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Phantom Celebrates 25th Birthday With HARMAN’s Studer Consoles

Photo Credit: Alastair Muir

LONDON, United Kingdom— To celebrate 25 years of The Phantom Of The Opera, Cameron Mackintosh staged a special production at the Royal Albert Hall recently, with three sell-out performances over two nights.

Aside from the enormous amount of rehearsal time required, the production tasked broadcast production company, Red TX with mixing 172 channels—spread across four stage boxes—on its Score Live-powered HARMAN’s Studer Vista 8 digital console, which sits at the heart of their new RED II production vehicle.

“This is technically the highest channel count we have ever run from one truck,” confirmed Red TX managing director, Ian Dyckhoff. “It creates a bit of added pressure, but having so much combined experience between us is a real bonus.”

He added that in the past this channel count would have required a second vehicle. “But the Studer desk has enough inputs to surround mix everything independently. Thanks to the Vista 8, we can do it in one.”

Three recording stems were set up to record in 5.1 and stereo (for cinema) and 5.0 for other TV broadcasts. Rather than taking an automatic stereo down mix, Red TX created a separate stereo mix, providing greater control, for cinemas unable to take surround sound. They also employed a unique Cinema Matrix 5.1 setup that uses the X-curve for cinema equalisation.

Each Studer HD interface card can carry up to 192 channels in Vista systems at sampling rates of up to 96kHz, and is connected to the DSP core by standard CAT5 twisted pair cables. The system automatically detects newly inserted audio cards and assigns the required number of audio channels to them by pressing the front panel ‘Reconfig’ button—a feature Red TX finds particularly useful.

In fact RED II’s Studer environment, with D21m digital I/O frames and stage boxes, is configured to enable 192 channels to be recorded from the desk, with three MADI streams, 48 channels of AES (24 stereo) and 32 line.

Red TX had arrived at the Royal Albert Hall several days before the show for line checks, rigging tests and to set up templates—and with the lead characters joined by a cast and orchestra of over 200 the extended prep time was certainly needed, as the show proved challenging.

Working alongside live sound company, Autograph Sound, who supplied separate radio mic, choir and orchestra mixes to bring all the feeds into the truck independently, the RED II crew used 57 snapshots on the Vista 8, mostly for the orchestral arrangements. Said main sound engineer, Tim Summerhayes, “We used a standard 2-second crossfade on the snapshots and they were as smooth as silk.”

The production itself was a major success. In total the live broadcast was transmitted to 1,000 cinemas in the UK, a further 200 in the US and 200 in Europe.

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 12,500 people across the Americas, Europe and Asia, and reported net sales of $4.0 billion for twelve months ending September 30, 2011.

HARMAN’s Soundcraft Vi1™ Console Creates the Perfect Feeling

POTTERS BAR, United Kingdom – Chart-topping indie pop band, The Feeling, has completed a year of predominantly club dates and boutique festivals, allowing its sound engineers Jon Sword and Andy Greenwood to put HARMAN’s Soundcraft Vi1 digital desk through an arduous duty cycle, in which it has performed flawlessly.

The band has been playing through existing house systems, and while venues such as the O2 Academies and Nottingham Rock City have fortunately been pre-fitted with Sword’s favoured Soundcraft Vi6 or Vi4 FOH desk, the production crew have been carrying their own monitor and backline setup.

The goal, according to tour manager and FOH engineer Sword, was, “Fast setup and ease of installation for the stripped-down shows without having to disrupt these existing house setups.”

Andy Greenwood confirmed, “We have enjoyed the use of a Vi1 for most of this year now—its compact footprint has been perfect for the smaller shows, and it is without doubt my favourite monitor desk. Having had considerable experience using the Vi4 and Vi6 over the last few years, the transition to the Vi1 was seamless. I have always found the Vi range to be ‘intuitive’ and the first time I saw a Vi1 I knew I would be happy to use this platform at a show.”

