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Archive of the Large Venue Category

Mama Mia! Yamaha CL5 Fits the Bill for ABBA MANIA

BUENA PARK, Calif.—ABBA MANIA, formed in 1999 as the world’s number one touring ABBA tribute production, is promoted by Handshake Group of Manchester, England. The U.S. leg of the tour that began in Elkhart, Indiana and ends in Sedona, Arizona has Clearwing Productions (Milwaukee, Wisconsin) to thank for handling audio production. The company provided a Yamaha CL5 Digital Audio Console with two Rio 3224-D input/output boxes for front of house mixing duties by Trevor Powers of Clearwing.

“The advantage of having the Yamaha CL5 in conjunction with two Rio i/o racks is the ultimate flexibility when interfacing with house PA’s, states Powers. Do you need AES? No problem. Do you need four outputs for your subs? No problem. The list can go on and on.” Powers said that by splitting up the Rio racks, he has eliminated the use of ANY sub-snakes on stage, which makes for a very clean looking stage. “Also, by not having long runs of mic cables before the mic pre’s, I have virtually eliminated any buzzes or hum.”

With regard to the CL’s Premium Rack, Powers is using the Rupert Neve Portico 5043 as a bass compressor and the U76 to compress/level the female leads. “I have been quite impressed with the sound quality of the CL as well as the flexibility the console offers.”

For more information on ABBA MANIA, visit www.abbamania.com.

For more information on Clearwing Productions, visit www.clearwing.com.

For more information on the Yamaha CL Digital Audio Console, visit www.yamahaca.com.

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About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

Kramer Electronics and Calibre UK Join Forces to Deliver Premium Pro-AV Products

Tim Brooksbank, Chairman of Calibre UK and Aviv Ron, Kramer’s VP Business Development & Strategy at Kramer’s head-office in Jerusalem, with one of their first joint products to debut at ISE 2014.

The two companies now offer dedicated sale and support of world’s largest and most comprehensive range of Scalers

Electronics designer, manufacturer and supplier, Kramer Electronics, Ltd., and Calibre UK, British electronics manufacturer, announce their global joint sales, supply, development and business co-operation agreement.

Integrated products focused on innovation

Calibre’s key models for the Pro-AV & Broadcast industries are to be incorporated into Kramer’s product line-up in Q4 this year. This strengthens Kramer’s range by the addition of a new line of premium scalers including powerful low-latency processing, warping, geometry correction and edge-blending with models for fixed installation and rental and staging, as well as models targeted at LED videowalls and television broadcast studios.

With obvious customer benefits, the two companies have also agreed to work together to accelerate Calibre’s future product developments and have ambitious plans to roll out a comprehensive range of market-leading premium video processing, routing and control products.

Think local, act global

To support customers and the implementation of new product introductions, Kramer Electronics will supply dedicated resources to support and market these new models throughout Kramer Electronics’ worldwide network of more than 20 regional offices.

Tim Brooksbank, Chairman at Calibre, will head up this effort within Kramer as well as maintaining his Calibre role: “Having just passed our 25-year anniversary at Calibre, this cooperation with Kramer marks an exciting start to our next quarter century. We will continue independently with our OEM and own-label business activities, but with Calibre-branded products being progressively merged into the Kramer range. This opens up access to a far wider market for our products and helps Kramer strengthen its presence in its premium markets. I’m really enthusiastic about being able to work so closely with the people at Kramer. Our planned future product developments are particularly interesting and will greatly expand both companies’ capabilities and market.”

“This strategic co-operation with Calibre is of great benefit to both companies and to our customers alike”, says Dr. Joseph Kramer, Founder, President & Chairman of Kramer Electronics and recent recipient of the 2013 Pioneer of AV Award. “Kramer and Calibre together offer market-leading technologies with outstanding performance and customer support from a truly international, professional AV organisation. Together we will move forwards developing a comprehensive range of powerful premium video processing and control products for the live events, rental, staging and fixed install markets with a focus on class-leading visual and functional performance. There are exciting times ahead.”

