Frustrated by the limitations of the projection screen in its main auditorium, Longwood University, a liberal arts school located in Virginia, recently installed a 15-panel, 18 mm LED Curtain from PixelFLEX to visually enhance performances and presentations while maximizing viewer experience.

“We had a traditional projection screen on our stage for a long time and, while it was great if we were showing a movie where we would darken the auditorium, it was extremely limited in many other circumstances where we needed to light the stage,” said William Lynn, University multi-media supervisor. “Given that, we were looking for a solution that would provide high-quality visual images whether it was during a musical performance, a movie or a presentation.”

Featuring 3,000 pixels PSM (Per Square Meter) and 3680 brightness, PixelFLEX’s LED Curtain offers Longwood University a solution that is easy to set up and operate – videos and images can be sent to the screen using any computer with a DVI-D connection. For this project, PixelFLEX developed custom-size panels – tailored specifically for the University’s installation – totaling approximately 17×32 feet. The 18mm Curtain’s flexibility and light weight -was the primary differentiator for the University’s multi-media team when researching replacements for their traditional projection screen.

“One of the major benefits of the PixelFLEX video screen is that it is extremely easy to move, which means we can use video and effects in a variety of environments across the campus,” said John Hogge, University multi-media technician. “Over the summer, we took six of the 15 panels to the gym for new student orientation, whereas in the past we used an inflatable screen for orientation. The PixelFLEX screens provided much higher quality resolution and that kind of flexibility is invaluable.”

To date, Longwood University has used the Curtain to show videos, DVD clips and PowerPoint presentations. In the near future, Lynn expects the University will expand the use of the system to include performances by the school’s wind symphony and as backdrop for an upcoming play, in addition to inviting students to incorporate the technology into their projects and extra-curricular activities. To that end, the multi-media team recently tied a set of new cameras with wireless transmitters into the system so that when hosting concerts or dances, they’ll be able to throw the camera on the audience and their image will appear on screen.

Flexible in all directions and exceptionally durable, PixelFLEX LED Curtains are able to bend and shape around structures for a more creative display effect. For more information on PixelFLEX and its growing line of lightweight LED video screens, visit www.LEDCurtain.com. Follow PixelFLEX at www.Facebook.com/PixelFLEXUSA and @LEDCurtain.

Mekelle University, found in the town of Mekelle – in the Tigray region of Northern Ethiopia – at present hosts over 23,000 students in regular, evening, summer and distance education courses for both Bachelors and Masters Degree programs. The Government of Ethiopia established the college through the merger of two former colleges in May 2000: Mekelle Business College and Mekelle University College. Both colleges have a history of instability; exhausting ascends and descends, as well as numerous relocations from place to place.  At present, the University boasts 1400+ academic staff, 1700+ administrative staff, eight colleges, four campuses, six institutes, one referral hospital and a Human Rights and Legal Service Center. Since its establishment, it has proved to be one of the fastest growing universities in Ethiopia – and they are using Vaddio’s classroom automation technology to do it.

“The main objective was to provide a solution to the instructor shortage within the university,� explained Mr. Ashenafi Gebre of Mekelle University. The number of students was growing, but the number of qualified instructors was not. “Because the ratio of students to instructors was so lopsided, they needed to find a solution where one teacher could teach more than one class at a time.�

Not only did they want to teach several classes at the same time, they wanted to teach them in front of a live classroom full of students and stream it to other areas on/off campus. “The existing videoconferencing system had poor quality and couldn’t achieve the proposed goal because we needed more than just cameras – we needed automated tracking cameras and video whiteboards,� says Gebre.

To overcome this, the university installed Polycom HDX 8000 codecs and ceiling mics in each of the classrooms. “To achieve the best results we decided to deploy several content sources and cameras per room, so we added Vaddio’s AutoPresenter camera/content controller and switcher,� explained Gebre. “With Vaddio’s AutoPresenter we had the option of having more than just the one Polycom EagleEye camera. Now we could add the AutoTrak camera tracking system and a Video Whiteboard to further automate the classroom.�

Using Vaddio’s PresenterPOD preset trigger device, each content/camera input to the AutoPresenter can be switched through the touch of a button. “The PresenterPOD makes it easy for the professors to just touch a button and switch from the Video Whiteboard to the desired camera,� says Gebre.

“Vaddio products are really easy to install and to use – it’s plug-and-play, not plug-and-pray,� explained Gebre.