His faith was exemplified perfectly on the club dates. “We had the same two support bands each night so we set up a show file for them and allowed the local house engineer to operate the desk. Each day I would show the local guy the desk, explain a few basic functions and leave them to it. In 100 percent of cases, the local engineers reported that not only had they enjoyed using the Vi1 but had experienced no problems whatsoever.”

After working with the band for three years, Andy Greenwood knows just how audio-savvy the five musicians are.

“They are absolute devotees of Soundcraft,” he confirmed. “Historically, they were always against digital desks until they started using the Vi range, and to this date it is the only digital desk they are prepared to use.”

Aside from an excellent preamp, which always holds its gain structure, Andy Greenwood singled out some other cool features of the desk. “Principally there is the general layout, with its large touchscreen, minimal clutter and colour coding system which makes it very easy to ‘see where you are’ and at a glance assess EQ’s, Dynamics, sends, etc. for multiple channels; this is very handy for a monitor desk.

“Another useful feature is the ability to quickly set up user-defined pages for inputs and outputs thus enabling the simplification of stage patching and allowing the grouping of items that are used the most; this reduces the need to constantly switch between layers on the desk.”

All the band (apart from lead singer Dan Gillespie) are on IEM’s and Andy says that the inclusion of two dedicated monitor busses, “makes it very simple to jump between listening to a wedge mix or an IEM mix.”

Meanwhile, when Andy Greenwood hasn’t commandeered the Vi1 in Monitor World, veteran sound engineer Jon Sword has been using it on corporate shows and festivals at front-of-house.

He also took it out recently with Kele Okereke from Bloc Party and with Sophie Ellis-Bextor. “During the whole of this year I have used the desk in every conceivable format. I have used it 30 or 40 times as a FOH board — and because it’s so versatile I can do everything on it,” Sword said.

With regard to The Feeling tour, Sword stated, “Having not been on a Vi6 for a while I was able to write new show files—I have different styles of shows and have created different files to suit the type of event; it sounds brilliant because the Feeling sound has changed, with more emphasis now on hard disk tracks.

“The great thing about the Vi platform is that it never tells you how to use it — it leaves you to find your own way.”

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 12,000 people across the Americas, Europe and Asia, and reported sales of $3.8 billion for the twelve months ending June 30, 2011.

Drummer Rick Latham Gets The “Groove” From HARMAN’s AKG Drum Set Groove Pack

VIENNA, Austria – With more than three decades of drumming alongside notable acts such as B.B. King, Quincy Jones, Edgar Winter, Chuck Rainey and currently Juice Newton, among a long list of others, Rick Latham relies on HARMAN’s AKG Drum Set Groove Pack as he continues to stress the importance of perfectly delivered sound on stage and in the recording studio. more

HARMAN’s Lexicon® PCM Total Bundle Gives Film Composer John Frizzell Total Control Over A Panorama Of Reverbs and Effects

SALT LAKE CITY, Utah – Canadian composer John Frizzell has scored more than 35 films, TV scores and movies for television, including “Alien: Resurrection,” Office Space,” “Legion,” “The Roommate” and the new television series “The Secret Circle.” Frizzell began his musical career singing in the chorus of the Paris Opera Company and the Metropolitan Opera Company at age 12, and went on to study at USC School of Music and the Manhattan School of Music. After college, he worked for producer/vibraphonist Michael Mainieri, where he became one of the first musicians to work with the Synclavier, one of the first digital synthesizers, samplers and workstations. more

Christ Fellowship Gardens Grows With L-ACOUSTICS

Christ Fellowship Gardens, home to a new KARAi/SB18i loudspeaker system concealed in soffits above the stage

Florida house of worship becomes first US user of new KARAi system

PALM BEACH GARDENS, Florida — With an average weekly attendance of 16,500 spread out between its four campuses in Palm Beach County, Florida, Christ Fellowship Church easily ranks among North America’s largest megachurches. Continually seeking to improve the worship experience for its attenders and promote further growth, the church updated its flagship Palm Beach Gardens worship center earlier this year with a fully L-ACOUSTICS loudspeaker and amplifier system. more

