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3G Productions Teams With Martin Audio MLA At Calibash Festival

Calibash StageCalibash Los Angeles, held recently at the Staples Center, was billed as “the leading urban Latin music festival in the world.”

The SRO concert featured a diverse group of acts including headliner Cuban American rapper Pitbull of “Don’t Stop The Party” fame along with Carlos Vives, Tego Calderon, reggaeton artists Wisin and J Alvarez, Don Omar, Becky G, Maluma, 3BallMTY, ChocQuibTown, Plan B, Farruko and Gente de Zona.

3G Productions of Las Vegas and Los Angeles provided a Martin Audio MLA system for the festivities which included 16 MLA and 2 MLD (downfill) a side for the main hangs; 16 MLA Compacts for side hangs; 8 MLA Compacts for the 270º hang and 28 MLX subs in double stacks––24 across the stage and a pair on each side pointed 90º to the audience. The mixing consoles for FOH included two pairs of Yamaha PM5D’s for the festival and an AVID Venue Profile for headliner Pitbull.
January 24, 2015

“We also used Martin Audio DD12s for the front fills,” points out 3G Systems Engineer Manny Perez. “They were awesome; really smooth, clear and responsive, like the whole system.

“In fact, the whole show went really well and all of the band’s FOH engineers were happy, even ecstatic at some points. It was kind of like playtime for them; they didn’t know what else they could do for their mix, which was a real change of pace.

“They ended up just hanging out, listening to each other’s mix, watching what the other guys were doing. They all really enjoyed the MLA system. They’d all heard about it but many hadn’t mixed on a big PA like that before.”
January 24, 2015

Asked about particular challenges for the event, Manny responds, “Not that much really. It was a regular end stage set up but they sold seating that went all the way around so we ended up using the house PA to supplement the area behind the stage. We’ve been in Staples Center many times, and it gets easier every time we go in there. It was very fluid in terms of the load-in and setup, even when they snapped in the stage before we could set up the subs.”

Concluding, Manny adds, “The MLA rig was great, we had plenty of headroom and there were smiles all round the room. At the level the engineers had it, which was close to 105 or 106dB, they were wondering what else they could do, because instead of struggling at that point, it was perfect. They also loved the sub bass being so powerful and smooth.”
Calibash FOH

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

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

Martin Audio Offers EASE Sound Design Support For MLA

EASE mlm_test_6300_d2_bal
Martin Audio has announced support for installers and sound designers with the provision of specific GLL files for designs using MLA, MLA Compact or MLA Mini in an EASE model.

Andy Davies, head of the Product Support Group for Martin Audio said, “The increasing demand for Multi-cellular technology in an installation environment has driven this development as an initial in-house solution; however, we are also working towards making this a simple addition to future iterations of our free-to-own Display software.”

For the time being, in order for Martin Audio to supply a GLL file all that is required is an EASE ‘packed’ project file of the venue showing the array location points, together with the appropriate Display2 file for the venue. Davies continues, “We can then extract the necessary data from the Display2 file and, via additional software, generate the specific GLL; this will include the inter-cabinet and array tilt angles, together with all the associated filter coefficients generated within Display2 to meet the set objective targets. It will also incorporate the appropriate Case Data for a visual representation of the proposed array within the EASE model.”

The GLL will then be inserted into the EASE model at the predefined location points and the coverage prediction checked to coincide with the Display2 output. The EASE model will then be ‘packed’ and returned to the installer or designer. Should any anomalies in coverage be discovered, or any circumstances arise where it is felt that improvements to the overall performance of the system could be achieved, then this will be advised when returning the EASE project.

EASE mlm_test_6300_ease_bal

All three MLA models have seen success in permanent installs, from nightclubs, such as the Marquee in Sydney Australia, to theaters like Bochum’s Stadionring in Germany, or auditoriums such as George Washington University’s Lisner Auditorium, to houses of worship like Redemption Church in Arizona and IDC Church in Chicago, USA. The success has been driven not just from the musicality of the systems, but their ability to better control SPL profile, smoothness of coverage, and provide ‘Hard Avoid’ on stage or problem surfaces.