For more information about Kramer Electronics please go to www.kramerelectronics.com
For more information about Calibre please go to www.calibreuk.com

Extron Introduces New TeamWork Collaboration System for Digital and Analog Sources

Extron Electronics is pleased to introduce TeamWork 601, the company’s newest digital collaboration system. The TeamWork 601 system supports up to four digital laptops or tablets, and two legacy analog computer-video and audio sources. Analog signals are digitized so that they can be switched to the display, along with native HDMI signals, on a single HDMI cable. TeamWork 601 works with most flat panel displays, laptops, and tablets. It also works with virtually any new or existing furniture system. Optional mounting hardware facilitates different collaboration table or work surface designs. Extron TeamWork is a fully customizable collaboration system that is ideal for corporate and education applications. Pre-configured packages, including the TeamWork 601, TeamWork 600, and TeamWork 400 are available for fast implementation with minimal setup. more

Extron Now Shipping Three Input Switcher with Integrated DTP Transmitter

Extron Electronics is pleased to announce the immediate availability of the DTP T USW 233, a three input switcher for sending HDMI or analog video, audio, and control up to 230 feet (70 meters) over a single CATx cable to an Extron DTP 230 receiver. It is HDCP compliant and provides two HDMI inputs, one RGBHV or component video input, and one DTP 230 twisted pair output. Analog video input signals are digitized to ensure a high quality digital video signal is transmitted to the DTP 230 receiver. The switcher also offers many integrator-friendly features, such as EDID Minder, Key Minder, auto-switching between inputs, audio input assignment, and remote powering. These features, plus the low profile enclosure, make the DTP T USW 233 ideal for discreet placement in lecterns, beneath tables, or in other environments requiring input switching and signal transmission. more

Yamaha CL Digital Console Update V 1.7 Available in December

BUENA PARK, Calif.—Yamaha Commercial Audio Systems, Inc. announces the December availability of Version 1.7 software upgrade for the Yamaha CL Series Digital Audio Console. The upgrade, available via free download, is based on significant end user input and will provide enhanced efficiency and versatility along with significant improvements that will be especially valuable for mixing engineers in festival and similar complex event setups. Several of the features implemented in V 1.7 will make the CL an even better console choice for festivals, since many of the new features are already familiar to PM5D users.

New CL V 1.7 features include Selective Load/Save for set up data such as scene memory, libraries, etc., can now be individually loaded from or saved to USB memory providing an efficient way to load complex setup data. The HA Option for changing input patches now makes it possible to select whether the end user wants to use the HA settings from the patched port as is, or copy the channel HA settings to the patched port in order to quickly change input patches when mixing in a fast-paced environment without having to copy HA settings.

“As with all Yamaha Commercial Audio products, updates are implemented based on suggestions primarily from our end users,” states Marc Lopez, Marketing Manager, Yamaha Commercial Audio Systems, Inc. “Their input is quite essential, now, and for future generation of products.”

CL V 1.7 updates also include: in the Sends On Fader mode, the assignable encoders (Gain/Pan/Assign knobs) can now be used to adjust channel level and panning for sends to stereo buses. Custom Fader Bank setups can be stored to, and recalled from, individual scenes. At busy events that involve multiple engineers, this feature can make it easy to change custom fader bank settings without having to switch users. And, the sends from input channels to buses on which the send point is set to PRE, can now be assigned to DCA groups for muting via a DCA Mute Option for PRE sends.

Other new features in CL V 1.7 include improved Channel Name Display In the Sends On Fader mode where channel ON/OFF status is now indicated in the channel name display. Additionally, a “black” 9th color has been added for the Channel Color Bar. More points are available in the Metering Point field on the meter display with the addition of “Pre GC Meter” and “Post Digital Gain Meter”.