State-of-the-Art Architecture Meets Cutting-Edge Technology with Vaddio Cameras

By combining innovative architecture and audiovisual technology with the growing needs of one of Canada’s fastest-growing cities; Vaughan’s new 180,000-square-foot City Hall easily meets the needs of Vaughan’s growing population and enhances the delivery of municipal services. Vaddio cameras are buried throughout the city council chamber and committee rooms, in walls, above ceilings and in half-walls so they are unobtrusive – all part of the architect’s aesthetic that Canadian-based systems integrator, Duocom, had to work with.

City of Vaughan City Council Chamber

City of Vaughan City Council Chamber

Why a New building?

Because the original City Hall building wasn’t large enough to house everyone, committee members were meeting all over the city. Nobody was under the same roof and there was no centralized place for people to meet. Old touch-to-talk microphones were daisy-chained along the table; the request-to-queue and voting system never worked. An analog recorder was used to record audio, but there were no cameras. It was a legacy system in use for 15 – 20 years.

“It was almost as if they were using what they had to get by,” explained Omar Prashad of Duocom. “It’s my assumption from the city that there’s no point in spending a bunch of money upgrading systems when you know down the line a few years you’re going to have a new building.”

According to the City of Vaughan, the previous Civic Centre was renovated in 1982 when Vaughan’s population was 36,815. Today, Vaughan’s population is 295,000, and is expected to increase to 418,000 by 2031. The old system just couldn’t withstand the rapid growth.
So through a month-long Needs Analysis process and a lot of input from different users and user groups, Duocom came up with a solution.

The Council Chamber

From an AV perspective there are five or six significant areas – the most significant being the council chamber where regional counselors meet. 

“Walk into the Council Chamber and you feel like you’re walking into a very contemporary architectural space,” says Prashad. “The tiered seating, custom wood walls and ceilings, flown in from Denmark, and the circular council desk definitely add to the ‘modern’ appeal.” The mayor sits in the middle of the circular table with the counselors on one side and senior management on the other. The AV system for the entire facility is controlled and routed through the council chamber with a centralized architecture for control and signal distribution.

The AV system, in this room alone, cost just under $900,000. Two Christie High Lumens 1080p 3-chip projectors sit on opposite sides of the council chamber so everyone in the room has a direct view at all times. All signal routing is digital, utilizing Crestron’s Digital Media platform and control from numerous Crestron Touch Panel Displays. One sits at every desk allowing the counselors to vote, see results and make tabulations.
“Aside from the mayor, the counselors never sit in the same place,” explained Prashad. “And because during a six-hour council meeting any of the counselors could potentially be the chair of that meeting, a discrete login system for each touch panel had to be put into place.”

Each person has his/her own code. Unless you’re the designated chairperson, none are for control – just for voting and confidence monitors for whatever is on the projection screen. As opposed to the typical touch-to-talk mics, the chairperson has control over all of the mics and cameras, and is able to view the request-to-speak lists and queue on the panel in front of them.

The Vaddio Solution


Vaddio WallVIEW HD-19 and HE-100 cameras are distinct inputs to the AV system, allowing their image to be broadcast throughout the facility or to be used in conjunction with the Polycom HD videoconferencing system, each picking up a different quadrant of the council table. One sits in the back picking up a full shot of the room. Another two sit back-right and back-left picking up opposite quadrants. The camera directly behind the mayor, faces the audience picking up the senior management team, anybody who’s addressing the council from the podium and anyone in the audience should it be required.

“The Vaddio cameras can be used with and without an operator,” added Prashad. “You can either have full pan/tilt/zoom control or you can recall presets through the Crestron control system. Our programmer had to basically create a revolutionary program that linked the Sennheiser microphone system and Biamp audio DSP system so that when a particular microphone was active, the information sends a signal to the camera to trigger the preset.”