Summing up, Davies said, “By providing additional support to installers and sound designers we hope it will be possible for them to win more contracts and to further showcase the benefits of our MLA technology.”

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

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

Renkus-Heinz IC Live Solves Intelligibility Issues in Dodge City Cathedral

 Dodge City, KS – January 2015…  Dodge City’s Cathedral of Our Lady of Guadalupe is a stunning architectural achievement that embodies the classic disparity between traditional and contemporary worship. With its soaring ceilings and open, 270-degree seating, this 1400-seat sanctuary creates a wonderfully reverberant sense of musical majesty, but at the expense of the intelligibility needed to deliver the message.

To address these issues in the 12 year-old building, Amos Yost of Montezuma, KS-based Montezuma Sound was contracted to design and install a new sound system. His solution for creating clear intelligibility amid the room’s glorious reverb was centered on the IC Live digitally steerable array system by Renkus-Heinz.

As Yost explains, the room’s circular design and abundance of hard, reflective surfaces presented a number of challenges, and the existing distributed PA’s speakers were aimed almost straight down at the tile floor, creating uncontrolled reflections that exacerbated the room’s ringing 3.5-second reverberation time.

“The organ and choir music sounded pretty good, but voice intelligibility was sorely lacking,” notes Yost. It was clear that a steerable array system would directly address the room’s issues, but because the sanctuary is a circular space, effective deployment would be tricky.

 Montezuma Sound’s solution was to set up two ICL-FR-DUAL columnar arrays mounted on the walls behind the altar area, cross-firing to cover the 270 degree seating spread while preserving audience sightlines. This arrangement created smooth, even coverage from the first row to the last, a throw of 120 feet. With twin IC Live columns of 16 speakers each, there was more than enough beam steering flexibility to cover all seating, even those under the balcony, while avoiding unwanted reflections from the windows, side walls, and balcony facing.

Our Lady of Guadalupe features two Catholic services each Sunday. The traditional service is in English and features pipe organ and choir. The second mass is offered in Spanish and features full musical orchestration. This made it clear that the cathedral’s new loudspeaker system would require the versatility to not only provide the desired improvement in speech intelligibility, but also provide a powerful music experience for the congregation. Yost opted to augment the IC Live system with a pair of IC215S subwoofers, installed out of sight behind a grille with the pipe organ speakers.

“The church is very happy with the Renkus-Heinz system,” reports Yost. “When we brought it in to demo, the IC Live sounded so clear right out of the box, it blew them away. In fact, they didn’t want us to take it back! When we performed the final installation, we barely applied any system EQ at all. The music sounds great for both worship styles, and the spoken word is now clearly understandable. It proved to be the ideal solution.”

###

About Renkus-Heinz - 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.

 

Martin Audio MLA’s Excellent First Night Out With The Tenors

Tenors_1 web

Raleigh, NC––Kevin Sucher, FOH engineer for the popular Canadian operatic pop foursome The Tenors, recently had a very successful first experience mixing with Martin Audio’s MLA Compact loudspeaker system.

For two concerts at Raleigh’s Memorial Auditorium, Sucher was able to use a loudspeaker system provided by RMB Audio that consisted of 12 Martin Audio MLA Compact enclosures and 6 DSX subwoofers per side with 4 MLA Mini cabinets for lip fill, all networked via U-NET. Avid Profile consoles were provided for FOH and Monitor.

Asked about mixing with an MLA Compact system, Kevin responds, “It was my first time and it turned out to be a very pleasurable experience. For this tour, we didn’t carry any production with us, including backline, which presents its own challenges when you’re using different equipment from city to city.

