BUENA PARK, Calif.—In 1999, singer Tony Bennett and his wife Susan Benedetto, then a public school teacher, were inspired to start a public high school for young artists and envisioned a school that would integrate the arts with rigorous academics, require a commitment to community service, and help students cultivate a lifelong love of, and dedication to, their artistic passions and crafts.

With assistance from the New York City Department of Education and the not-for-profit Exploring the Arts (ETA) who assisted in raising the necessary funds required, the Frank Sinatra School of the Arts (named for Bennett’s long-time friend) opened in 2001 at a temporary space. In 2009, the school moved to its permanent home on the Kaufman Astoria Studios complex, in Astoria, Queens. Ennead Architects LLP (New York City, formerly Polshek Architects) designed the school, under lead architect Susan Rodriguez.

The Tony Bennett Concert Hall is a state-of-the-art performance 800-seat venue built specifically for use by the students. Tom Young, long-time front of house engineer for Mr. Bennett, was brought in at his bequest to specify the theatre’s sound system. “The original audio design by David Harvey (Harvey, Marshall, Berling Associates) and myself was initially a typical value-engineered system required by any New York City school but with our added mission of creating a good sounding space,� says Young. After Young took the Bennett’s to hear a demo of the Yamaha Active Field Control (AFC) system, they all agreed, that AFC would be a key component of the concert hall. Active Field Control is a reverberation enhancement system that adjusts and enhances the acoustic characteristics of a facility while preserving natural characteristics.

The theatre’s AFC system is a hybrid AFC3/LAP3 system with both the standard AFC3 system utilizing a new AFC-FIR card for processing and the enhanced option of using a dedicated FIR processing computer with the LAP3 external computer. System 1 is used for reverberation enhancement in the house and under balcony areas. System 2 is designed for reverberation enhancement/energy exchange on the stage adding a sense of spaciousness to the normally “dead� sounding stage area, aiding performers to hear others on the stage.

The main loudspeaker system in the concert hall is based around a NEXO GEO S12 line array, NXAMP4X4 amplifiers equipped with EtherSound cards connected to the existing EtherSound network; four Yamaha DSR115 self-powered Yamaha speakers for stage fills/monitors, and a Yamaha M7CL-48ES digital audio console.

In a joint statement the Bennett’s said: “Putting the finest sound system in the Tony Bennett Concert Hall at Frank Sinatra School of the Arts has turned it into one of the best sounding halls in the United States. How fortunate we are that both Tom’s team and Yamaha were able to create this for the public school children of New York City.”

For more information on Yamaha and NEXO products, visit www.yamahaca.com.

-END-

Photo ID: Cheri Walsh, Director of Exploring the Arts, Larry Italia, VP/GM Yamaha Commercial Audio Systems, Tony Bennett and his wife Susan, and Tom Young

About Yamaha Commercial Audio Systems, Inc.:
Celebrating 125 years of Passion and Performance, and 25 years in the manufacturer of high quality digital audio consoles, 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.

Catalyst AV Enters into Nationwide Distribution Agreement with Atlona

Comprehensive assortment of media distribution products meets Catalyst AV’s standards for performance and value

Burlington, MA – May 14, 2013 – Catalyst AV, a nationwide distribution network of specialty AV products that serves more than 10,000 integrators from 17-locations stateside — with emphasis on dealer support before, during and after the sale — today announced Atlona® as its media distribution products partner.

Established in 2003, Atlona is a leading provider of AV switchers, distribution amps, extenders, converters and scalers, cables and adapters, testing equipment and accessories. Effective this month, all 17 Catalyst AV distribution outlets began stocking Atlona’s media distribution solutions, ready for next-day delivery and where applicable, same-day to its dealer base.