Also in CL V 1.7, the Analog HA gain and Digital HA gain indication have been improved and are both displayed in the Selected Channel View Gain/Patch field at all times. The HPF status of R Series and similar external HA units are shown in the Gain/Patch field as well. DCA/MUTE group and mute name display are now shown in the DCA/Mute Group Assign Mode pop-up display. Improved Channel Link display indicators in the CH Link Mode pop-up display will make it easy to see current link group settings.

In addition to the above new features, CL V 1.7 includes Extended Cue monitor adjustment range that extends from -30 dB to +20 dB. It is now possible to specify whether latched or unlatched external switches are connected to the GPI input ports. And, when mounting I/O devices on the Dante network, the device type can now be detected without the description in the device label, allowing for better customization of names.

For more information on Yamaha CL V 1.7, visit www.yamahaca.com.

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About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. With the addition of NEXO to the product line, the company remains the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

Martin Audio MLA Goes Above And Beyond At “Ally Pally”

Capital Sound easily overcame Alexandra Palace’s notoriously challenging acoustics in late October when they brought in their Martin Audio MLA Multi-cellular Loudspeaker Array to the glazed venue for the first time.

Notorious among the sound community for producing violent reflections inside the venue (and receiving noise complaints from the neighbors), would the Above & Beyond Group Therapy 050 live radio broadcast prove too great a challenge for the award-winning sound system, which promises ultimate pattern control? As for A&B, this was to be one of the biggest events in the dance music trio’s calendar.

So just how unforgiving is Ally Pally? In the words of Capital Sound account manager, Martin Connolly, “The Great Hall is a beautiful space; but when it was built in 1873, no one ever envisaged that the building would need to play host to the high volume of a modern day concert. Unfortunately, the amazing domed glass roof is only a minimal barrier to sound propagation.”

Martin Audio R&D Director, Jason Baird, puts it more succinctly, stating: “Just think of a marble and glass shoebox, 130 ft. wide, 52 ft. high and 278 ft. deep.”

Above & Beyond, who operate both full band and DJ set-ups (but in this case were operating in the latter mode), had wanted to use MLA, and when they brought in Loudsound’s Dan Craig he readily agreed, having worked successfully with MLA during the Field Day and deadmau5 shows at Hackney’s Victoria Park, as a precursor to this summer’s Hyde Park British Summertime Festival.

Capital Sound Technical Manager Ian Colville immediately set to work on designing the system, with Jason Baird providing supportive input. “We have used Martin Audio W8LC’s here in the past, but whatever system we’ve used, it has always required delays. This time we felt it was time to put our faith in MLA and do away with delays.”

For both Dan Craig, and promoters, Lock ‘N’ Load Events, the decision was fully vindicated. Craig reported that by operating to a 98dB threshold inside, production didn’t receive a single noise complaint. Yet the greatest ‘illusion’ was inside the venue, where by cleverly mapping the venue to optimize and ‘hard avoid’ selected areas, the clarity of the signal gave a distinct impression that the various DJ’s were playing a whole lot louder. And with the venue once again hosting a steady flow of events, with Cap Sound as one of their main service providers, this could prove highly significant.

“We had observed this characteristic from Day 1,” admits Colville. “If a venue is completely resonant free then the sound appears louder.” While the complete system design is conceived ahead, the system tech will always make late adjustments on the fly, he said, such as towing in the PA a fraction. In this case once production got on site, they found the venue was not quite as long as drawings had indicated and so certain measurements needed to be re-evaluated.

Fortunate then, that the system tech on this occasion was Toby Donovan, who worked as the MLA tech on the highly successful Hyde Park concerts.

“I have never encountered a system quite as clever as MLA,” he said. “But you still have to use common-sense in the physical world.”

For this show the L/R system was rigged with 11 MLA elements per side (atop a single MLD Downfill) with two W8C’s each side for outfills and eight W8LM as front fills. The PA was flown fairly high (with slight downward tilt) but then towed in marginally to keep it off the walls, using Delta plates and three motors per hang. “We only needed about 1° to avoid distracting reflections; it’s what we would generally do in noise sensitive venues,” said Donovan.