“There can be a lot iffy pairings, but when you have the correct rig paired with the right desk some magical things can happen and this was one of those very pleasantly surprising situations. Bottom line, the MLA system blew me away. It was really exceptional. We do many of these shows all around the world and I’ve mixed on a lot of different systems, but this was one of those rare occasions when the responsiveness and the ability to make a small change in the dynamics was amazing. 3dB really felt like 3dB!

“And the frequency response was fantastic, like 800Hz was truly 800Hz. There weren’t any of these situations where you’re trying to borrow or cut frequencies from areas you don’t want to cut, but you have to because your ears are telling you what you’re hearing isn’t correct. Every frequency was exactly where it was supposed to be.”

Kevin feels that mixing The Tenors is particularly challenging because of the complex dynamics presented by having 20 to 30 string players on stage along with a large 30-member choir and a five-piece band. Their music is highly detailed which demands the kind of precise dynamic control provided by MLA Compact.

“I started out as a recording engineer and then became a FOH engineer many years ago so I approach live mixing in a very ‘studio’ kind of way,” Kevin explains. “Staying true to their music and recordings as closely as possible is very important, and when you have a lot of live microphones onstage it’s difficult to keep the dynamics contained.

“Adding to the challenge is the fact that The Tenors’ repertoire ranges from classical crossover all the way through different types of pop music that changes from night to night. As such, the speaker system needs to be very responsive and my approach to mixing them is as if they are a large pop act so I need adequate bottom end, much more than some venues they’re booked into. That wasn’t a problem with the MLA system.”

RMB Audio’s Cooper Cannady guided Kevin through the MLA Compact system’s capabilities, including its ability to avoid directing the energy to certain areas in the venue: “Cooper is very knowledgeable about MLA and he quickly educated me how to use ‘hard avoid’ to duck the ceiling response around the 7dB to 8dB range so we could eliminate unwanted reflections we didn’t want in the performance, which made a noticeable difference. The flexibility to change the direction of the energy is like having extra amenities in a very sexy car. These are really well thought out additions.

“That kind of flexibility also allowed us to control feedback in situations where The Tenors performed in the audience 30 to 40 feet in front of the main hangs, which can be tricky depending on the microphones you’re using.”

Because the Memorial Auditorium is almost as wide as it is long without a true balcony and a second level of seats that begins high up far behind FOH position, the MLA system had to be rigged much closer to the ceiling to provide proper coverage. That said, MLA’s control proved to be “a big help in terms of what was a challenging space in terms of getting real boxy-sounding.

“At this point, I could not at this point think of a better rig than the MLA system for that situation,” Kevin concludes. “I would be eager to hear it again in a more typical space.

“In terms of the sound for all of our shows, it was probably the highlight of the tour. A lot of people walked by after the concert and gave us thumbs up. I’d be very eager to use it again.”

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

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

Yavapai College Installs MINA: “With Meyer Sound, Everything Gets a Bit Easier”

y_yavapai_pac010 copyTo meet the growing demand for high-profile artists and productions in Prescott, Ariz., the 1,100-seat Yavapai College Performing Arts Center (YCPAC) has installed a versatile Meyer Sound MINA™ line array loudspeaker system as part of a major renovation.

Since YCPAC’s re-opening, MINA has supported productions from Peter Frampton, Magic of Motown, and the Senegal St. Joseph Gospel Choir to the Manhattan Short Film Festival. “With the new MINA arrays, the YCPAC has an amazing system for live performances, with even coverage throughout the entire venue,” says Tom Aldridge, YCPAC presentation technology manager. “It sounds great, and meeting the requirements on a tech rider is greatly simplified. When people find out we’re running a Meyer rig, everything gets a bit easier.”

The system was designed and installed by Chandler, Ariz.-based TPI. “The MINA arrays deliver great musicality and intelligibility with uniform coverage across the entire hall, and their low profile has virtually eliminated any line-of-sight issues,” says Glenn Peacock, vice president of TPI.