Because the AV system as a whole was very high-end – with digital switching at 1080p/60 and 3-chip DLP projectors at 8,000 Lumens, Vaddio cameras were a necessity, explained Prashad. “If we didn’t use Vaddio cameras, the cameras would have been the weakest link in the chain. The quality in the projectors would have been negated; the switching infrastructure would have been negated. We wanted to pick out the highest quality camera that we could to take advantage of the rest of the design infrastructure.”

The video can be broadcast from the council chamber to anywhere else in the building. If there is a high-interest council meeting, the public can view the event internally – or listen externally via Vaughan Radio. While only audio is exported to the residents of Vaughan, Vaughan TV is in development stages. “We’re probably going to incorporate a capture station with a media management server and stream the video,” explained Prashad. “That’s the next generation of this system so residents can log on to the media server and see what’s happening in the council chamber from anywhere at any time.”

“The Vaddio cameras give us a lot of control over color, color temperature, brightness – so when someone looks at the mayor who’s raising taxes for the three year in a row, you see the facial expressions like you’re watching a Blu-ray. There is no point in trying to save $2,000 on cameras if the experience is going to be substandard and sub quality.”

Future Plans

No matter how much planning goes into a large installation, down the road there are going to be changes. Phase 1 is completed and Phase 2 and 3 are on the way, with an additional building and tunnel to connect them. “Over the course of 5 to 10 years this AV system will be three times the size it is today,” Prashad predicts. “These are the fun projects because the applications allow us to use cutting-edge technology to solve user problems. That’s fun for us because we can really push the limits on the latest technology and what our team can do with it.”

Manos Backline Purchases HARMAN’s Soundcraft Vi1™ Digital Console to Satisfy Small-Format Requirements

ATHENS, Greece — Public address equipment may form only a subsidiary part of Manos Backline Services’ equipment inventory, but recently the company invested in a HARMAN Soundcraft Vi1™ digital console, placing the order with HARMAN’s Greece distributor, Bon Studio.

“We have a small PA system consisting of JBL SRX Series loudspeakers, as we are 75 percent focused on backline,” says the company’s co-owner, Stamos Vasilakis. “However, for the 25 percent PA dry hire we always try to keep up with the latest quality gear available, as it’s an expanding part of our business.

“The market needed a good quality small format digital mixer at an affordable rental price, and the Soundcraft Vi1 was the perfect product for our clients’ needs. I firmly believe that in times of crisis this product will prove itself a winner.”

Despite the bias towards backline, Manos has invested heavily in digital desks, including the Soundcraft Vi6. Feature wise, Vasilakis knows precisely what he is looking for: “Ease of use and the best possible pre-amps,” he states unequivocally. “I needed a product that would enable an engineer who had never used it before to mix within 30 minutes maximum from setup—and the Vi1 fitted the bill. It is important to have everything in front of you and not be digging through layers or pages to find what you need. That’s why Soundcraft is one of my favourite interfaces—and the Vi1’s pre-amps are an absolute bargain. The mixer sounds fresh, crisp and all the instruments have clarity and ‘body’ in the mix.”

Having experienced almost all the available mixers in the Greek market, Vasilakis’ decision to back Soundcraft was based not only on the above attributes, but the increasing demand for this platform, and the Vistonics II interface, in the local market.

“The interface really is that easy to use,” he says. “Furthermore, the 24 outputs are a big plus for a small format mixer when your band uses in-ear monitors or if you want to record from the direct outs. The user pages are a great-looking and useful function as well.

“As for demand, in our business you have to go with the flow. If we see an increasing demand on a product we just buy it—and that’s what happened with the Vi Series — regardless of the fact that I also happen to think it’s a great mixer.”

And the feedback from Vasilakis’ clients matches his own conclusion. “People love it! To be honest, I think I should buy another for next summer—it’s so affordable that even low-budget tours can deal with it.”

For more information on Manos Backline Services, please visit www.backline.gr

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 12,000 people across the Americas, Europe and Asia, and reported sales of $3.8 billion for the twelve months ending June 30, 2011.

