Sharon Hill, PA, October 2012… Since its founding in 1891, Holy Spirit Catholic Church has held a special place in the hearts of Philadelphia-area residents. In the early years of the twentieth century, the church forged a reputation as one of the few non-segregated churches and parochial schools in the region.

Dedicated in 1961, Holy Spirit’s current sanctuary is a unique and welcoming space, resplendent with ornate woodcarvings, wrought iron, and magnificent stained glass, including perhaps one of the only works commemorating John Fitzgerald Kennedy’s inauguration as the country’s first Catholic president.

But the same elements that make the sanctuary so beautiful to behold also make it a rather acoustically challenging space. As Tony Albano of Avondale, PA-based Naamans Creek Audio Video explains, the room’s configuration is anything but ordinary.

“It’s a very different type of room,” says Albano. “The chapel itself is surrounded by smaller sub-chapels. The walls are largely brick, and the ceiling is about 30 feet high at its peak. It’s a complex space, and very reflective, and they’ve always had problems with intelligibility.”

To address the room’s sonic issues, Albano designed an audio system comprising four Community ENTASYS column line array loudspeakers. Two more ENTASYS columns provide delay toward the back of the room. A Crown CTS-4200 four-channel amplifier drives the system, with Rane RPM-88 providing system DSP.

“Their previous system had been pretty problematic,” says Albano. “Parishioners complained about loud volume but low intelligibility, particularly along the center seating areas. The ENTASYS columns were the ideal solution for focusing the sound away from the walls and windows and into the seating area where it belongs. Several of the church’s long-time parishioners have said that it’s the first time they could actually understand the priest’s sermon.”

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Community Professional Loudspeakers is a manufacturer and supplier of professional audio equipment.  Since 1968, Community has led the pro-audio industry with technological innovations which have become industry standards. Today, Community offers over 150 professional loudspeaker products, including installed loudspeaker systems, weather-resistant outdoor loudspeaker systems, ceiling loudspeakers, high level voice paging systems, and portable entertainment systems.  Visit www.communitypro.com for more information. 

NORTHRIDGE, California – Premier Production & Sound Services, LLC (PSS) of Baton Rouge, Louisiana is one of the region’s biggest sound companies, and on October 25 the company proved it, providing HARMAN’s JBL, Crown, dbx and BSS audio gear for no less than 14 locations throughout the area. The day gave PSS the chance to put its newly purchased JBL VTX Series line arrays into play at the “Le Plur/Red Bulletin� stage at the Voodoo Experience festival, which featured Skrillex, Die Antwoord, Dave Stewart, Thomas Dolby and other top artists performing for more than 100,000 fans at City Park in New Orleans.

“We recently purchased a number of the new JBL VTX Series V25 fullsize line array elements and S28 arrayable subwoofers, and the Voodoo Experience was the perfect proving ground because the Le Plur/Red Bulletin stage was inside a tent, which limited the height that was available to fly the main left and right clusters,� noted Brian W. Gordon, Co-Owner of PSS.

For the main PA system at the Le Plur/Red Bulletin stage, PSS hung six V25 elements per side and placed six S28 subs per side on the ground in a cardioid configuration. PSS also used four JBL VERTEC® VT4886 subcompact line array elements for front fill, 16 JBL SRX712M monitor wedges and three stacks each of two VERTEC VT4883 subcompact arrayable subwoofers plus four VT4886 loudspeakers for side fill. The speakers were powered by two racks that each housed 18 Crown IT 12000HD amplifiers, plus six IT 8000 amps for the monitors and three IT 4×3500 HD amps for the side fills. A Soundcraft Vi6 digital console was used for front of house mixing.

“This was the second year we provided sound for the Le Plur/Red Bulletin stage and even though we were more limited in the available space where we could deploy the speakers, the system had more horsepower and sounded fantastic, thanks to the VTX line arrays,� Gordon said.

For the Voodoo Le Carnival stage, PSS flew left-right arrays of four JBL VERTEC VT4888 midsize line array elements, four VT4886 line array elements and three SRX728S subwoofers on each side. Additional near-field left and right stacks included four VT4887A compact line array elements and three SRX728S subwoofers. Four VT4887A speakers also provided front fill, while PSS also provided 12 SRX712M stage monitors, one STX835 with two VRX918S subwoofers as side fill, and one STX835 with two VT4883 subwoofers as drum fill.