One skilled professor can now teach students at Mekelle University and post-graduate and medical students at other Ethiopian universities simultaneously. The higher educational institutions in Ethiopia already have plans to automate even more classrooms throughout the Ethiopian university system because of the experience at Mekelle University.

About Vaddio

Vaddio is the premiere global manufacturer of PTZ cameras, specialty camera control systems and professional USB peripherals used in the audiovisual, videoconference and broadcast marketplaces. Based in Minneapolis, Minn., Vaddio stands behind manufacturing innovative, quality technology your customers demand. You want cost-effective equipment that’s easy to install and reliable to operate. Vaddio serves integrators and operators alike – with broadcast-quality PTZ cameras and control systems that deliver the performance you need with the convenience you demand. More information can be found at vaddio.com or by phone at (800) 572.2011.

Premier TV station BeTV has become the first broadcaster in Belgium to invest in Jünger Audio’s Award-winning T*AP Television Audio Processors.

Based in Brussels, BeTV was established in 2004 when Walloon cable operators and investment funds Deficom and Socofe acquired local Canal+ assets from Vivendi Universal. The broadcaster prides itself on offering an extensive range of programming and delivering high quality services to its French-speaking audiences.

BeTV has installed Jünger Audio’s T*AP TV Audio Processors into its transmission chain so that it can control audio loudness levels across its entire output. 10 units were supplied by Jünger Audio’s Belgium dealer APEX NV.

Paulin Deiautte, Engineering and Maintenance Manager at BeTV, says: “We have been working with Dolby equipment for some years on one HD channel and are now increasing our number of HD channels, while also adding loudness control on each. We found Junger Audio’s T*AP units corresponded exactly to our needs as they offer compact material, clear management, one band audio for loudness treatment, integration with Dolby technonogy and engineering dialogue, all in a very easy to use format.�

While tackling audio loudness has long been a commercial issue, it has recently become even more important as a regulatory one as governments and standards organisations around the world insist on specific loudness control. All Jünger Audio loudness solutions support all known loudness standards including ITU, EBU and ATSC, therefore by installing a T*AP TV Audio Processor, BeTV can now have full confidence that its entire audio output will comply with mandated loudness controls.

Peter Pors, Managing director of Jünger Audio, says: “Our loudness control products such as T*AP have been installed in numerous broadcast facilities around the world because they offer a simple and highly effective solution to solving the problem of audio loudness. The key to their success is our LEVEL MAGIC™ adaptive control algorithm that can adjust the audio level from any source at any time, with no pumping, breathing or distortion. Broadcasters have recognised the benefit of using LEVEL MAGIC and are increasingly choosing it for line and real time processing.�

Jünger Audio’s LEVEL MAGIC™ algorithm is based on a simultaneous combination of an AGC, a Transient Processor for fast changes and a “look ahead� Peak Limiter for continuous unattended control of any programme material, regardless of its original source. Capable of using any kind of I/O (Analog and Digital) sources, as well as SDI, HD/SDI, Dolby 5.1 and all its related metadata, LEVEL MAGIC™ is available in a variety of configurations to suit different applications.

As well as being impressed with Jünger Audio’s base-band multi-loop loudness process, BeTV chose the T*AP TV Audio Processor because it offered excellent Dolby transcoding integration possibilities. Primarily designed for TV playout, the device provides Loudness control, Upmix and surround sound processing for up to eight channels of audio (8×1, 4×2, or 6+2). Optional Dolby Decoding and Encoding (D, D+, or Pulse), as well as metadata management, are also provided along with 5.1 Downmix and Jünger Audio’s 5.1 UPMIX circuit, which has been upgraded to deliver greatly improved performance and a range of new settings.

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About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.junger-audio.com

Farmington, NM, October 2012… Ricketts Field has always been more than just a local ball park for this city near America’s Four Corners. Since opening its doors in 1965, the stadium has been the home of one of Little League Baseball’s signature events, the Connie Mack World Series.

The venerable 5100-seat venue was recently treated to a large-scale audio makeover, upgrading their aging horn-based system to Community’s R-Series all-weather loudspeakers. According to William Hartley of Albuquerque-based Sound & Signal Systems, the R-Series was selected not only for its durability but also for its tight pattern control.

“The stadium is situated very close to a residential neighborhood, and the sound from those pole-mounted horns was shooting right across the surrounding homes,” Hartley explains. “After receiving several formal complaints, the city approached us to design a better solution.”