Firehouse Productions Delivers Dynamic Sound With HARMAN’s JBL VERTEC® Line Arrays For iHeartRadio Event

Firehouse Productions supplied a JBL VERTEC line array system for the iHeartRadio Music Festival at the MGM Grand Arena in Las Vegas.

NORTHRIDGE, California – Firehouse Productions recently provided sound for some of the biggest names in music at the iHeartRadio Music Festival in Las Vegas, sponsored by Clear Channel’s iHeartRadio social media networking outlet. With performances by Jay-Z, Alicia Keys, Bruno Mars, Lady Gaga, Nicki Minaj and many others, Firehouse deployed HARMAN’s JBL VERTEC® line arrays to match the dynamic range of performers in the MGM Grand Arena.

The audio system included two main left-right arrays of 17 JBL VERTEC VT4889 fullsize line array elements each, accompanied by two flown arrays of 12 VT4880A fullsize subwoofers. Side coverage was provided by JBL VT4888 midsize line array elements, and JBL VT4887 compact line array elements provided the front fills. Firehouse also provided two ground-stacked columns of three VT4889 loudspeakers each, on top of three VT4880A fullsize arrayable subwoofers each. Crown I-Tech IT1200HD amplifiers powered the entire system using the new VERTEC V5 DSP settings.

Large events like the iHeartRadio Music Festival pose a variety of unique challenges, particularly when they feature so many different artists. “With a show this size, there are different rehearsals taking place at different times, all with information and settings that need to be conveyed back to the main system,” said Mark Dittmar, Lead Design & Integration Engineer at Firehouse Productions.

With so many variables, the VERTEC line arrays were extremely easy to set up—one of the main reasons why Firehouse continues to rely on VERTEC for major events and a significant factor in the success of the iHeartRadio event. “Everything went as well as we could have hoped, Clear Channel and MGM Grand were happy and we were even five minutes ahead of schedule on every change-over,” Dittmar said. “You can always gauge how a multi-band show is going depending on that; we were always ready to go with no delays, as smooth as could be.”

Dittmar went on to rave about the new V5 presets software upgrade for the VERTEC system. “They are stunning and the high end is much smoother,” he noted. ”The V5 presets solve all kinds of midrange issues, and the low-end response is amazing. The manager of the building even said that you could hear it blasting two blocks away—an impressive volume that had never been reached before. Some acts used the entire system, pushing all the amps to the max level, and even when touching the limit it sounded linear and smooth. It’s always nice when you don’t have to worry about pushing a system too hard and can just let it fly. It’s great to have the performance upgrade without having to buy new equipment. The software upgrade was done in a half-hour and we were ready to go. It’s simply an amazing value to anyone who uses VERTEC.”

For more information on Firehouse Productions, please visit: http://www.firehouseproductions.com

For more information on iHeartRadio, please visit: http://www.iheart.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 12,500 people across the Americas, Europe and Asia, and reported net sales of $4.0 billion for twelve months ending September 30, 2011.

NanoLumens NanoFlex Screen Keeps Thousands of Attendees Informed and Organized at UK’s GAMEfest 2011


NORCROSS, GEORGIA, October 31, 2011—When UK audio visual provider PSP (pspav.com) was contracted to provide large digital signage for navigation and information display at GAMEfest 2011, they knew that the NanoLumens® 112” NanoFlex™ display was the perfect solution. The annual week long gaming expo was hosted by GAME, Europe’s leading videogame retailer (www.game.co.uk) at the National Exhibition Centre (NEC) in Birmingham, England from September 16-18, 2011.

GAMEfest is an exclusive event for loyal GAME Rewards Card holders that welcomes some of the top names in gaming such as Nintendo, EA and Activision to exhibit their new games and new technologies. The first three days of GAMEfest served as an internal conference for the hundreds of GAME & GAMESTATION store managers, and the next three days the show floor was open to thousands of card-carrying GAME customers.