�Atlona is a leader in signal distribution and we are fortunate to have another partnership with a leader in a category served,� says Wally Whinna, Catalyst AV board member and principal of Allnet Distributing. “We’ve begun rolling-out the line to our dealers via special events as well as one-on-one dealer presentations and trainings.�

“We have a strong relationship with the members of this group and work very well together to bring the best products, support and complementary offering to the CEDIA market. The Catalyst AV distribution group has positioned Atlona as the premier connectivity line and with their national reach we will continue to see the growth of their dealer network,� says Mike Grubb, Atlona Senior Sales Manager, Americas.

The Catalyst AV member companies are:
• Allnet Distributing (www.allnetdistributing.com) (Midwest)
• Audio Video Warehouse (www.av-warehouse.com) (Nevada, Arizona)
• Custom Plus Distributing (www.customplusdistributing.com) (Pacific NW / Alaska)
• Easy Access Distribution (www.easyaccessdistribution.com) (Northeast)
• Electronic Lane Distributors (www.electroniclane.com) (Southwest) (commercial / and pro AV channels)
• Electronics Source (www.electronics-source.com) (Florida and Southeast)
• Electronic Stockroom (www.electronicstockroom.com) (California)
• HCA Distributing (www.hcadist.com) (Rocky Mountains)
• Pioneer Music Company (www.pioneermusicinc.com) (Plains States)
• SPD (www.spmreps.com/sound-product-distributing) (Upstate NY)
• Tech Source Distributors (www.techsourcedist.com) (Mid-Atlantic)

Please direct all Catalyst AV media inquiries to Paul Muto at paul@mutocomm.com; 631.849.4301.

About Catalyst AV
Founded in 2012, Catalyst AV is a network of 11 independent consumer electronics distributors serving the residential and professional AV channels in the U.S. Catalyst AV grants manufacturers a consistent and cohesive nationwide distribution model to more than 10,000 professional integration specialists. Catalyst AV benefits integrators by delivering all the products and support necessary to execute the demands of job specifications with confidence. The Catalyst AV Board of Directors consists of Mike Hench (Electronics Source); Steve Presti (Easy Access Distribution) and Wally Whinna (Allnet Distributing). www.catalystav.com

About Atlona
Atlona® is a leading provider of innovative, reliable AV and IT connectivity solutions. Since 2003, the company has been designing and engineering award-winning products for a diverse range of residential and commercial AV and IT markets, including education, business, government, entertainment, and healthcare.

Atlona’s products and services enable system designers, integrators, consultants, and installers to simplify installation, minimize maintenance, and maximize the versatility of premier automated control solutions. Atlona’s vision is simple: deliver customer-driven products designed and developed with the features, performance, and reliability that industry leaders demand; and deliver the best value in the industry.

More information about Atlona is available at www.atlona.com.

© 2013 Atlona Inc. All rights reserved. Atlona and the Atlona logo are registered trademarks of Atlona Inc. in the U.S. and other countries. All other names and marks are trademarks of their respective holders.

VIENNA, Austria – On the same stage where Elvis Presley set the Las Vegas record for consecutive sold-out shows, a collection of classic rockers from decades past are revisiting rock music 1,000 years in the future for “Raiding The Rock Vault� at the Las Vegas Hotel (LVH). Boasting “the greatest set list ever,� the show is exclusively miked with HARMAN’s AKG handheld, wireless and in-ear monitoring systems for the perfect sound to pay homage to rock’s greatest bands and songs.

Written by GRAMMY®-Award-winning producer David Kershenbaum and John Payne of Asia, “Raiding The Rock Vault� takes the audience back to Earth, which was destroyed by a meteor. A search team, whose families were saved by a lottery system centuries before, are searching for time capsules left behind by today’s humans. They quickly stumble on the “Rock Vault� and an energetic flashback ensues with music from the 1960s through the ‘90s.

The all-star rocker cast is comprised of Howard Leese [guitar] (Heart), Tracii Guns [guitar] (LA Guns, Guns n’ Roses), Robin McAuley [lead vocals] (MSG, Survivor), John Payne [lead vocals and bass] (Asia), Paul Shortino [vocals] (Rough Cutt, Quiet Riot), Jay Schellen [drums] (Hurricane, Asia), Andrew Freeman [lead vocals and guitars] (Lynch Mob, The Offspring) and Michael T. Ross [keyboards] (Lita Ford, Hardline, Angel).