Sound & Signal Systems’ approach was to design a system using the R-Series to tightly focus the sound onto the field and seating areas, without spilling over into adjacent neighborhoods. Atop the press box, pairs of Community R.5HP three-way, R.5-94Z two-way, and R2-52Z full-range, long-throw loudspeakers are arrayed in left-right facing pairs to cover the field and bleachers. QSC amplification powers the system, and as Hartley explains, a bit of creative DSP helps to maximize the system’s versatility.

“While the stadium is full for the World Series and other big events, many times it’s just being used for a local community game, with just a few dozen parents in the stands,” he says. “We designed the new system to be configurable, depending on the size of the crowd.”

Using a Bose Control Space processor and CC-64 control panel, operators can select between small, medium, and full stadium settings. The small crowd setting turns on only the two R.5HP loudspeakers at nominal levels, while the medium setting selects both the R.5HP and R.5-94 boxes, along with a pair of WET-Series W2-122 subwoofers, at a medium gain level. The full stadium setting adds the R2-52Z loudspeakers, running the system at full gain.

And as Hartley observes, this configurable solution improves not just efficiency, but sonic quality. “With the old horns, the entire system was running, full-bore, all the time,” he says. “With sound coming from all those different point sources, the intelligibility factor was next to nil. With a selectable, directionally focused system, the difference in sound quality overall is just unbelievable.”

Hartley reports that the new system has made a dramatic difference with the stadium’s neighbors. “We’ve been able to reduce spillage outside the venue by as much as 60-70%,” he says. “I’m told there hasn’t been a single complaint since the new system’s been in use.”

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Community Professional Loudspeakers is a manufacturer and supplier of professional audio equipment.  Since 1968, Community has led the pro-audio industry with technological innovations which have become industry standards. Today, Community offers over 150 professional loudspeaker products, including installed loudspeaker systems, weather-resistant outdoor loudspeaker systems, ceiling loudspeakers, high level voice paging systems, and portable entertainment systems.  Visit www.communitypro.com for more information. 

3D projection mapping show heard throughout the piazza on an ARCS II system

LAS VEGAS — This past summer, The Venetian Las Vegas embraced the jaw-dropping art of 3D projection mapping during its Carnevale festival by premiering a stunning nightly show animating the façade of its clock tower, a replica of the one in Venice’s Piazza San Marco.

The show, known as “Light of Venice,” was the first of 10 short commissioned son et lumière works conceived by projection artist Ross Ashton who teamed up with London-based UnitedVisualArtists Ltd. and Tucson, Arizona’s Darling Ltd. on the creative implementation. AVDB Group of Las Vegas further supplied the technical components of the production, including a new L-ACOUSTICS ARCS II system. more

CANCUN, Mexico, October 29, 2012 — Simply Professional of Naucalpan, Mexico, recently provided a total of 16 Hitachi CP-WX8255 projectors for a corporate event held by Nextel in Cancun. Held at the Riviera Maya Moon Palace Hotel, the event featured a variety of speeches and presentations for a total of 2,300 guests.

For the event, Simply Professional created a jaw-dropping, 360-degree video screen measuring 1,200 square meters lining the perimeter of the event space. To create this display, Simply Professional blended the images of the 16 Hitachi CP-WX8255 projectors, hung from the ceiling and shooting outwards from the center of the room.

“We were using the projectors to show lots of dynamic content and we needed a solution that would be able to accomplish this,� said Sebastian Corkidi, director of Simply Professional. “We chose the CP-WX8255 projectors for this event because their Vertical and Horizontal Keystone Correction feature makes it easier to create the images we need for this 360-degree screen.�

“The event was a huge success and we have had a lot of good experiences with the CP-WX8255 projectors so far,� Corkidi added. “We also used them at a recent event hosted by Corona where we used a single projector to create a giant, lifelike image of a soccer ball. The Hitachi projectors give us high performance at a low price point.�

Corkidi also noted the high level of service provided by Hitachi’s regional sales representative firm, Representaciones de Audio. “The service from Estuardo Zárate and Marco Antonio Hernandez Posada is amazing,� he said. “They are always there when we need them.�

For more information on Simply Professional, please visit www.s-p.com.mx

For more information on Hitachi visit www.hitachi-america.us/digitalmedia

Follow Hitachi on Facebook at http://www.facebook.com/pages/Hitachi-Projectors/131067323636829

Follow Hitachi on Twitter at http://twitter.com/#!/HALProjectors

About Hitachi, Ltd.
Hitachi, Ltd. (TSE: 6501), headquartered in Tokyo, Japan, is a leading global electronics company with approximately 320,000 employees worldwide. Fiscal 2011 (ended March 31, 2012) consolidated revenues totaled 9,665 billion yen ($117.8 billion). Hitachi will focus more than ever on the Social Innovation Business, which includes information and telecommunication systems, power systems, environmental, industrial and transportation systems, and social and urban systems, as well as the sophisticated materials and key devices that support them. For more information on Hitachi, please visit the company’s website at http://www.hitachi.com.