“We also needed to minimize spill all round—the rear rejection with this system is really good.”

The SPL profile was built over a 5dB spread—using zero at the mix position, +2dB at the crowd barrier and -3dB 275 ft. back at the rear curtain.

With ‘Hard Avoid’ applied uniquely to this back wall the design also utilized the Audience and Non-Audience zones with the appropriate optimization settings—the latter tapering off at the stage (from the drape line to the back wall behind).

Having the 14 MLX subs arranged in a broadside cardioid array allowed Donovan to enter delay times and change the dispersion control—using the software to electronically curve the sound into an arc. “Due to the narrow width of the venue, we were only running at 90°, so this was a pretty tight LF beam,” he noted.

Toby Donovan confirmed the belief of the entire Capital sound crew. “Such was the coherency and lack of distortion, that everyone I spoke to couldn’t believe we were only running at 98dB. It was exactly the same on the Joe Satriani tour where we were running at 99dB but sounding like 103dB. Our ears deceive us into thinking that it’s so much louder.”

All of which was to the benefit of Above & Beyond’s Group Therapy 050 show, fronted by the trio of Jono, Tony and Paavo and also featuring support from renowned DJ’s Arty, Andrew Beyer, Boom Jinx and Guy J.

Paavo Siljamäki, for one, was delighted with the outcome. He stated, “[Capital Sound] made one of the most difficult venues in London sound incredible. Never before in my touring career (with over 500 gigs behind me), has the sound in a venue been such a talking point. I had lots of sound engineer friends complimenting us on the way the place sounded,”

Martin Connolly can also reflect on a highly satisfactory outing. “When we supported Subculture and Come Together at this venue for Lock ‘N’ Load Events two years ago with a hybrid system it worked well.

“But the sound was no match for this. When you are not battling against reflections or ambient noise and can aim the sound off the walls, you will always appear to get more volume from the system at sensitive sites like this. Everyone agreed, particularly Seamus [Morley], the tour manager, who described the sound as ‘epic’ and confirmed that we had made absolutely the right choice of PA.”

Photo credit: Photo by Sebastian Matthes/manox.net”

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

Daktronics Revitalizes Lane Stadium’s Sound System with HARMAN Professional Audio Components

BLACKSBURG, Virginia – Systems integrator Daktronics recently upgraded Virginia Tech University’s Lane Stadium with new HARMAN’s JBL VLA Series loudspeakers, along with equipment from BSS audio and Soundcraft. The stadium seats 66,233 and is home to the Virginia Tech Hokies football team.

The goal of this renovation was to ensure a high output system and even coverage from seat to seat. Daktronics selected JBL Professional’s VLA Series line arrays, which offers revolutionary high-impact sound beyond the reach of traditional loudspeaker designs.

“We designed the JBL VLA system to meet and exceed the initial performance standards of point-and-shoot horn speakers, while also reducing costs,” said David Sturzenbecher, Audio Project Engineer for Daktronics.

Daktronics installed a system consisting of 18 JBL VLA601H loudspeakers, four JBL VLA301H loudspeakers, two JBL PD5212 loudspeakers, two JBL PD764 loudspeakers, powered by 17 Crown I-Tech HD 4×3500 amplifiers and nine I-Tech 9000 amplifiers, with two BSS Soundweb London BLU-800 processors. The system also features a Soundcraft Performer 3 audio/lighting mixing console.

“The system has been functioning great and received many positive reviews. We utilized additional DSP I/O to control additional areas outside of the initial scope to provide added customer functionality,” Sturzenbecher added.

Besides installation, Daktronics was also responsible for system design and programming. Of course, a project incorporating all these elements did not go unchallenged.

“The original design did not call for vertical arrays, so we collaborated with the structure engineer to redesign the space to accommodate for the VLA system,” Sturzenbecher noted. “With support from [JBL Senior Applications Engineer] Brad Ricks and [owner’s representative] Anthony James Partners, we successfully completed the project.”