A full range of AKG microphones and wireless systems are deployed throughout the entire stage. Sixteen channels of AKG DMS700 V2 wireless run through the venue for all of the guitars, which are connected through PT700 V2 transmitters. WMS4500 wireless systems are used for vocalists – 12 channels in all – with HT4500 D5 and D7 capsules for the singers and PT4500 transmitters for the four actors. Twelve channels of IVM4500 are used for in-ear monitoring, with AKG’s new HELICAL antennas for transmission.

“We’ve been impressed with the entire line of AKG, especially the wireless systems. We have a multimedia show here and AKG is the perfect choice for every application,� stated Keith Marks, production coordinator for Rock Vault. “With our intricate setup and the amount of frequency traffic in Las Vegas, the AKG systems are seamless, easy to scan and provide us with a fantastic sound. AKG makes it easy – anything you put into them will sound great!�

Lesse’s mics include two AKG D40 microphones and a D7; Guns uses two D40’s and a D7; Payne’s guitars are miked with C214’s and C4500’s, with a D7 mic for vocals; Shortino uses the HT4500 D5 capsule and McAuley and Freeman rely on the HT4500 D7 capsule for vocals.

Schellen, who mixes his own mics and in-ears for his performances, has been a member of the AKG family for 20 years. He wanted to continue ensuring his sound was nothing short of perfect when he signed up for the show. “It’s a true drum sound through the mics,� he said. “That’s why I’ve been with AKG for so long.�

Schellen’s mics include two D112’s for outer kicks, two D12 VR’s for inner kicks, six D40’s on toms, a D40 on the timbales, two C214’s for overheads and a C214 on the hi hat.

“I’ve been a lover of AKG as both a producer and performer, touring for the last 30 years, while experimenting with a myriad of other, less-impressive microphones,� stated Payne. “This show is an educational experience – a ‘rockumentary’ of sorts – and it’s important to express the significance of the music of each era with an amazingly developed sound rig. These songs are the inspiration to rock and roll and AKG has been essential, helping us pay tribute to our colleagues and friends.�

For more information about AKG, please visit http://www.akg.com and http://www.youtube.com/AKGacoustics. For more information on “Raiding the Rock Vault,� please visit http://www.raidingtherockvault.com

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of audio, lighting and infotainment 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 14,300 people across the Americas, Europe, and Asia and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

LONDON, England – Over the years, London based live production company ARC Sound has produced many corporate functions in the Underglobe, the events space situated beneath London’s famous Shakespeare’s Globe Theatre. But since the reconstruction in wood of the original Elizabethan playhouse on the Thames South Bank, a full production set up has never been allowed, or indeed attempted, in the main theatre space itself.

However, all that has now changed. To celebrate the Bard’s birthday this month, a concert audio production set-up was allowed into the 1500-capacity space for the first time. As James Dougill’s company has a long standing contractor relationship with the venue, they were asked to plan and produce a working solution which would meet both the technical requirements of the performances, whilst also being sympathetic to the unique nature of the building.

Billed as ‘an evening of music and magic’ ARC Sound dipped into their extensive inventory, and deployed a JBL VerTec line source array loudspeaker system and Soundcraft Vi series digital mixing consoles as the key sound reinforcement components.

“This production was unique, as The Globe hasn’t allowed anything this ambitious to take place previously,â€� confirmed Dougill. “I am certain eyebrows were raised initially when all these flight cases started appearing in a venue made entirely out of wood. But the fact we were able to achieve this without creating any noise pollution was down to the detailed pre-production planning we undertook before the event.â€�

They also ensured that the main loudspeaker system complied with the maximum weight load of no more than a ¼-tonne to the oak beams in the theatre’s ceiling.