Denmark’s Fredericia Theatre is using an extensive selection of DPA microphones to capture the audio for a very special musical production of the Disney classic Aladdin. All of the cast members are using DPA d:fine™ Headset Microphones, which were chosen for their discrete size, comfort and exceptional sound quality. DPA microphones also feature heavily in the orchestra pit, where a combination of DPA d:vote™ 4099 Instrument Microphones, 2011C twin diaphragm cardioid microphones and 4015C wide cardioid microphones are handling the audio requirements.

The Fredericia Theatre’s Aladdin production, which premiered on October 4th 2012, is a significant endorsement of the theatre’s ability to produce exceptional musicals. After hearing glowing reviews from a number of US directors who had worked at the Fredericia, the Disney Group chose the theatre as its only European partner for this brand new musical.

Søren Møller, Artistic and Executive Director of the Fredericia Theatre, says: “We are thrilled that our theatre is one of only five in the world that Disney has asked to partner with – and the only one in Europe. At the Fredericia, we are committed to the development of new musical theatre and the presentation of Danish and European premieres. Our focus is very much on nurturing talent to support our productions and for the last 12 years we have been working closely with the Danish Musical Academy, a school for musical performers that now delivers approximately 80% of our cast members. We also take technical innovation very seriously and like to partner with equipment manufacturers so that we can push the boundaries in terms of what can be achieved. DPA fits this brief perfectly because its products offer very high quality audio and its headset microphones are so discrete that they don’t deter from the casts’ performance.�

For the Aladdin production Lars Frederiksen, director of DPA’s Danish dealer Alfa Audio, supplied 40 dual-ear, omni directional d:fine Headset Microphones – 20 with long booms and 20 with mid-length booms.

Tim Andreasen, the theatre’s sound director, says: “I wanted to get as close to the sound source as possible, which is why we didn’t go for the really short boom. By having a selection of long and mid-length booms we could pick exactly the right length for each cast member so that the microphones were on the side of their faces where they didn’t show, but were still very close to their mouths. From an audio perspective they sound great and are so discrete that they blend in perfectly. I also love being able to change a microphone without having to detach its cable. This is a really useful feature when you are doing a live performance and don’t want to disturb the actor too much.�

At the request of the theatre, DPA also supplied one of the d:fine microphones in a special blue colour so that it blends in with the genie’s theatrical make-up.

“I was really delighted that DPA went the extra mile to create a blue microphone for our genie,� Andreasen adds. “It blends in perfectly with his colour and is hardly visible to the audience, which was the effect we wanted to achieve. All of our other d:fines are brown and when I first saw them I thought they might be too dark, but when the cast have their make up on and have their hair done, the mics suddenly disappear. Brown is actually a great colour for this production.�

The production also uses four DPA 4061 omnidirectional miniature microphones to capture the sound of Aladdin and the genie’s feet when they are tap dancing.

“During their tap dancing scenes we place one microphone in each leg of their trousers and fix them with tape so the microphones are just sticking out below the hem,� Andreasen explains. “We have tried this before and find it works much better than placing mics on the floor.�

For the orchestra, Andreasen selected a package of DPA microphones that includes 16 d:vote 4099 instrument microphones, 2011C twin diaphragm cardioid microphones and 4015C wide cardioid microphones.

“The 2011C microphones are used for the horns and reed instruments, as well as for overhead micing,� he says. “I chose this model because it delivers exceptional sound quality and because I particularly like it’s off axis response. These groups of instruments are placed close together and the ‘bleed’ from the different microphones sounds really good – you feel that you are very close to the sound source even if you are actually a bit further away. For percussion I am using three DPA 4015C microphones that are carefully spaced around the instruments so that the overall sound feels very intimate.�

Andreasen adds that he is also using DPA d:vote 4099 instrument microphones for specific instruments that really benefit from close micing, most notably the drums, strings, bass and woodwinds.