While the Voodoo Experience would qualify as a full weekend of work for any sound company, it was merely the tip of the iceberg for PSS. “We’re a big company and we’re used to doing things on a big scale, but the weekend of the Voodoo Experience was just crazy,� said Russ Bryant, Director of Operations and Co-Owner of PSS. “In addition to the Voodoo Experience, Harry Connick, Jr. at L’Auberge Casino and Hotel in Baton Rouge, the Live After Five concert series in Baton Rouge and the Belle of Baton Rouge Casino concert series, we also provided sound for events at Tulane University, the Sheraton Galleria, Sullivan’s Steakhouse, the Roux House, Los Diablos, a private show and inside and outside the Station Sports Bar and Grill. Altogether we took out more than 700 loudspeakers, amplifiers and other pieces of gear—not counting cables!�

“We also brought in the VTX line arrays for a very different situation—Harry Connick, Jr. at the L’Auberge Casino in Baton Rouge,� Bryant noted. “For this show we used six V25 mains and three S28 subs per side, along with four VT4886’s per side and four more for front fills, all driven by Crown I-Tech HD Series amps. This was a very different situation than the Voodoo festival, a quieter and more intimate indoor setting where clarity and nuance were paramount as opposed to rocking out 100,000 people. Again, the system sounded superb.�

How was PSS able to handle 14 stages and rooms in three days? “We have 20 engineers on staff,� said Russ Bryant, Co-Owner and Director of Operations for PSS. “We pride ourselves in providing systems for any application from a huge festival to an intimate club.�

“Using HARMAN’S HiQnet System Architect™, JBL HiQnet Performance Manager™, JBL’s Line Array II Calculator system setup software and the VERTEC V5 preset tunings makes it a lot easier and faster to set up our systems and make them sound great in any venue,� Gordon added. “In fact, we had an unusual situation at the Voodoo Le Carnival stage. The stage had both an inside and an outside area, with 1,000 people between the stage and the set of left and right stacks that were 25 feet from the stage. Because of the unconventional tent construction and location, those stacks were sort of like a hybrid between a front fill, a really powerful main system and a set of delay towers that were only 25 feet from the stage. The fact that all the HARMAN loudspeakers, amps and software all talked to each other really helped us sort out and optimize this unusual acoustic situation.�

For more information on Premier Production & Sound Services, LLC, please visit www.psssound.com

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets — supported by 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson®. The Company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,900 people across the Americas, Europe and Asia, and reported net sales of $4.4 billion for year ended June 30, 2012.

The first full-range speakers to be accorded SVS’s lauded Ultra designation, this exciting new speaker lineup delivers stunning looks, unparalleled build quality, and a world-class audio experience.

Girard, OH – October 31, 2012 - SVS, a worldwide leader in high performance home audio products, proudly announces the launch of the Ultra series of full-range loudspeakers, designed to deliver uncompromised audio performance and boasting unsurpassed build quality and cost-no-object performance at a price that the average audio consumer can afford.

The SVS Ultra Series loudspeakers were designed for audio enthusiasts, by audio enthusiasts with over fifty years combined experience in the high-end audio arena, with a relentless passion for designing a stunning, acoustically impeccable loudspeaker that convincingly conveys the emotion of live music and home theater. The SVS Ultra series delivers a deep, detailed soundstage with incredible resolution, absolute transparency, and amazingly rich and articulated bass, outperforming speakers two and three times their price.

To achieve that goal, award-winning lead designer Mark Mason and his team began work on the lineup-which includes a gorgeous 45-inch tall upswept trapezoidal tower, a bookshelf speaker, center channel, and a truly unique and flexible surround speaker-by performing finite element analysis (FEA) on all of the proposed components in a sophisticated computer program that simulated the internal forces of each speaker and allowed for advanced engineering before the first prototype was ever built. As gorgeous as the speakers are, every angle, every surface, every dimension was tweaked with one ultimate goal in mind: pure acoustic perfection. Even the speaker grille design was subjected to this rigorous FEA to ensure the utmost in sonic transparency.