Headlining were The Magic Numbers, supported by singer songwriter Johnny Flynn, along with magicians Barry and Stuart, Piff The Magic Dragon and Chris Cox. With the exception of the Magic Numbers all other performances took place on an oval thrust, which was in front of the main loudspeaker array hangs.

For the main PA, ARC Sound suspended two symmetrical hangs of six JBL VERTEC® VT4887A compact line array elements, with two pairs of JBL VT4880A subs recessed under the stage apron. Each driver was individually addressed to provide alignment delay in a mini-cardioid configuration. Added to this were two fill clusters, each comprising three JBL VRX928LA Constant Curvature loudspeakers.

The ARC Sound director explained the rationale behind the design. “Although the throw distance was quite small, the coverage we required was steep—and since we were unable to suspend any further weight from the theatre ceiling, we opted for sharply angling back the VRX clusters. The key criteria here was the vertical coverage required to distribute sound evenly from the downstage edge right up to the third tiered balcony.�

The system was set up using a combination of the VERTEC LAC2 (JBL’s dedicated line array calculator) and Smaart field analysis, coupled with the company’s own extensive experience of deploying and using the products.

With a thatched open roof, James Dougill was mindful of the potential hazards of sound spill encroaching onto the Thames. “I wanted to get the boxes up into the air, focussed downwards, rather than on the ground pointing up,� he said. “Monitoring the volume during the show was more a question of using common sense than the SPL metering and LAeq measurement equipment we’d set up.�

At front of house ARC Sound fielded their Soundcraft Vi4, with 64-channel software upgrade, while down at the stage Raghav Narula was responsible for all of the onstage monitor mixes (also operating at near 64-channel capacity on one of the company’s Soundcraft Vi1 consoles).

James Dougill mixed the house sound, before creating a generic FOH set up (and an external rack of FX) for The Magic Numbers’ sound engineer Max Bisgrove — but instead, Max preferred to use all the desk’s internal reverbs and FX.

Summing up, Dougill said the quality of the amplified sound could hardly have been better. “The full range of VERTEC and VRX loudspeakers we stock gives us a very broad tool set to work with, and can be consistently relied upon to deliver. Their profile was ideally suited to this application, and if the glowing comments we’ve received about the sound quality are anything to go by, we got it right.

“It was a huge privilege to have been involved in this project — and The Globe were so delighted they are already talking about the next event.�

JBL and Soundcraft products were originally supplied to ARC Sound by HARMAN’s UK distributor, Sound Technology Ltd.

HARMAN (www.HARMAN.com) designs, manufactures, and markets a wide range of audio, lighting and infotainment 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 14,300 people across the Americas, Europe, and Asia and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

Company maintains competitive edge by making ‘under the hood’ improvements to LEDView530 and HQView530

Calibre UK returns to InfoComm 2013 with significant updates to two of its most important products for the pro-AV marketplace: the LEDView530 and HQView 530 switcher/scalers.

Both products were launched earlier this year, with the former being aimed at the control of large-scale LED screens in rental and fixed-installation applications, and the latter being designed specifically to multiple-projector setups.

They have already found a loyal following among rental companies and AV systems integrators, and now Calibre UK has increased their appeal by maintaining its policy of continually updating its products during their lifetime.

Tim Brooksbank, Chairman, Calibre UK, explains: “We’ve given both the LEDView530 and the HQView530 a number of new features that really set them apart from the competition. These include the ability to capture an input feed to save as a custom test pattern, for display as a customer logo screen or as a backdrop when no live signal is being displayed. Both products can scale this saved image and will geometrically correct, warp, rotate and blend it like a live input, something our key competitors can’t achieve!

“Users can also now choose whether PTZ is applied globally to all input signals or is automatically saved and recalled per input channel per signal mode – a very powerful function for performing per-mode adjustments to aspect ratio.

“We have also enhanced the color calibration options with the ability to set R, G, B gains and bias (black level) per input channel and the ability to set saturation and hue per input channel, per mode. Unlike many competing products, these functions are available for all input channels including DVI, HDMI and 3G-SDI.

