Producer: Dawn Rose and Danny Lockwood
Director of Photography: Stéphane Vallé
Stereographer: Glen Macpherson
Consultant for Panasonic: Ray Hannisian
Production Designer: Benjamin Bamps
Editor: Jarrett Fijal at Bonch
Telecine: Company 3
Colorist: Dave Hussey
Visual Effects: Ingenuity Engine
Creative Directors: Grant Miller and David Lebensfeld
VFX Producer: Oliver Taylor
Executive Producer: Matthew Poliquin
Lead Compositor: Nicholas Sorenson
Compositor: Nicholas Daniels
Lead CG Artist: John Martini
Lighting TD: Ryan Lathey

You can find more about Ingenuity Engine at www.ievfx.com, on Facebook (www.facebook.com/ingenuityengine) or on Twitter (https://twitter.com/IEVFX).

# # #

Media Contacts:
Sally Christgau, sally@ignite.bz
415.238.2254

Andrew “Fletch” Fletcher has made a name for himself mixing music on hit TV shows from “American Idol,” “The Voice” and a slew of prestigious award shows from the Grammy’s to the MTV Music Awards. For the second year in a row, Fletch handled music mixes for the 2012 Billboard Music Awards and opted to test-drive his first DiGiCo console supplied by ATK, the show’s Audio provider.

“When the opportunity arose for me to use a DiGiCo on the show, I jumped at the chance. Given the choice of an SD10 or an SD7, I went with the SD7 as it had a bigger input capacity… and more flashing lights!”

As it was his first time on a DiGiCo, Fletch spent a few hours at ATK familiarizing himself with the desk, programming his show template, and then did the rest onsite.

“The challenge on any live TV show is to always be ahead of the game. I found the SD7 to be very easy to program and to get around on in general—which got me where I needed to be time-wise. I liked the onboard effects and stuck strictly to what was available on the console including three reverbs (Warm Hall and Vocal Plate for vocals and Percussion Room for drums) and two simple delays (one short, one long for vocals) for the show. I loved the multiband compressors and they worked great on vocals.”

“I liked the flexibility of the fader bank layout, too. I put all my instruments on the left side of the console and had my vocals on the right side. I also put the top layer of vocals in the center section so I could have all 17 vocal mics on the surface at the same time. I used the edit range function to add things to my snapshots such as back up mics that were added after I had rehearsed all the bands and had to be put into all the snapshots. Also, I found the scope functions invaluable for some production elements that I had to land in my console and needed to be isolated from automation for emergency back up in case the FOH production console encountered a problem. Macros were quite useful to navigate around snapshots quickly as well.”

But what struck Fletch initially was the sound of the console.

“The sound quality is outstanding and it’s very flexible. I’ve been using just Yamaha consoles for the past 8 years and the DiGiCo’s sound very different and a lot more transparent. As it was my first time on the console—and having the time constraints of a live TV show—I didn’t get too deep into it, but I’ll indeed have some fun the next time I use one… and I’d be inclined to use one on every show, given the chance.”

NORTHRIDGE, California — The House of Blues (HOB) has 13 venues throughout the United States and is dedicated to offering the best in music and entertainment. As part of this commitment, HOB has contracted Sound Image of Escondido to upgrade its front-of house mixing facilities with a combination of HARMAN’s Soundcraft Vi4 and Vi6 digital mixing consoles in its New Orleans and Anaheim locations, and a Vi1 console in use at the HOB Mandalay Bay venue in Las Vegas.

“Saying that the tour sound business is competitive is like saying that LeBron James is a good basketball player,� said Jason Schmidlapp of Sound Image. “Top-tier venues like the HOB know they have to keep up with the latest and greatest in sound reinforcement technology in order to stay current and desirable to artists and customers.�

The House of Blues has been standardizing its sound reinforcement systems in order to be more accommodating to artists and attract a higher level of performers, which explains the decision to install the world-class Soundcraft consoles. “The Soundcraft Vi6 is a tour-friendly console and an industry standard,� Schmidlapp noted. “There are times when acts will come through and I can see the look of relief on a visiting front-of-house engineer’s face when he or she sees that they’ll be mixing on a Vi6.�

“Engineers are familiar with Soundcraft consoles and like the fact that they can get consistently excellent sound from venue to venue and even use their same console configurations and settings,� Schmidlapp continued. “It saves time, makes life easier and reduces the stress of mixing a live show.�

Sound Image completed the most recent House of Blues upgrade at the Mandalay Bay hotel, which is also home to the world’s first installation of JBL’s new VTX line array loudspeakers. The installation coincides with a 2-year residency by Carlos Santana, who is performing his “Greatest Hits Live: Yesterday, Today and Tomorrow� show through 2014.

In addition, the Houston and Boston HOB locations each feature a Soundcraft Vi6 at the front-of-house and monitor positions.