According to PSP’s Project Planner Gareth Hill, “With thousands of people attending, and three entire halls of the NEC in use, it was imperative to provide the best possible displays for navigating the show floor and communicating the timings of various activities taking place each day.

“This was the first time we have used the 112” NanoLumens screen at a live event, and it is a great product,” Hill emphasized. “We selected the technology largely due to the brightness of the display and its weight—at just 90 pounds it was very easy and quick to install, and the 6mm pixel pitch and brightness meant that it could be seen from all the way across the exhibition hall.”

Because the NanoLumens NanoFlex™ display is so lightweight and durable, it can be installed much faster and more easily than comparably sized displays. And it is perfect for outdoors or large rooms because of its extreme brightness. In addition to being ultra-lightweight and bright, NanoLumens displays can be viewed from any angle or any distance without color shift or picture drop-off.

“There is an increasing demand for high quality, large scale digital platforms at events and exhibitions, whether their application be wayfinding and information giving or advertising and brand awareness. It’s great to have access to new, innovative options for these purposes, and the NanoLumens NanoFlex display really delivers, with specialist flight cases and accessories that make it simple and cost effective to incorporate into the event environment.”

First introduced in 2010, NanoFlex™ digital displays remain the only solution of their kind. They conform to fit any surface, are thin, lightweight and energy efficient, and can be mounted as easily as a work of art. NanoLumens is the only company in the world able to reliably manufacture ultra-thin and lightweight, easy-to-install and maintain, seamless 6mm pixel pitch flexible LED displays in virtually any shape or size to meet each customer’s unique requirements.

According to NanoLumens President & CEO Rick Cope, “Convention hall owners and show producers are now realizing the unique benefits of the NanoLumens display technology. With the ability to move NanoLumens displays to where they will have the most impact, quicker installation times, reduced manpower requirements and significant energy savings, we offer convention hall owners, show producers and exhibitors the most customizable and profitable digital signage displays available today.”

Designed and assembled entirely in the United States, NanoLumens displays are now available in both flexible and non-flexible frames in four product lines: NanoFlex™ and NanoWrap™ flexible displays; NanoSlim™ non-flexible rectangular displays; and NanoShape™ non-flexible round, square, and triangular displays.

PSP (www.pspav.com) provide state of the art Audio Visual Equipment and Specialist Project Management solutions for live events. Whether your event is for 50 or 50,000 people we have the expertise to deliver your event. Specializing in large screen projection and display, cameras and vision control, sound and lighting, set and stage design and graphics. PSP’s Birmingham and London offices enable us to service clients both nationally and internationally. PSP have a dedicated team of exceptional Project Managers whose technical knowledge is unrivaled. We will work alongside your team to deliver the best possible solution for your event.

Headquartered in Norcross, Georgia, NanoLumens, Inc. (www.nanolumens.com) is a privately held corporation engaged in the research, product development and component design for unique flexible displays that address a yawning technology gap in the $14 billion digital display industry. 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 size, noise and cost issues associated with commercial LED products.

###

Contact:
Eric Gross
Griffin Integrated Communications
(212) 481-3456 x11
egross@griffinpr.com

Music Theatre of Wichita Eliminates Sound System ‘Drama’ with KIVA

Clearwing Productions supplies L-ACOUSTICS rig for successful 2011 season
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WICHITA, Kansas — For the last 40 years, Music Theatre of Wichita (MTW) has been staging truly Broadway-quality productions in Kansas’ largest city. This past summer, MTW stepped up production values even one notch higher for its patrons with the rental of an L-ACOUSTICS KIVA-KILO loudspeaker system supplied by the Phoenix shop of Clearwing Productions.
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Using SOUNDVISION, Clearwing’s Almir Lejlic and Dave Temby specified a system for Wichita’s 2,195-seat Century II Concert Hall comprised of nine KIVA line source array elements flown beneath two KILO low-frequency extension cabinets per side, all driven by a single LA-RAK equipped with three LA8 amplified controllers. more

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