“Finally, both products have been given new ‘blue’ easy-to-read dimmable front-panel menu displays, with fast navigation via jog-wheel as well as buttons for direct input selection.�

In addition to being included as standard on all new inventory, all the above new features with the exception of the updated front-panel are available as free firmware upgrades for existing customers.

“We’re celebrating 25 years in business this year and customer service has always been one of our top priorities,� adds Brooksbank. “We always enjoy exhibiting at InfoComm and getting the chance to put the results of our intensive R&D effort in front of the pro-AV community. This year will, I’m sure, be no exception!�

Calibre UK will exhibit on Booth 4481 at InfoComm 13 at the Orange County Convention Center, Orlando, FL, from 12-14 June 2013.

GAINESVILLE, GEORGIA – MAY 2013: Danley Sound Labs brings its revolutionary Synergy Horn technology to the great outdoors with the Danley OS80. Like its Synergy Horn siblings, the OS80 delivers tremendous output, both in terms of sound pressure level and transparency, as well as precise pattern control. Unlike its Synergy Horn siblings, however, the OS80 is housed in an enclosure that is utterly impervious to weather, making it the ideal loudspeaker for outdoor installations at sports venues, arenas, athletic fields and complexes, theme and recreational parks, public gatherings, race tracks, community centers, cruise ships, hockey rinks, water parks, swimming areas, and more.

“The Danley OS80 brings high fidelity to outdoor loudspeakers,� asserted Mike Hedden, president of Danley Sound Labs. “Until now, installing a fully-weatherized loudspeaker meant significant compromises in fidelity and impact. But like all Danley products, the OS80 doesn’t play by those rules. The OS80 not only delivers the kind of clarity and power that characterizes our flagship SH-50 loudspeaker, but it can do it in a driving rain or after a winter spent buried under snow. In addition, the OS80’s precise pattern control created by the large horn makes it possible for outdoor sound reinforcement systems to deliver superior Synergy Horn fidelity to every seat.�

The Danley OS80’s coverage pattern is 80 deg conical with an operating frequency range that spans 113 Hz to 18 kHz (+/- 3 dB). It has 101 dB SPL sensitivity and a maximum output that rates 127 dB SPL continuous and 133 dB SPL program. A single high performance 12-inch driver and a single 1.4-inch driver energize the Synergy Horn and are hidden away inside a thermal molded poly-composite exterior measuring 32.25 inches high by 26-inches wide by 14.5 inches deep. Total weight is 51 pounds, and a U bracket is included as are other flexible mounting options which allow the Danley OS80 to make itself at home in any circumstance.

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology. www.danleysoundlabs.com

SEE US AT INFOCOMM BOOTH #143 – COME TO HEAR THE OS80 IN DEMO ROOM W203B

BUENA PARK, Calif.—Held the last weekend of April in Wilkesboro, N.C., this year’s MerleFest included a roster of longtime roots artists like Leon Russell, The Charlie Daniels Band, Avett Brothers, Del McCoury Band, Donna the Buffalo, Jim Lauderdale, Michael Martin Murphey, Peter Rowan, Jerry Douglas, Sam Bush, and the Nitty Gritty Dirt Band. As locals know, the festival is named for famed guitarist Doc Watson’s late son, Merle, a gifted musician in his own right. Doc passed away in May 2012, so this is the first year he hasn’t graced the stage himself.

For the past 26 years, SE Systems of Greensboro, N.C. has provided audio production for MerleFest, and this year included a new NEXO STM rig shared and alternating between the main Watson Stage and the side Cabin Stage. The system consisted of 15 M46/B112 per side for mains, 16 S118 subs in cardioid mode per side, two M46 for front fills, and a three-stack of M46/B112s were used for out fills in the VIP area. A Yamaha DME64 digital mixing engine functioned as a converter from analog to Dante that was networked to all NXAMPs. 20 NEXO 45 N-12 line monitors were also used on the main stage.