The main system comprises left and right hangs of 10 MINA loudspeakers each as well as three 1100-LFC low-frequency control elements in a cardioid array atop the catwalk. Two Meyer Sound models with IntelligentDC™ technology are installed, including 16 UP-4XP loudspeakers for front fill, balcony fill, and under-balcony delay and four UP-JuniorXP VariO™ loudspeakers for box and under-box seats. A Galileo® Callisto™ loudspeaker management system with two Galileo Callisto 616 array processors provides system drive and alignment, while a Compass® RMS™ remote monitoring system with one RMServer communicates loudspeaker performance data.

Peacock adds that IntelligentDC technology solves distribution issues and provides tremendous savings in both efficiency and space. “There are a lot of high-density areas in the venue, and we wanted to add some fills to cover some of those shadowed seats,” Peacock says. “The convenience of IntelligentDC allowed us to install those smaller boxes in the most optimal locations without having to accommodate power cabling and other equipment.”

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Related Topics: Line Array, Loudspeakers |

Grant and Smith ‘REACH’ for the Stars at Christmas with NEXO and Yamaha

Amy Grant and MWS Concert - concert

BUENA PARK, Calif.—Two of the most recognized Christian artists, Amy Grant and Michael W. Smith, performed “Christmas with Michael W Smith & Amy Grant” at the Target Center in Minneapolis in early December, and REACH Communications (Champlin, MN), was there to support the audio production.

REACH provided their NEXO STM rig and Nuar amps along with a Yamaha PM5D-RH for front of house and dual CL5s digital audio consoles – one for the orchestra and one for the artists, and four Rio3224 input/output boxes. “We knew we needed perfect coverage for the target center as it was a sold out show, states Dan Brown, REACH Communications. We have had the new NEXO STM M46/B112 for about nine months now and knew it was up to the task for the main hangs. We recently added the new M28 boxes to our inventory, and after looking at the NEXO NS-1 simulator, could see that it would be a perfect fit for side hangs on this show.”

NEXO STM Amy Grant and MWS Concert - Side Stage

Brown said they were under a very tight load in and setup schedule for the one-off event. “The STM rigging and NUAR amp racks allowed us to get things up, checked very fast, and stay on schedule throughout the day.”

The NEXO main hang rig consisted of 24 STM M46 – 12 per side, 24 STM B112 – 12 per side, 6 STM M28 – 3 per side for down fill, 4 STM B112 – 2 per side and 24 STM M28 – 12 per side for out fill. 12 RS18 Ray Subs, 4 per side in cardioid mode and 4 spread across the stage perimeter. 6 NEXO PS10-R2s and 2 NEXO GEO S1230s were used for outer front-fill along with 10 NEXO Nuar racks.

“I was able to walk the upper seating area with Russ Long, the FOH engineer for Amy Grant and Michael W Smith, Brown says. The coverage to the upper seats was very good even with the long throw of the mains and no delay speakers. The main speakers were throwing about 300+ ft. It was very impressive!” He notes that the transition from the main to the side hangs was very clean even with the cabinets being a different driver compliment. “NEXO has done a great job of making the voicing of all of their boxes very similar to each other.”

Brown said the artist engineers requested a Yamaha PM5D-RH at FOH and CL5 for monitors. “We were tasked with providing what we preferred for the orchestra console and knew that the CL5 would be a great fit in this role as well.”

Grant MWS Concert Yamaha CL5 PM5D

The entire system for the concert was run into two Lake LM26 for zone control and was routed via Dante to all of the NEXO amps. “Our client was very happy with the results and sound coverage throughout the room. We worked closely with the venue manager and the artists’ crew to make sure we had the maximum seating capacity for the sound coverage and sight lines in the room.”

For more information on REACH Communications, visit www.reachcomm.net.

For more information on the NEXO STM and Yamaha consoles, visit www.yamahaca.com.