Once prototypes were constructed-with many parts being custom tooled exclusively for the Ultra series-further development was conducted at the world-renowned National Research Council (NRC) facilities in Ottawa, Canada, where each speaker underwent hours of anechoic chamber measurements and subsequent revisions to perfect the design. Final voicing was performed in the NRC’s famous IEC 268-13 standardized listening room, where Mason and SVS President Gary Yacoubian refined their performance in a real-world environment.

The result is a level of performance that even drastically more expensive loudspeakers cannot match. From top to bottom, the Ultra Tower that stands as the flagship of the lineup boasts top-grade components and high-end design features configured to deliver uncompromised, dynamic, distortion-free audio, with open, airy highs and the deep, tight, linear and powerful bass for which SVS is famous. Its unique SoundMatch 3.5-way crossover is designed so that only the top of the two 6.5-inch composite glass-fiber midrange drivers crosses over to the tweeter, while the bottom midrange driver works to ensure that off-axis performance is smooth and even, with a wider sweet spot and a more consistent sound across the entire room.

The Ultra Tower also employs SVS’s proprietary ForceFactor woofer array, with two 8-inch drivers horizontally opposed to eliminate cabinet vibrations, for reduced distortion and cleaner, tighter bass response. Since the Ultra Tower’s trapezoidal shape results in non-parallel surfaces-which serves to reduce standing waves within the cabinets themselves-each of the four UltraSonic woofers also fires in different directions into the room, reducing frequency response deviations throughout the listening space, and ensuring more consistent, powerful and accurate bass performance no matter where you sit.

Every other speaker in the Ultra series has been designed to complement the performance of the Ultra Tower, with flush-mounted drivers to reduce diffraction and improve on-axis high frequency response, along with rear-mounted bass reflex ports (on the Tower, Bookshelf, and Center) for phenomenal bass output and extension and minimal frequency response degradation.

The Ultra Center features vertically aligned midrange driver and tweeter for improved uniformity in horizontal dispersion and a consistent frequency response at all listening positions within a typical home theater environment, along with dual woofers for increased bass output and power handling. The Ultra Surround also promises to deliver an incredibly immersive and flexible multichannel sound experience. Designed with dual isolated crossovers for each tweeter and woofer, the Ultra Surround can operate in either bipole, dipole, or in SVS’s unique Duet configuration, which creates two separate speakers within one cabinet. In Duet mode, each speaker’s two discrete channels means that listeners can implement a true 7.1-channel surround sound experience using only two Ultra Surround speakers instead of the typical four.

“SVS has always been about delivering an unsurpassed audio value to people who, like us, are enthusiastic and passionate about great sound,” said Gary Yacoubian, SVS president and managing partner. “The Ultra series speakers also embody value because our team was meticulous in choosing build materials, design elements, and testing to achieve uncompromised performance, yet with pricing for a mainstream audio fan.”

SVS sells online, direct to the end user, and via select retailers. Pricing for the SVS Ultra Tower $1999 pair; SVS Ultra Bookshelf $999 pair; SVS Ultra Center $699; SVS Ultra Surround $1199 pair. The Ultra series speakers will begin shipping on November 20. The SVS Ultra series will be demonstrated this weekend during the Rocky Mountain Audiofest in Denver, Colorado.

For more information, please visit www.SVSound.com or like them on Facebook.

Glen Ellen, CA––For the last 26 years, the B.R. Cohn Winery and Olive Oil Company has held a Charity Fall Music Festival in the heart of the Sonoma Valley wine country.

Owner Bruce Cohn, who also manages the Doobie Brothers, is the guiding force behind this star-studded musical event that benefits a host of local charities. This year the bill featured the Doobie Brothers with Michael McDonald and Friends, Kenny Loggins, Buddy Guy, The Turtles, Dave Mason, War, Lara Johnston and others over a two-day period.

Sacramento Production Services provided audio and staging for the first time this year, largely on the recommendation of John Procaccini, Production Manager for the Festival and Doobie Brothers FOH Engineer Gary Hartung. Gary had worked with Martin Audio in the past and was familiar with the W8LC line array system and knew it would work well for the festival to provide better coverage and SPLs throughout the venue.

