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.

-ends-

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.

WESTMINSTER, Colorado — On Friday, November 9, HARMAN’s Studer is hosting a Studer Broadcast Academy and open house recording session at Colorado Sound Recording Studios in Westminster, Colorado. From 9 am to 12 pm, Studer will host its Studer Broadcast Academy Vista Foundation course, while the recording session will take place from 1 pm to 4 pm, with 4 pm to 8 pm set aside for listening to the tracks.

The sessions will take place in the newly refurbished Soundcraft Studer truck, which features a range of Soundcraft Studer digital mixing consoles, JBL Professional LSR Series studio monitors and AKG microphones and headphones. With the redesign and refurbishment, the Soundcraft Studer truck can now demonstrate up to six mixing consoles at any one time.

The truck also includes a “mouse hole� that enables wires to be fed through the belly of the truck and patched into the I/O of any of the consoles on board and take feeds from those external sources. Using this mouse hole feature, a live band will be recorded in Colorado Studios and mixed in the truck.

The Vista Foundation introductory module provides a unique opportunity to work with Studer factory experts to learn the basic operating philosophy and signal flow of the Vista mixing system and provide an overview of the surface. It includes plenty of hands-on time with the consoles to enable students to get comfortable with the renowned Vistonicsâ„¢ user-interface, the layout and operation. Attendees will also learn the role of each segment of the Vista system, from the point of entry at a mic pre, following the signal flow through to bringing that mic to a channel on the surface. This is a perfect module for those completely new to the Vista consoles and even audio, and also for those needing a basic refresher course.

“We are looking forward to hosting the Studer Broadcast Academy and recording session here at Colorado Sound,� said Kevin Clock, Owner of Colorado Sound. “We pride ourselves on providing artists with top-quality recording services using world-class technology, and working with the newly refurbished Soundcraft Studer truck will be a unique way to showcase our facilities and HARMAN equipment.�

For more information on Colorado Sound Recording Studios, please visit www.coloradosound.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.

SYDNEY, Australia – Fairlight — a pioneering force in digital audio technologies for over 30 years — is introducing an array of new products and showcasing a new look of the Fairlight brand at AES in San Francisco from October 27 – 29.

The company has been reinvigorated with fresh capital through a recent takeover by KFT Investments Pty. Ltd., leading to new investments in R&D, production and customer support to develop innovative technologies and services for its Audio Post Production clients.

Fairlight will also target new market opportunities with the launch of competitive new tactile control surfaces for the powerful CC-1 audio processing engine, including the new XSTREAM Compact Desktop Controller and QUANTUM a fully featured, mid size Console.

Recently appointed CEO Jean Claude Kathriner, joining the company from Bosch, where he held a series of senior international sales and marketing positions, will be driving the business and the many changes ahead.

The team that Kathriner heads includes highly experienced engineering leaders including Tino Fibaek, Fairlight’s Chief Technology Officer.

Kathriner says “I am very excited to join such a great brand and a technically gifted team. A key focus of my role will be to ensure we maximize the technology we have and maintain a strong focus on continued development to ensure Fairlight provides its customers around the world with real edge digital audio technology and reliable service and support purely focused on one goal – delivering outstanding Audio Post results.�

Steve Kepper, General Manager of KFT Investments Pty. Ltd also noted, “We saw enormous potential in Fairlight from day one. Our ambitions are to leverage its outstanding assets in terms of product, people and Intellectual Property. Emphasis on customer support will be integral to the brands offering. Over the next 12 months we will be launching a range of new technologies and products, improving our distribution and entering some new markets and aggressively driving growth is sales.�

About Fairlight:
Fairlight is a Sydney-Australia based leading manufacturer of professional video and audio recording, editing and mixing systems offering desktop, console and mouse based environments. Fairlight is at the forefront of Digial Audio Technology, having received numerous Scientific and Technical Academy Awards. Pioneering 3D sound development and customized control surfaces acknowledged by industry leaders as being the fastest and most ergonomic available. www.fairlight.com.au

FairlightUS is headquartered in New Jersey USA and is the exclusive distributor for Fairlight products in the North American market. www.fairlightus.com

–Adagio Pro Provides Design Support For Geometrically Challenging Main Hall–

The Congress Palace (Ciudad de Oviedo) recently opened in the heart of Spain’s Asturian capital and has already become the newest symbol for its spectacular architecture.

Designed by Valencia-born architect Santiago Calatrava, this visually stunning exhibition and convention center has left its own indelible footprint on the local landscape.

Set on three floors, and elliptical in shape, the 50, 951 square foot Congress Palace consists of several different function room and exhibition spaces — but without doubt the most spectacular is the main auditorium. This unusually shaped 8,202 square ft. hall has a seating capacity of 2,144 seats, with a height of 149.6 feet up to the dome.

With the complex geometry (and high reverberation time) of the room, the choice of sound system was critical—and after an extensive study of electro-acoustic systems the decision was taken to specify an OmniLine® micro array system from Martin Audio.

According to Marc Rovira, product manager at Adagio Pro, the Martin Audio distributor in Spain, given these challenging conditions, it was logical to propose a system with a large coverage control pattern, especially in the vertical plane, to achieve optimum intelligibility.

Thus two hangs of 24 OmniLine elements, with a 9.25 ft. drop have been flown on either side of the stage.

Rovira and the project manager of Adagio Pro, Bernat Camacho, knew that given the micro size of OmniLine, the array would provide a perfect and discreet solution. Each module measures just 9.6 x 4.5 x 7.8 inches and weighs just 9.9 lbs., with drivers and mechanical alignment techniques purpose designed by Martin Audio for this product. Up to 32 modules can be interconnected and in many cases just one amplifier channel per array is required, while the system achieves high levels of SPL and delivers unprecedented vertical accuracy.