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 14,600 people across the Americas, Europe, and Asia and reported sales of $4.5 billion for the last twelve months ended September 30, 2013.

Iconyx Makes it Clear at Mizzou Aquatic Center

Columbia, MO – November 2013…. The University of Missouri has a well-deserved reputation for going the extra mile for its student body, and their Student Recreation Center is a case in point. With a range of indoor and outdoor facilities to meet almost any discipline, their Mizzou Aquatic Center is just one of several jewels in the crown. The Aquatic Center’s 50 meter pool and Diving Well have hosted numerous high-profile competitions, including Big 12 Swimming and Diving Championships, USA Swimming Series, and NCAA meets.

Since its opening in 2005, the Aquatic Center had also been known for its problematic acoustics. With its soaring glass and concrete walls, massive steel roof, and abundance of reflective surfaces, announcements were literally drowning in the din. That is, until the Center installed their new Iconyx digitally steered column array system.

“The original audio system never really provided the coverage they needed,” explains Brian Noerlinger, with the Overland Park, Kansas offices of Conference Technologies, Inc. “The speakers were mounted at about 56 feet high, and the intelligibility factor was close to nil.”

The ceiling’s height created strategic challenges as well. “One of our biggest obstacles was taking the old speakers down,” says Noerlinger. “The largest lift we could get into the building only went to 40 feet. Erecting a scaffold would have called for draining the pool, which wasn’t an option. So I put a couple of pieces of conduit together with a couple of pulleys and a spring and a rope, and essentially made a big long tree trimmer. I threw a rope around the speakers, pried them off and reached up and cut. I had one heck of an audience watching from below.”

As challenging as it was to get the old speakers down, installing anything else at that height would have proven impossible. “The original plan had been for the Iconyx to be part of the design, along with hanging additional speakers to replace the old ones,” says Noerlinger. Instead, CTI worked with the Renkus-Heinz engineering team to design a system to cover the entire space using only three Iconyx columns.

The system is comprised of a single Iconyx IC16-R-II column in the center, flanked by IC8-R-II columns on either side. “One of the IC8 columns covers the diving well area, with the IC16 at dead center and the other IC8 down at the far end of the pool,” says Noerlinger. “With just those three columns, we were able to achieve a consistent 110 dB coverage across the entire seating area.” A CFX218S dual 18 inch subwoofer adds low end punch and power to pump up the crowd.

Intelligibility is also dramatically improved, Noerlinger adds. “Having the ability to control our point sources and direct the sound exactly where we wanted it — and more importantly, to steer it away from the places we didn’t want it — made a tremendous difference. The sound in there now is crystal clear.”

###

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

Red TX Help Capture This Year’s Barclaycard Mercury Prize

Broadcast audio specialist Red TX provided the technical facilities to capture the audio at this year’s Barclaycard Mercury Prize, which took place at London’s Roundhouse on October 30th.

Hosted by Lauren Laverne, this year’s Awards Show featured live performances by many of the 2013 shortlisted artists including Arctic Monkeys, Laura Mvula, Jake Bugg, Rudimental and overall winner James Blake.

Red TX worked closely with PA company Plus4Audio and Outside Broadcast company CTV to deliver television coverage of this prestigious event, which was broadcast on both More4 and Channel 4.

Barclaycard Mercury Prize Executive Producer Dan Ford says: “Red TX was commissioned to handle the broadcast audio because the company has a strong reputation for delivering great live sound. We worked with them last year and were very happy with the results they achieved. It therefore it made sense to invite them back as part of our tried and tested production team.”

For this event, Red TX supplied its Red II music recording truck which is designed to cater for 3D and 7.1 surround sound productions. Sound Supervisor Simon Wall, now based at London’s The Hospital Club, has been mixing the audio for the Barclaycard Mercury Prize for a number of years and once again he was the man behind the controls of red II’s Studer Vista 8 mixing console. Red TX’s engineer Ollie Nesham was also on board acting as his technical assistant.