-END-

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of professional audio products offering complete systems solutions for the sound reinforcement, touring, broadcast, commercial recording, and post-production markets with a complete line of digital mixers, amplifiers, speakers, processors, networking capabilities, and NUAGE Advanced Production DAW System. YCAS is also the official North American distributor for NEXO speaker products. With the new CIS Series that includes ceiling and surface mount speakers, mixer and power amplifiers, and matrix processors, the Company furthers is commitment to their commercial installation solutions customers. All market sectors receive comprehensive in-house/field product training, a dedicated dealer network, and 24/7 technical support.

Myers Heads Up 3G’s New AV Installation Division

David Myers_2 web
Los Angeles, CA––As an integral part of a significant expansion and growth move for the company, David Myers has been appointed as Director of 3G Pro Audio’s new Installation Division.

As Director of AV Installations, Myers will be dedicated to building a division that sets itself apart in terms of innovative solutions, unique new methodologies and successful collaborations with clients.

A veteran in the field with 25 years in contracting, David holds CTS-I and CTS-D certifications in Installation and Design.

Asked about his mission, David responds, “Developing consistencies within the division so our key sales team members can sell and support installations while maintaining a commonality in how things are done. Refining our branding so that 3G is perceived as an installation house; growing sales; designing systems, and responsible project management at every stage of the process.”

3G will build on its core strengths in theatrical and festival production and touring to focus on vertical installation markets such as performance venues and Houses of Worship, nightclubs and hotels that can draw from the company’s expertise in live entertainment. They will also focus on performance spaces in government and educational environments.

David feels the division should be seen as specialists in terms of the lines they carry, the solutions they offer and the way they present themselves. “We don’t want to be like everyone else,” he affirms. “What’s really important is understanding the client’s needs and maintaining a constant connection with them throughout the installation process and after the project has been completed.

“3G intends to deliver turnkey solutions that meet all of the customer’s technical requirements including sound, lighting and video. We’re not just a sound company.”

Asked about his feelings regarding the appointment, David answers, “I’m honored and excited to be part of the company. 3G is made up of a terrific group of people dedicated to treating their customers and their own staff the right way, which is the core of all business.”

Eli Stearns, President and CEO of 3G adds, “We are really excited to have Dave join our team and lead our new Installation Division. While we have been selling professional audio systems for years, Dave’s expertise as an experienced contractor and designer of full AV systems will catapult our company’s capabilities to full service integration. Moreover, Dave’s work ethic, leadership and ‘can do’ attitude makes him a perfect fit with the company’s commitment to providing the highest quality service to our customers.”

For more about 3G Pro Audio, please call 702.948.0459 or click to www.3glp.com

About 3G Productions, Inc.
Founded in 2004, 3G Productions, Inc. is a multifaceted audio company focused on providing the highest quality of service in live production, sound equipment rental, sales, and installed sound. Located in Las Vegas and Los Angeles, the company operates through two divisions: Live and Pro Audio.

D.A.S. LAUNCHES THE AERO 20A COMPACT LINE ARRAY

**** Photo: DAS Aero 20A ****

**** Photo: D.A.S. Audio’s Aero 20A ****

Valencia, Spain – NAMM Booth# 7101 (Arena)… D.A.S. has announced the launch of its new Aero 20A compact powered line array system. The new system joins the third generation of Aero line arrays systems born with the introduction of the Aero 40A Advanced Line Array System (ALASTM) in 2014. Incorporating the ALASTM philosophy, the Aero 20A draws from the astounding success of the “all-purpose” capabilities of the Aero 12A, launched in 2009. more

“Top Gear Live” Blazes into Norway with Powerful Meyer Sound LEO and LYON

top gear liveWhen “Top Gear Live”arrived at Oslo’s 15,000-capacity Telenor Arena for three days of adrenaline-fuelled motoring spectacle, LEO-M and LYON™ linear line array loudspeakers from Meyer Sound provided high-impact audio support. “Top Gear Live”is a theatrical adaptation of the popular BBC show, engaging audiences with its trademark blend of quirky humor and rip-roaring car races, stunts, and explosions.