“The more consistency we can get in the sound reinforcement systems in House of Blues and elsewhere, the better it is for everybody—the management, the staff, the performers and especially the customers. It just makes practical and economic sense.�

For more information on Sound Image, please visit www.sound-image.com

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012.

Manchester’s iconic Dry Bar, a landmark of the city’s trendy Northern Quarter since 1989, recently underwent an interior upgrade in the bar and its newly refurbished basement music venue Dry Live. Situated below the bar, the venue has been completely refurbished with a black and grey interior and a brand new Martin Audio sound system.

Tasked with equipping the new Dry Live, local audio specialists Masons and their system design engineer Jack Jennings chose a Martin Audio Blackline H3H+ horn-loaded solution as the best fit for the applications.

The basement space had previously been split into several small rooms but the floor had opened out into one large venue so the downstairs space could be used for both live music and club events served by a single sound system.

The venue operators had stipulated that they wanted the audience to be able to get as close to the front of the stage as possible, while still having the desired system—“one that can offer all the punch and growl that you’d ever need�—a sound suited for both band and club events. Unfortunately, faced with ceiling height restrictions, the drop-height excluded the use of arrays or standard ‘portrait’ profile speakers.

This presented Jennings with a problem. Conventional floor-standing stacks on either side of the stage would be impractical if they needed dismantling, storing and reassembling for certain events. “The system needed to have no permanent footprint on the floor and be flown as high as possible, out of the way when not in use,� he said.

Thus with the intended mixed use of the venue, requiring dynamic and even coverage for a number of different scenarios, Jack Jennings knew the low-profile H3H+ midrange would deliver high-quality instrument and vocal reproduction.

“The Martin Audio H3H+ full-range 3-way speaker fit the bill perfectly,� he said. “Its horizontal format, high power handling, high output levels and 70º x 40º dispersion characteristics all leant themselves to this install.�

Jennings specified four H3H+ enclosures lined up across the front of the stage area. The central two are mounted tight against the ceiling and tilted slightly down to achieve nearfield audience coverage, while the outer two are mounted slightly forward and below, on steel joists either side of the stage.

The crisp high-frequency output needed to be matched by powerful sub-bass and give club promoters the sense of aural immersion they desire, despite operating as a stage-focused system rather than a traditional dance floor surround.

This is provided by four Martin Audio WS218X double 18� direct-radiating subs, two each on either side of the stage, fitted with castors so they can be easily removed when required and wheeled into a storage area.

The entire system is powered from just a 4U rack — containing a dedicated Martin Audio DX1.5 2 in 6 out digital controller and three Martin Audio MA switch-mode amplifiers.

“This elegant set-up provides huge amounts of power and reliability and allows the venue to operate the system without fear of any technical issues,� concludes Jennings.

On top of a new sound system and new look, Dry Live has also welcomed a new lighting system for both bands and club events––courtesy of Masons. Since receiving the huge Martin Audio sound system, Dry Live has played host to some of Manchester and beyond’s finest musical talent in terms of bands, DJs and promoters and is working its way up as one of Manchester’s most sought after clubs of 2012.

For more about Martin Audio, please click to www.martin-audio.com.

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

Acoustics First now carries the ISO-L8R155. These speaker isolation stands make a perfect complement to the www.PhaseFOAM.com or www.ToneTiles.com acoustical systems. Just as both systems allow you to adjust the acoustical material to tune your room, these speaker isolation stands instantly improve the focus and sound of studio monitors. Each box ships with all the parts to create a short or long stand. For use in critical listening environments, these speaker stands are great in recording studios, home listening, mastering suites, desktop gaming and more.

Speaker Isolation Stands (IsoAcoustics ISO-L8R155)
Set of two stands (Right and Left)
Product Code: AFISO-L8R
$99.00 ea.

***Free Standard Shipping Through the End of July 2012**

Acoustics First Corporation supplies acoustical panels and soundproofing materials to control sound and eliminate noise in commercial, residential, government, institutional applications worldwide. Products include the patented Art Diffusor®, sound absorbers, noise barriers, acoustical fabrics and accessories. Acoustics First® products are sold for O.E.M applications, direct, and through dealers. For more information on acoustical materials and their application, please visit www.AcousticsFirst.com or call Toll Free 1-888-765-2900 (US & Canada).

PENSACOLA, Florida – Florida’s Pensacola Christian College recently received a major audio upgrade to its 6,200-seat Crowne Centre auditorium with two HARMAN Studer Vista 9(tm) digital audio consoles, nine BSS Audio Soundweb London BLU-160 signal processors and five BLU-BIB break-in boxes. Architecturally striking with its tall, jewel-like faceted glass front sections and ultramodern curved interior featuring a 110-foot rotating stage and dual wedding chapels, the Crowne Centre is used for services, concerts, weddings and special events.