Nesham says: “A great deal of preparation went into this show. We arrived at the venue on Monday 28th and spent the next three days setting up, rehearsing and carrying out extensive sound checks to make sure everything was perfect. There were two stages, each with 48 lines of splits that we plugged up to so that all the inputs were available on the desk at the same time. This enabled us to create a set-up for each part of the show, in which typically three bands were performing, so that Simon only had to recall one set-up for each part and one snapshot for each band. Working this way also allows Simon to line check all the bands in each break, which gave us confidence as we could check that we had all the inputs for each band before we started that part of the show.”

Sam Dunlop, Studio Manager of the Hospital Club Studio, adds: “The Hospital Club treasures its longstanding relationship with Dan Ford and the Barclaycard Mercury Prize, which we have collaborated on since 2007. Throughout that time, Simon has mixed all the Sessions filmed at the Club, as well as the Prize gigs and all the live mixes on the awards night itself. We’re extremely lucky to have him, and it’s a privilege to be able to work together to produce such fantastic new music content throughout the year with Dan and his team.”

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About Red TX:
Red TX provides a comprehensive concert recording and broadcast service to the music and television industries. The company has state-of-the-art mobile recording facilities and can handle projects of any size or complexity. As well as recording audio for broadcast, the company also records live music events for subsequent release on CD or DVD. It is headed by Ian Dyckhoff and Tim Summerhayes, both of whom have extensive experience in delivering high-quality audio for broadcast. www.redtx.com

HARMAN’s JBL Professional CBT Column Loudspeakers Enable Firetron to Do More with Less at Guy K. Traylor Stadium

NORTHRIDGE, California – Home to the Lamar Consolidated Independent School District High School football team in Rosenberg, Texas, Guy K. Traylor Stadium is a 12,000-seat multipurpose venue. Seeking to upgrade its audio reinforcement system, the district called upon systems integration firm Firetron of Stafford, Texas, to install a unique new system highlighted by HARMAN’s JBL CBT Series column loudspeakers.

The previous system at Guy K. Traylor Stadium consisted of loudspeakers arranged at the end zones of the field—a setup that Richard Phillips, Sales Engineer for Firetron, saw as insufficient for the stadium’s needs. “I strive to bring the loudspeakers as close to the audience as possible to get maximum fidelity,” he said. “The stadium had an end zone system and it only lasted six years. As a general rule, I feel that distributed systems usually work better than end zone systems, so we developed a distributed concept utilizing CBT column loudspeakers.”

Firetron designed and installed a system featuring four JBL CBT 200LA-1 column loudspeakers on each long side of the stadium—four behind the home team stands and four behind the visiting team stands. The system is powered with Crown IT6000 amplifiers with BSS BLU-100 processing. “The wide coverage of the CBT’s enabled us to achieve high-impact sound and even dispersion with relatively few loudspeakers,” Phillips added. “The system is also broken into two discrete parts—one on the home team side and the other on the visiting team side—so each side can operate autonomously.”

At 6.6 feet tall with 32 drivers, the CBT 200LA-1 provides consistent pattern control over a wider bandwidth than is possible with shorter columns or fewer drivers. Vertical pattern coverage is adjustable to either 15 or 30 degrees to match the architectural characteristics of a wide variety of venues, and a variety of mounting heights. In addition, an innovative asymmetrical progressive-gradient coverage mode can be selected, directing more sound toward the far areas of the listening space to help reduce variation in SPL levels from front to back throughout the area.

“It’s the first time I’ve installed the CBT speakers and the project turned out great,” Phillips noted. “The school district is very happy with the quality of the sound and the system is very easy for them to operate.”

For more information on Firetron, please visit www.firetron.com

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of infotainment and audio solutions for the automotive, consumer, and professional markets. It is a recognized world leader across its customer segments with premium brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, and Mark Levinson® and leading-edge connectivity, safety and audio technologies. 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 14,000 people across the Americas, Europe, and Asia and reported sales of $4.3 billion for the fiscal year ended June 30, 2013.

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