“The event was a real success,� explains SACPS’ Keith Wackford. “It’s the first time in 26 years that every act was on stage, on time. Kenny Loggins actually got onstage three minutes early! The crews and staff on both sides were great and we did a lot of hard work to make sure we had what we needed to pull this event off.�

According the Wackford, the main stage speaker system consisted of 9 Martin Audio W8LCs per side for the main hangs; 6 W8LCs a side for out fill; 14 ground-stacked W8LS subwoofers; two W2s for front fill; two WT3s for drum fill, 14 LE12J stage monitors and a pair of W8Cs with S218X subs per side for side fill.

Separate consoles were brought in for the festival; a pair of Yamaha PM5Ds at FOH and a pair of PM5Ds for Monitors. Three racks of Lab Gruppen PLM20Ks powered the system.

Crew for SACPS included Keith Wackford (FOH), Dwayne Wise (System Engineer), Rick Stansby (Monitor Engineer), and Evan Drath (Asst. Monitor Engineer). Rick Santell (Huey Lewis) was Stage Manager.

Asked about reaction to the Martin Audio system, Wackford enthuses “Everyone loved it. Fans at the Festival thought this was the best sounding year ever. The Doobie Brothers’ FOH and Production Manager said it was one their best years yet. At the end of the night when the trucks were loaded, John Procaccini said ‘you hit the ball out of the park’.�

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.

Sound Image's K1 system at St. Louis' Fox Theatre

ESCONDIDO, California — The Dukes of September Rhythm Revue — perhaps better known as Donald Fagen, Michael McDonald and Boz Scaggs, along with a seasoned nine-member backup band — has now closed the final chapter on a very successful 43-show North American tour. The outing was a combined effort between Detroit-based Thunder Audio, which supplied the monitor package for Fagen, and Escondido’s Sound Image, which handled monitor packages for McDonald and Scaggs as well as provided FOH control and a full L-ACOUSTICS K1 system for the duration. more

Farmington, NM, October 2012… Ricketts Field has always been more than just a local ball park for this city near America’s Four Corners. Since opening its doors in 1965, the stadium has been the home of one of Little League Baseball’s signature events, the Connie Mack World Series.

The venerable 5100-seat venue was recently treated to a large-scale audio makeover, upgrading their aging horn-based system to Community’s R-Series all-weather loudspeakers. According to William Hartley of Albuquerque-based Sound & Signal Systems, the R-Series was selected not only for its durability but also for its tight pattern control.

“The stadium is situated very close to a residential neighborhood, and the sound from those pole-mounted horns was shooting right across the surrounding homes,” Hartley explains. “After receiving several formal complaints, the city approached us to design a better solution.”

Sound & Signal Systems’ approach was to design a system using the R-Series to tightly focus the sound onto the field and seating areas, without spilling over into adjacent neighborhoods. Atop the press box, pairs of Community R.5HP three-way, R.5-94Z two-way, and R2-52Z full-range, long-throw loudspeakers are arrayed in left-right facing pairs to cover the field and bleachers. QSC amplification powers the system, and as Hartley explains, a bit of creative DSP helps to maximize the system’s versatility.

“While the stadium is full for the World Series and other big events, many times it’s just being used for a local community game, with just a few dozen parents in the stands,” he says. “We designed the new system to be configurable, depending on the size of the crowd.”

Using a Bose Control Space processor and CC-64 control panel, operators can select between small, medium, and full stadium settings. The small crowd setting turns on only the two R.5HP loudspeakers at nominal levels, while the medium setting selects both the R.5HP and R.5-94 boxes, along with a pair of WET-Series W2-122 subwoofers, at a medium gain level. The full stadium setting adds the R2-52Z loudspeakers, running the system at full gain.

And as Hartley observes, this configurable solution improves not just efficiency, but sonic quality. “With the old horns, the entire system was running, full-bore, all the time,” he says. “With sound coming from all those different point sources, the intelligibility factor was next to nil. With a selectable, directionally focused system, the difference in sound quality overall is just unbelievable.”