“The NEXO STM system was very musical and even horizontally and vertically, states Chris West, front of house engineer at the Watson Stage. “The mix sounded the same on the ground and at FOH. The throw was incredible; we hardly used the delays.”

“The NEXO STM system sounded natural, even at high volume,â€� states Haley Miller, monitor engineer at the Watson Stage. “When dealing with acoustic music, the environment plays a large part, so a natural sounding system is always a plus. On stage it was quiet, and sometimes we couldn’t tell if the PA was on; the system allowed great isolation from stage to FOH with no bleed.”

Four new Yamaha CL5 digital audio consoles with Rio 3224 input/output boxes all connected with Dante were used on the Americana Stage for mains and monitors and at the Dance Stage for mains and monitors. “The overall impression was they sounded great,� states Myron Surber, Sales Associate, SE Systems. “The preamps were warm and the Premium Rack was a real plus with delays on the input channels and the additional 1/3 octave EQs.�

“The Yamaha CL5 is a great improvement on previous Yamaha consoles having mixed on both the PM5D and M7CL in festival situations,â€� states Josh Berneking, who mixed front of house for all the acts on the Americana Stage. “The CL5 is much better in that situation. The new premium rack plug-ins, especially the Rupert Neve EQ and Compressor, sound great. I also like the increased naming and labeling capabilities; and color-coding my channels was a huge help at the festival. I also found that it was similar enough in navigation to the M7s that guest engineers walking up to the consoles having no experience were able to jump right in on the desk and mix on the fly with very little help from me. The Dante network and stage boxes worked great; they were very easy to patch on, and setup. We were also able to connect my talkback mic to the monitor console through Dante.” Jeff Neubauer mixed monitors on the Americana Stage.

“The console sounded great and was sonically very clean,â€� states Todd Dupree who mixed monitors on the Dance Stage. “We had two Rio boxes on our stage; they are great devices, well made, and solid. The indicator lights for signal, peaking, 48v, and the Ping feature worked great in the frantic festival setting.” John Adair mixed front of house at Dance Stage.

For more information on SE Systems, visit www.sesystems.com.

For more information on NEXO and Yamaha products, visit www.yamahaca.com.

-END-

Photo ID: L to R SE Systems Chris West, Yamaha’s Joe Rimstidt, Doug Staab and Mark Rush, and SE Systems Thomas Dameron. Avett Brothers are on stage.

About Yamaha Commercial Audio Systems, Inc.:
Celebrating 125 years of Passion and Performance, and 25 years in the manufacturer of high quality digital audio consoles, 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.

The highly anticipated world premiere of Warner Bros. “The Great Gatsby� lit up the screen in brilliant 3D, thanks to Christie Solaria® Series digital cinema projectors, which brought to life the splendor of the roaring twenties in rich, saturated colors and sharp, 4K-resolution. The star-studded event took place at Avery Fisher Hall, an iconic New York City venue at Lincoln Center for the Performing Arts.

The Great Gatsby (Courtesy Warner Bros.)

Directed by Baz Luhrmann, the film is based on the classic novel by F. Scott Fitzgerald, and will be distributed worldwide by Warner Bros. on May 10. The event was a glamorous evening worthy of the film’s 1920s setting, featuring an audience filled with the film’s stars—Leonardo DiCaprio, Tobey Maguire, Isla Fisher, Joel Edgerton, and Carey Mulligan. A host of other A-list celebrities, including Jay-Z and Jake Gyllenhaal, also made appearances at the red carpet event.

“Christie is thrilled to have projected the world premiere of ‘The Great Gatsby’, a long-awaited movie based on one of the most beloved literary classics,� said Craig Sholder, vice president, Entertainment Solutions, Christie. “As a trusted leader in digital cinema projection, we were pleased that that our projectors displayed all the splendor and opulence of ‘The Great Gatsby,’ fully realized in 3D!�

Preferred Christie® dealer Digital Media Systems selected two top-of-the-line Christie CP4230 DLP® digital cinema projectors for the screening, which converged the light from two projectors to create a seamless image projected onto a silver screen. Gregg Paliotta, president and owner of Digital Media Systems, said that this 4K Christie solution was the only choice for providing the brilliant 3D images needed.