“The system performed perfectly, and the coverage from the LEO and LYON arrays was exceptional in every seat,” says Theis Romme, system designer and audio project manager for Victory Tour Production, principal audio supplier for the shows. “The sound quality of the music tracks and effects supported the visual spectacle, while the vocal clarity brought out the unique personalities of the hosts.”

An elongated, U-shaped audience area was covered by six arrays of eight LYON loudspeakers each. Four arrays of eight LEO-M loudspeakers each were aimed at the end seating areas, with 18 1100-LFC low-frequency control elements flown in the center of the arena. The fill systems comprised 24 MINA™ line array loudspeakers for front fill and 14 UPJ-1P VariO™ loudspeakers. System drive and optimization came from a Galileo® Callisto™ loudspeaker management system with one Galileo Callisto 616 AES and four Galileo Callisto 616 array processors plus two Galileo 408 processors. A separate cue system for the lighting technician included two MM-4XP loudspeakers and one MM-10 subwoofer.

FOH was mixed on a DiGiCo SD8 digital console, while the hosts used ten channels of Shure Axient wireless microphones with BETA58 handheld transmitters and bodypacks coupled to DPA 4088 headworn microphones. In-ear monitoring was carried over six channels from a Sennheiser SR 2050 wireless transmitter to 30 receivers.

“Top Gear Live” has been on the road since 2008. Hosts for both the live spectacles and the television series—seen by an estimated 350 million viewers in 170 countries—are Jeremy Clarkson, Richard Hammond, and James May.

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Related Topics: Line Array, Loudspeakers |

Martin Audio MLA Takes the Stage At KROQ Christmas Show

Photo: Stephen Carr Photography

Photo: Stephen Carr Photography

KROQ’S 25th Annual Almost Acoustic Christmas show settled in at the recently remodeled L.A. Forum this year after leaving its main home at the Gibson Amphitheater, torn down in September of 2013, and briefly occupying the Shrine Auditorium last year.

According to Meegan Holmes, Executive Account and Project Manager at Delicate Productions who has done the show for 17 years, the newly upgraded Forum turned out to be “an awesome experience. The remodel included acoustic treatments that made for a tight dead space. That was already an amazing step in the right direction for any audio vendor,” Meegan added, “because the treatment practically eliminated the cavernous sound of your average sports arena.”

Featuring an eclectic lineup including No Doubt, Smashing Pumpkins, Imagine Dragons, Weezer, Tears for Fears, Modest Mouse, System of A Down, Bush and Incubus among others, Delicate took advantage of the improved acoustics in the Forum with a Martin Audio MLA loudspeaker system.

Photo: Stephen Carr Photography

Photo: Stephen Carr Photography

The actual setup included 14 Martin Audio MLA with 2 MLD (downfill) cabinets a side as the main hangs; 16 MLA Compact per side for side hangs; 9 MLX ground-stacked subs per side, and 6 W8LM cabinets for front fill.

Two identical FOH setups each included an Avid Profile 48-channel console and a DigiCo SD11 console, while the two identical Monitor setups employed an Avid Profile 48 channel console with 10 Martin Audio LE700 monitor wedges (stage) and 2 LE700’s (cue) along with a Martin Audio WS218X drum sub cabinet.

Tears for Fears - Stephen Carr Photography

Tears for Fears – Stephen Carr Photography

Evaluating the show, Meegan concluded, “Since we moved to an arena, KROQ wanted to create a different concert experience for their fans from years past. There was a thrust on the stage that led out to a 16′ by 16′ deck in the middle of the floor, so we used the DSP in the system to steer the energy of the MLA mains away from the thrust, making the engineers’ work less stressful when their artists walked downstage.

“Everyone remarked on the quality of sound, particularly the subs, that we provided at FOH. We received compliments from our competitors that attended the show as well.”

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

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

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