“It is hard to balance a bunch of different instruments without close micing everything but the DPA microphones we have chosen and the positions in which we have placed them has resulted in a fantastic overall sound,� he says. “DPA have always been my favourite microphones for theatre work and for this production they are perfect. We carry out some EQ-ing, although nothing at the low end. Our approach to EQ is to only use it where we want to make a particular part of the sound stand out in the mix.�

The Fredericia Theatre’s production of Aladdin has been so well received by audiences and reviewers that the run has been extended until November 25th. DPA is delighted to have played a part in this unique European musical success.

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Editors’ information:
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.
For more information on DPA Microphones, please visit www.dpamicrophones.com

SALT LAKE CITY, Utah – When musician and composer Phillip Freeman first received the e-mail telling him he would be receiving free gear from HARMAN’s dbx on Facebook he didn’t believe it. “I had never won anything before in my life,� stated Freeman. A user of the dbx 266XS compressor for his home recording studio, Freeman had been posting about how much he liked it on the dbx Facebook page. Once annually, dbx picks from the comments on its Facebook page and selects a “Friend in Need� and awards them a prize – in Freeman’s case a dbx 231S dual-channel 31-band equalizer and a 286S microphone preamp/processor. Freeman was chosen based on his compelling story and loyalty to all of the HARMAN brands.

Freeman might value his home recording setup more than most. The 63-year-old Freeman is disabled as a result of complications from Type II diabetes and can’t get out of his home very often. “I am literally at home all the time, every day, and I spend every day in my recording studio.�

The Bakersfield, California musician knew what he wanted to be from an early age. “I started playing guitar at age seven and it’s been my life ever since.� Freeman soon took up keyboards and bass, which became his primary instrument. “I was on the bill with dozens of top country, rock and pop artists. I made a few records and until 1990 playing music was all I ever did,� added Freeman.

“I got off the road when I got married but the need to make music never left me. About five years ago I put together a home studio with about the least I could get away with in gear – but it was enough for me to start recording and creating my own music again. A few years ago the effects of my diabetes got much worse, affecting my ability to walk so severely that I became permanently disabled. My home studio became much more than a hobby – it became a release, a solace, and enabled my to keep making music even though I couldn’t go out and play live anymore.�

Freeman started upgrading his recording setup as he could, given his limited budget. “I couldn’t afford a big mixer so I use four little mixers chained together that I bought over time. I bought a drum machine and learned how to program it. My son gave me some gear including two Lexicon MX200 Dual Reverb/Effects Processors, a DigiTech JamMan Solo Looper and the dbx 266XS compressor, so I became more familiar with HARMAN components and how useful they could be for a guy like me in making home recordings. I was so enthusiastic that I started posting on the dbx Facebook page.�

“I was able to make good recordings before, but the dbx 231S and 286S have taken things to a much higher level,� noted Freeman. “ The 286s’s built-in compressor, enhancer and expander/gate allow me to really warm up and tweak each track. I’m using it on instruments as well as vocals – I write a lot of instrumental music and the 286S works really well on instruments as well as vocals, even though it’s known as a mic preamp. I’m particularly impressed on how well it works on electric bass. My tracks now sound like they were done in an expensive pro recording studio.�

The 231S and 286S provide another sonic benefit Freeman would not have guessed at first. “Since I’m recording at home, I have to use small solid-state guitar amps – I can’t crank up big tube amps. I used to get a lot of noise and wasn’t happy with the recorded sound of my amps. Now, with the 231S and 286S, I can boost, clean up and EQ the sound of the amps to where they sound great. That alone is worth every penny. I had never thought about getting a mic preamp before but now, because the quality of the individual tracks is so much better, I find myself having to do a lot less fixing in the final mix.�

“Now that I have them, I don’t see how a recording studio could operate without these components,� Freeman concluded. “They’re especially useful for a home user like me. I can’t explain the joy I get from making music. There are no words to express how happy I am now.�

“dbx is lucky to have so many fans and followers that have supported the brand for over 40 years. Phillip is one of those loyal fans and we are very pleased that we could help him in reaching his goal of improving his studio,� stated Noel Larson, Market Manager, Portable PA, Tour and Recording at HARMAN Signal Processing.

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 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

SAN FRANCISCO, California – Marty Stuart was born a country music traditionalist who has always embraced the styles and sounds of pure country—right down to recording with his Fabulous Superlatives band in Nashville’s iconic RCA Studio B with the help of Stuart’s longtime engineer Mick Conley and his HARMAN JBL LSR4300 Series studio monitors.