Hartley reports that the new system has made a dramatic difference with the stadium’s neighbors. “We’ve been able to reduce spillage outside the venue by as much as 60-70%,” he says. “I’m told there hasn’t been a single complaint since the new system’s been in use.”

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Community Professional Loudspeakers is a manufacturer and supplier of professional audio equipment.  Since 1968, Community has led the pro-audio industry with technological innovations which have become industry standards. Today, Community offers over 150 professional loudspeaker products, including installed loudspeaker systems, weather-resistant outdoor loudspeaker systems, ceiling loudspeakers, high level voice paging systems, and portable entertainment systems.  Visit www.communitypro.com for more information. 

3D projection mapping show heard throughout the piazza on an ARCS II system

LAS VEGAS — This past summer, The Venetian Las Vegas embraced the jaw-dropping art of 3D projection mapping during its Carnevale festival by premiering a stunning nightly show animating the façade of its clock tower, a replica of the one in Venice’s Piazza San Marco.

The show, known as “Light of Venice,” was the first of 10 short commissioned son et lumière works conceived by projection artist Ross Ashton who teamed up with London-based UnitedVisualArtists Ltd. and Tucson, Arizona’s Darling Ltd. on the creative implementation. AVDB Group of Las Vegas further supplied the technical components of the production, including a new L-ACOUSTICS ARCS II system. more

New York, NY – October 2012….. Manhattan has no shortage of Irish-themed pubs, but Tir Na Nog on 39th Street is truly a cut above. Step in out of the bustling midtown traffic and you’re instantly transported to a High Street local in Galway or Cork. The décor is at once authentic and unconventional, right down to the LED-laden 300-year-old Irish rowboat, replete with fishing net, on the ceiling.

“The owner, Tony Colbert, owns several Irish pubs and takes immense pride in the design of each of them,” explains Rich Trombitas of Cornwall, NY-based Cardone, Soloman and Associates. “He imports woodwork that’s been salvaged from churches built in Ireland in the 1700s and 1800s, then they design the individual detail to fit the space, and the woodwork is all done by master carpenters. The architecture and décor is simply magnificent – it all looks like it’s been there for centuries.”

Trombitas says the owner was adamant that equal attention be paid to the pub’s audio system, which includes a cross-section of Renkus-Heinz TRX and CFX Series loudspeakers as well as PNX and BPS subwoofers. “Tony made it clear that he wanted more than just background music,” he says. “He wanted a system that sounded consistently great no matter where you’re sitting, and blended seamlessly with the design of the place.”

The system, installed by veteran AV firm Starview Satellite of Rego Park, NY, is divided into numerous zones, with a primary focus on the main dining area and the pub’s expansive and ornate bar, bridging the space from front to back. Sound to the main dining area is handled by eight TRX81 two-way 8-inch loudspeakers. A pair of PNX112 subwoofers recessed into the walls provides extra low end punch.

The bar is divided into two zones, with five more TRX81 units and a built-in BPS12-1 sub covering the front bar area. The rear bar uses four TRX81s and another BPS12-1 sub. Powersoft amplification drives the system.

“The coverage of the TRX-Series aligns perfectly with what we needed to accomplish in this space,” says Trombitas. “The rotatable horn enabled us to mount the units either vertically or horizontally, depending on what worked better in that particular space.”

Ringing the dining area are individual booths, sporting massive 18-inch thick stone walls and burnt beams. “The design is an homage to Irish society at the height of the depression,” Trombitas explains. “The upper class gentry and the peasants can see each other, but there’s a space separating them.”

CFX41 compact 4-inch two-way coaxial boxes are mounted over the booths for added reinforcement. “Their level is down pretty low, about 8dB lower than the mains, just to fill in the mids and highs when the place is crowded,” says Trombitas.

Trombitas reports owner Tony Colbert is truly pleased with the audio quality. “He walked around the entire bar and said ‘it’s absolutely exactly the same, no matter where I go,’ and declared it the best sounding system he’d ever heard in a bar.” And Trombitas adds, “This is probably one of the most architecturally interesting and diverse pub projects I’ve ever been involved in.”