Avery Fisher Hall - Ready for Great Gatsby Premiere (Photo Courtesy Gregg Paliotta)

“We have done other major premieres at Avery Fisher Hall in the past, such as ‘Hugo’ and ‘War Horse,’ so Warner Bros. and Lincoln Center trusted us and Christie to deliver the high brightness and absolutely flawless picture quality needed to screen this major studio event,� said Paliotta. “The Christie projectors always perform to our expectations, and ‘The Great Gatsby’ premiere was no exception. We are proud to be an exclusive Christie dealer for that reason.�

Acoustic Dimensions and Parkway Electric bring KUDO to Western Michigan House of Worship

HOLLAND, Michigan — When Holland, Michigan’s Central Wesleyan Church celebrated its 115th anniversary and paid off the mortgage on its current worship center, the church’s leadership team immediately knew what their first project should be: acoustic treatments and a new sound system for their 2,800-seat, fan-shaped main sanctuary. After a careful search for the right systems consultant, the church hired Dallas-based Acoustic Dimensions, which created an equipment specification for the space built on L-ACOUSTICS’ KUDO platform. more

April 2012 – After the successful introduction of the NeXtage 16 and the SmartMatriX Ultra, Analog Way will unveil the Ascender 32 and Ascender 48 during InfoComm 2013 in Orlando, FL – USA. Based on the LiveCore™ platform, Ascender 32 and 48 offer unmatched processing capabilities with 32 and 48 Scalers respectively. The powerful new AV processors will be demonstrated in Analog Way’s booth #2015 from June 12-14.

In early 2013, Analog Way introduced a new generation of high-end AV processors based on the LiveCoreâ„¢ platform. As the most important R&D project ever undertaken by Analog Way, this ultra-powerful platform combines ruggedized design, versatile connectivity and state-of-the-art processing to fit with the most demanding applications.

During InfoComm 2013, Analog Way will complete its LiveCoreâ„¢ series with Ascender 32 and Ascender 48, two powerful Multi-screen Seamless Switchers with 32 and 48 Scalers.
Both systems offer 12 seamless inputs and 42 input plugs: 6 x HDMI, 9 x DVI-I, 3 x DisplayPort, 12 x 3G/HD/SD-SDI and 12 x Universal Analog. The devices can handle any source from composite video, up to 2560×1600, and outputs a variety of formats, including HD-TV and Computer format up to 2560×1600 and 4K.
As all LiveCoreâ„¢-based systems, Ascender 32 and Ascender 48 include an independent Dual-Link output for monitoring purposes, with a Live Source Mosaic layout. The products deliver varied display configurations to adapt to almost any application: Mixer, Hybrid, Hard Edge and Soft Edge configurations.

In addition to a native background layer, up to 4 true-seamless scaled layers per output can be displayed through the Ascender 32, and up to 6 true-seamless scaled layers per output for the Ascender 48. Layers can be controlled individually in time and transition. All layers, including 50 logos and 50 frames that can be stored in the memory bank, are uniformly controlled and can be fully resized.
The Ascender 48 offers advanced layer management. When an output is disabled, its layers can be shifted to another output offering higher flexibility.

Up to 2 units of Ascender 32 or Ascender 48 can be linked. Inputs and outputs are shared and added, thus resulting in impressive 24×8 Scaled Seamless Matrix systems with 2 Live Mosaic previews.

Ascender 32 and Ascender 48 can be controlled directly from their front panel through a TFT color display, or through the Web-based Remote Control Software (Web RCS) specifically designed for the LiveCoreâ„¢ platform.
The Web RCS offers a user-friendly graphic interface enabling operators to fully prepare a show and control it live.
Through the Web RCS, users can access Remote Services and Assistance is also available.