“Marty is as old school as I am when it comes to the sound he wants to get on his records,� said Conley, who has worked with greats such as Kathy Mattea, Patti Page, The Blind Boys of Alabama, Suzy Bogguss and many others. “We want to achieve a rich, full sound with plenty of detail. JBL LSR Series studio monitors are a big part of helping us achieve that.�

For his most recent release, Nashville Volume 1: Tear the Woodpile Down, and his 2010 release, Ghost Train, Stuart sought out the prestigious confines of Studio B. “Studio B was one of the places where the legendary Nashville Sound of the 1960s was created,� Conley noted. “Some of the greatest country music recordings of all time were made there and it was the first place Marty ever recorded. Marty and his band wanted to feel that vibe.�

However, since Studio B is now a museum, they had to get special permission to record there, which meant bringing in some key pieces of gear, including Conley’s JBL LSR4326P studio monitors and LSR4312SP subwoofer. “Studio B might be hallowed ground for recording industry pros—but let’s not forget that it was designed on the back of a napkin,� Conley said. “It’s always had acoustic challenges. I needed monitors I could trust. We use JBL LSR monitors everywhere—at my studio, and at [Marty Stuart’s bassist] Paul Martin’s studio in both stereo and 5.1 configurations, for The Marty Stuart Show and for a recent broadcast of a live concert on SiriusXM. I know can rely on them in any situation.�
“In any kind of recording, the hardest thing is to get the bottom end right,� Conley continued. “With the LSR’s, I can trust what I’m hearing, whether I’m using a stereo or 5.1 monitoring setup. Their RMC Room Mode Correction enables me to factor out the influence of the room on the low-frequency response and make subtle or major adjustments to the bottom end. Depending on the project, I might or might not use a subwoofer, but even without the sub I know there’s no guessing.�

“When Marty and his band record, we just like to go in and do it—get in there and cut those tracks as a complete performance. For Ghost Train and the newly released Nashville Volume 1: Tear the Woodpile Down, each song was tracked live with minimal overdubs to finish it—then on to the next song. It would be hard to do that if I don’t know what I’m hearing on the monitors is what it really sounds like where the musicians are performing. And of course, The Marty Stuart Show is recorded ‘live’ with a ‘Who’s Who� of country music starts, so I have to meet Marty’s high standards and his guests’ high standards also. That’s why I rely on the LSR Series studio monitors.�

With a variety of projects on the horizon for the rest of 2012 and beyond, Conley will take his LSR studio monitors wherever he goes. “I don’t want any surprises,â€� he said. “When it comes to trusting what you’re hearing, your monitors are your only comfort factor.â€�

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 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

NORTHRIDGE, California – Audio rental systems provider On Stage Audio has supplied JBL VRX Constant Curvature loudspeakers for use in all three presidential debates and the vice presidential debate. The presidential debates took place at the University of Denver on October 4, Hofstra University in Hempstead, New York on October 16, and Lynn University in Boca Raton, Florida on October 22. Additionally, the vice presidential debate took place October 11 at Centre College in Danville, Kentucky.

The audio system for each event remained consistent across the different locations, with JBL VRX932LA portable line arrays arranged in clusters of two each in left-center-right configurations, with two additional delay fills of two VRX932LA loudspeakers each. Crown I-Tech 4x3500HD amplifiers powered the system, with processing handled by a dbx SC32.

Larry Estrin served as Audio and Production Communications Director for the Commission on Presidential Debates, overseeing the audio/video systems for each event. “High-profile events such as the presidential and vice presidential debates leave zero margin for error when it comes to the audio reinforcement system—it is imperative that the system performs flawlessly,� Estrin said. “As was the case during the debates four years ago, the JBL loudspeakers once again delivered high-quality, reliable sound.�

While On Stage Audio’s Chicago-based facility provided similar audio system packages for each of these three locations, JBL’s ability to provide a variety of loudspeakers for different needs helped overcome any acoustical challenges that may have arose in each venue.

“The combination of JBL VRX loudspeakers, Crown amplifiers and dbx processing gave us a high-performing and consistent audio system that we were able to deploy in several different environments,� said Jim Risgin, Vice President of On Stage Audio.

On Stage Audio’s Chicago-area rental services facility can be reached in Wood Dale, IL at (630) 227-1008 or on the web at http://www.osacorp.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 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.