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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.

NORTHRIDGE, California – Audio rental systems provider On Stage Audio has supplied JBL VRX Constant Curvature loudspeakers for use in all three presidential debates and the vice presidential debate. The presidential debates took place at the University of Denver on October 4, Hofstra University in Hempstead, New York on October 16, and Lynn University in Boca Raton, Florida on October 22. Additionally, the vice presidential debate took place October 11 at Centre College in Danville, Kentucky.

The audio system for each event remained consistent across the different locations, with JBL VRX932LA portable line arrays arranged in clusters of two each in left-center-right configurations, with two additional delay fills of two VRX932LA loudspeakers each. Crown I-Tech 4x3500HD amplifiers powered the system, with processing handled by a dbx SC32.

Larry Estrin served as Audio and Production Communications Director for the Commission on Presidential Debates, overseeing the audio/video systems for each event. “High-profile events such as the presidential and vice presidential debates leave zero margin for error when it comes to the audio reinforcement system—it is imperative that the system performs flawlessly,� Estrin said. “As was the case during the debates four years ago, the JBL loudspeakers once again delivered high-quality, reliable sound.�

While On Stage Audio’s Chicago-based facility provided similar audio system packages for each of these three locations, JBL’s ability to provide a variety of loudspeakers for different needs helped overcome any acoustical challenges that may have arose in each venue.

“The combination of JBL VRX loudspeakers, Crown amplifiers and dbx processing gave us a high-performing and consistent audio system that we were able to deploy in several different environments,� said Jim Risgin, Vice President of On Stage Audio.

On Stage Audio’s Chicago-area rental services facility can be reached in Wood Dale, IL at (630) 227-1008 or on the web at http://www.osacorp.com/

HARMAN (www.harman.com) designs, manufactures and markets a wide range of audio and infotainment solutions for the automotive, consumer and professional markets – supported by 15 leading brands, including AKG, Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson. The company is admired by audiophiles across multiple generations and supports leading professional entertainers and the venues where they perform. More than 20 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of about 13,400 people across the Americas, Europe and Asia, and reported sales of $4.4 billion for the fiscal year ended June 30, 2012.

When Discovery Channel’s MythBusters set out to test the claim that subaudible low-frequency sounds near 19 Hz can instill feelings of discomfort, dread, and even outright terror, they turned to Meyer Sound and Dr. Roger Schwenke, the company’s staff scientist and honorary MythBuster, for assistance.

Filming for the “fear frequency” segment took place in and around four abandoned cabins at a secluded forest resort in Northern California. To test the theory, the show enlisted 10 volunteers to spend time in the cabins.

“One cabin was subjected to infrasonic sound while the other control cabins had no sound,” says Schwenke. “Although the cabins were essentially identical, the idea was to ask the participants if one cabin seemed more eerie or frightening than the others.”

Unbeknownst to the subjects, a U-shaped array of nine modified Meyer Sound 1100-LFC low-frequency control elements was hidden behind one of the cabins to create the ultra-low sounds.

“We used the U-shape to get the 1100-LFCs as close together as possible,” explains Schwenke, “and to direct any higher overtones away from the cabin so we could get the infrasonic level as high as possible without anything being audible.”

It turns out that nine of the potent 1100-LFC low-frequency control elements were more than needed. “We had to be careful with the level because, at around 95 dB, we started rattling the cabin walls,” recalls Schwenke. “That would have been a dead giveaway.”

Did the MythBusters debunk or confirm the myth? Schwenke isn’t saying: “I did feel a sense of unease. You could tell when it was on even though you couldn’t hear anything. It was more of a whole-body, change-in-the-air sensation, an undefined ominous feeling.”

To find out if the myth was officially confirmed, busted, or deemed merely plausible, tune in to the Discovery Channel on October 28 at 8 PM. The 2012 Halloween edition marks Schwenke’s seventh appearance on the phenomenally popular TV series. In previous episodes, Schwenke applied his expertise and Meyer Sound technical resources to urban myths associated with movie gunshots and explosions, extinguishing flames with sound, the echo of a duck’s call, a human voice breaking glass, and the infamous “brown note.”

www.meyersound.com/news