The Crowne Centre was built in 2001 but the sound system recently began showing its age. The auditorium is used almost daily, and while it proved very reliable overall, after 11 years of constant use the mixing console and other components began to exhibit failures and glitches. Commercial audio contractor All Pro Sound was chosen to bring the audio system back to the high-quality standards required by the college.

“We didn’t just want this to be a glorified repair job-we wanted the system to be more powerful and user-friendly, to be future-proof and to provide many years of reliable service,” said John Fuqua, Vice President, All Pro Sound. “We have worked with Pensacola Christian College for over 25 years and have a great understanding of their expectations for quality and function. As the original system designer and installer, All Pro Sound was able to provide a comprehensive plan that met both function and timeline.”

“The Studer Vista 9 is a significant upgrade from the previous console,” Fuqua stated. “We chose it for its large input and output capability, its flexible configurability and its superior sonic quality.”

The Crowne Centre uses two Vista 9 consoles for front of house and in the broadcast suite. Both have 42-fader mixing surfaces and are running a total of 212 inputs with 32 main outs, 48 matrix sends and 32 aux sends. The broadcast console is programmed for dynamic automation, which is required for remixing the musical portions of the church services and concert events.

“The Studer Vista 9 fits this installation perfectly,” Fuqua continued. “We needed consoles that could handle both live sound and broadcast mixing needs, and the Vista 9 is versatile enough to be optimized for both applications. It makes life much easier to have the same brand and model of console, especially since both are networked together.”

The inter-compatibility of the two consoles and the BSS Audio Soundweb London components was an especially crucial-and practical-aspect considering the time frame Fuqua was under. “We had a 3-week window to remove the old gear, change all the system programming, pull all-new fiber optic cable between locations and take delivery of, install and program a large Studer mixing system. We started the process with Studer engineers in early March for the install date to begin on May 25, so we could be completed by June 15. This was, at best, very tight for the Studer system to be built, tested and shipped to the site. We took delivery of the first Vista 9 on June 1 and the second on June 4.”

“The fact that the Studer and BSS Audio components are literally made for each other was a tremendous advantage in ensuring we did not go over deadline,” Fuqua added. “The system uses HiQnet(tm) London Architect programming interface and its drag-and-drop functionality really sped up the configuration process. Our lead systems designer Dennis Ryan created a custom GUI that allows for complete function control and monitoring for all types of events held in the Crowne Centre. The wide variety of signal processing options provided by the Soundweb London BLU-160 enabled us to precisely optimize the sound and performance of the system.”

“The Crowne Centre staff is extremely pleased with the sound quality and more intuitive user interface of the Vista 9 and the capabilities of the entire system,” Fuqua concluded. “The sound quality of the new BSS Audio Soundweb London components coupled with the Vista 9 consoles was evident from the first sound checks.”

For more information on All Pro Sound please visit www.allprosound.com.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012.

VIENNA, Austria – Broadcast to more than 500 million viewers in 66 countries, The Indian Premier League launched its 2012 Twenty20 cricket tournament with an opening ceremony full of international acts at the YMCA College of Physical Education Grounds in Nandanam, Chenni, India. Backing two of the multiple groups performing at the event, which was headlined by Katy Perry, Ravi ‘Drums’ Jakhotia played with First Project and Colonial Cousins, from Africa and India respectively, relying on the HARMAN AKG IVM4500 In Ear Monitoring system to ensure his high-quality sound.

Hired by Wizcraft International Entertainment after successful Indian-based gigs in the past, Jakhotia was eager to return to the country for such a large and important event in the sporting world. During his first performance, Jakhotia accompanied the famed drum band First Project, the opening act for the ceremonies. Later on that night, Ravi Drums played with MTV and Billboard-Award-winning Colonial Cousins from India. During this performance, Jakhotia was given a 3-minute drum solo.

“The IVM4500 worked out very well during my performances, especially at such a large and loud ceremony. Its distance was perfect and sounded amazing during the show,” Jakhotia stated. “The lows were great, the mids were clear and the highs didn’t blast out my ears. AKG’s IVM4500′s are the luxury cars for monitors, with their great balance, EQ and effects all built in.”

Ravi Drums admits to having been a little overwhelmed by the IVM4500′s at first, with their intricate settings and improved features. “Usually in-ears are just plug, play and go, but for AKG’s quality to truly shine, I had to make the proper adjustments. After a few minutes with setup, the 4500′s sound was flawless and the reliability shined through.”

For more information about AKG, please visit http://www.akg.com and http://www.youtube.com/AKGacoustics.

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG(r), Harman Kardon(r), Infinity(r), JBL(r), Lexicon(r) and Mark Levinson(r). The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,000 people across the Americas, Europe and Asia, and reported net sales of $4.3 billion for the twelve months ended March 31, 2012.