However, in this instance the installers MEDIACOM 95 and GMI preferred to divide each column of the array into three zones or channels of amplification to produce a higher level of control in the audience. Processing was carried out in a Martin Audio DX2 4 in/8 out DSP environment, which manages the different levels and equalization of each column.

Camacho, supported the installation every step of the way, initially presenting a 2D model using OmniLine’s own software, before constructing a 3D visualization using EASE software, in order to study the coverage throughout the room and the predicted levels of intelligibility.

The full integration of the audiovisual systems was implemented by MEDIACOM 95 and GMI with the final tuning and commissioning carried out with the engineering team of Adagio Pro. The result is a loudspeaker solution of high quality, which is impressively discreet at the same time.

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.

Latin America’s newest and most advanced subway line, São Paulo Metro Line 4, will soon be the location of the world’s largest-ever digital out-of-home installation, when Terra® Latin America installs nearly 2,000 digital displays throughout the line’s 11 stations. The centerpiece of the project will be the multi-million dollar installation of eight large-format LED displays designed and manufactured by NanoLumens®. The state-of-the-art displays will provide advertisers an unforgettable medium to reach the line’s nearly one million expected daily commuters.

According to NanoLumens Director of Marketing, Josh Byrd, the São Paulo Metro Line 4 installation is the largest project undertaken to date by the pioneering Georgia-based company that introduced the world to flexible LED displays in 2010. “São Paulo’s Metro Line 4 is full of next generation technologies, and NanoLumens is proud to provide the most dazzling digital displays in the world to give advertisers a powerful medium to share their messages. We designed seven wall-mounted 6mm pixel pitch displays, ranging from 145 inches to 224 inches diagonal, to be installed throughout the line’s stations, plus one incredible 360-degree display that is actually made up of four 173-inch curved 6mm pixel pitch displays joined end-to-end to form a cylinder that is viewable from literally every angle in the atrium of the Luz station, Line 4’s busiest station.�

NanoLumens has partnered with Brazilian digital signage engineering company NC4U (Narrowcasting For You) to oversee the installation of the eight NanoLumens LED displays. NC4U is NanoLumens’ first officially certified service and sales partner in South America.

Metro Line 4, also known as the Yellow Line or ViaQuatro, is the result of a strategic partnership between the Government of São Paulo and ViaQuatro®, a private company that has invested $450 million in the project to date, with expectations to invest a total of $2 billion over the next 30 years of operation. The line began offering service at six stations in 2011 with 14 trains, and full operation of all 11 stations and 15 additional trains is expected in 2014.

Metro Line 4 is Latin America’s first driverless subway line and points to the future of fast, efficient, autonomous public transportation in one of the world’s most populated metropolitan areas. Each train is remotely controlled by a human operator at the line’s Operational Control Center (OCC). The line features some of the world’s most advanced subway technologies, including glass partitions separating the commuter platform from the tracks that greatly reduce the risk of accidents and prevent objects from falling onto the tracks, helping to ensure timely service. The trains, which are manufactured in Korea, offer passengers a comfortable commute with a number of LCD displays, air conditioning, free passage between cars while in motion and low noise operation.

NanoLumens displays were chosen for Sao Paulo’s Yellow Line project because they are extremely slim, ultra-lightweight, energy efficient, and feature a seamless, edge-to-edge picture quality that can be viewed from any angle or any distance without color shift or picture drop-off. The company’s patented display technology, which allows customers to select from 4mm up to 10mm pixel pitch (depending on the model), promises to transform the way marketers engage their customers in every type of trade show, retail, hospitality, stadium, arena, transportation and public event environment.

NanoLumens displays are designed and engineered with the environment in mind, and consume significantly less energy per square foot than conventional digital displays. Further emphasizing their commitment to eco-friendly technology, NanoLumens displays are composed of up to 50 percent reclaimed materials, and are completely recyclable. What’s more, some NanoLumens displays can be serviced from the front, making maintenance easier than ever before possible.

Designed and assembled in the United States, NanoLumens displays are offered in standard configurations as well as design-specific configurations to fit virtually any size, shape or curvature in both the NanoFlex line of flexible displays and the NanoSlim line of fixed frame displays.

The company’s technology has been named ‘Best LED Product’ of the year by Rental & Staging magazine in its 2012 INFOCOMM Product Awards Program, as well as being recognized by Entrepreneur magazine as a 2011 future-proof tech trend and cited by The Wall Street Journal in its 2010 Technology Innovations Awards. NanoLumens’ technology also received the 2011 Breakthrough Technology of the Year Award at the American Technology Awards. Digital Signage Magazine awarded the NanoLumens NanoFlex a 2011 DIGI Award for “Best New Display Device – Non-LCD or Plasma.�

About NanoLumens®:
Headquartered in Norcross, Georgia, NanoLumens®, Inc. (www.nanolumens.com) is a privately held corporation engaged in the research, product development, marketing and sales of unique flexible and fixed displays that address a yawning technology gap in the $14 billion digital display industry. Since its founding in 2006, NanoLumens has built a portfolio of more than 20 international families of issued and filed patents on its flexible display technology that effectively address the commercial market void between relatively small flat-panel displays and huge, limited application LED boards. NanoLumens technology is not constrained by standard sizes and shapes, or by the weight, noise and cost issues traditionally associated with commercial LED products.