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Platinum Tools® Debuts Maxim 6 Self-Adjusting Wire Stripper at 2014 CEDIA Expo

NEWBURY PARK, Calif., Aug. 12, 2014 – Platinum Tools(R) (www.platinumtools.com), the leader in solutions for the preparation, installation, hand termination and testing of wire and cable, is proud to announce the debut of the Maxim 6 Self Adjusting Wire Stripper 24-10 AWG (p/n 15310C) during CEDIA Expo 2014, held in Denver from Sept. 11-13 at the Colorado Convention Center, booth #500. The Maxim 6 is now shipping with an MSRP of $72.95.

“For use with round, oval and flat wire cable, the Platinum Tools Maxim 6 is a heavy duty, self-adjusting wire stripping and cutting tool with an ergonomic handle that is designed for comfort and reduces fatigue,” explained John Phillips, Platinum Tools product manager. “The autoform laminated stripping jaws form around the radius of the cable to ensure no damage to the inner conductor, while the built-in wire stop measures strip length. It has all the form and functionality the installer needs for any job.”

Additional specifications include:
• high leverage built in cutter with safety guard
• made from high grade polymers and carbon steels to ensure long life and reliable performance
• 24-10 AWG stripping range
• 30-10 AWG cutting range
• Manufactured in the UK

For additional pricing and more information on Platinum Tools and its complete product line, please visit www.platinumtools.com, call (800) 749-5783, or email info@platinumtools.com.

About Platinum Tools
Platinum Tools, founded in 1997, was created based upon two very simple objectives. First, develop the absolute best possible solutions for the preparation, installation, and hand termination of wire and cable. Second, implement an operational infrastructure that can deliver these products in an efficient, timely, and high quality manner.

All of our products must absolutely satisfy three critical benchmark criteria…utility of function; quality of function; and economic value. Our people are our company. They, too, must be focused on and work to satisfy three critical benchmark criteria…customer satisfaction; product knowledge and expertise; and willingness to learn and adapt.

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Extron Now Shipping Compact Four Input Scaler with DTP Extension

Extron Electronics is pleased to announce the immediate availability of the IN1604 DTP, an HDCP-compliant scaler with three HDMI inputs, a universal analog video input, and a DTP output, in a compact 1U, half rack enclosure. The IN1604 DTP is ideal for installation beneath conference tables and in lecterns to provide localized switching support for sources such as presenter devices, as well as signal extension up to 330 feet (100 meters) over shielded CATx cable to reach a wall or ceiling-mounted display. The IN1604 DTP provides the convenience of fast and reliable switching, along with a high performance scaling engine for HDMI and analog video sources. The IN1604 DTP also includes a host of audio processing features and many versatile options for control. more

AMIA Partners with Alamo Drafthouse to offer 35mm Projection Workshop

Archival experts provide projection training for movie houses offering the 35mm film experience

(Los Angeles, CA) – AMIA will present a Film Projection Workshop in partnership with the Alamo Drafthouse to offer expert-led training for managers, curators and projectionists presenting 35mm film in theaters. The workshop will be held October 28, 2014 in Austin at the Alamo South Lamar location.

As digital technology has presented new opportunities to filmmakers and exhibitors, it has also impacted the availability of prints for theatres showing 35mm film. Fewer prints are available, and many of those come from archives and similar institutions that cannot replace these valuable assets should they become damaged. This makes the handling and projection of film prints critical, and the need for training vital.

“While digital has become the primary exhibition format, many theaters continue to show 35mm film prints. A number of films are simply not available in digital and showing them in their original 35mm format allows new audiences to appreciate rare prints, archive films, and titles from private collections,” noted AMIA board member Elena Rossi-Snook. “But it also requires special skills to work with rare and archival prints.”

The workshop will offer a hands-on tutorial for projectionists and theater staff working with 35mm film prints and will focus on film preparation and projection as well as special stipulations for archival projection, coordinating with lending institutions, and paperwork. Class size will be limited to 20 participants.

“I love digital projection for new release films, but only a tiny sliver of our vast film history will ever make it to the DCP format,” said Alamo Drafthouse CEO Tim League. “As an industry, we must continue to preserve, protect and carefully screen 35mm films and maintain our 35mm projection equipment. The day we stop is the day cinema as we know it is dead.”

Participants will receive industry-wide recognition for completion of the workshop, indicated by a certificate from AMIA. Participants may find more information and register at www.projectionworkshop.org. Registration opens August 10, 2014.

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ABOUT AMIA
As the world’s largest international association of professional media archivists, AMIA is uniquely poised to bring together a broad range of experts. Members represent film studios, corporate and national archives, historical societies, labs, post production, universities, footage libraries and more. Because of this diverse membership, AMIA provides an opportunity to interact with every facet of the field and a single forum to address the best ways to preserve and provide access to our media heritage in digital and analog formats. For further information, visit www.AMIAnet.org.

ABOUT ALAMO DRAFTHOUSE
Tim and Karrie League founded Alamo Drafthouse Cinema in 1997 as a single-screen mom and pop repertory theater in Austin. 17 years later, the now 20-location chain has been named “the best theater in America” by Entertainment Weekly and “the best theater in the world” by Wired.com. The Alamo Drafthouse Cinema has built a reputation as a movie lover’s oasis not only by combining food and drink service with the movie-going experience, but also introducing unique programming and high profile, star studded special events. Alamo Drafthouse Founder & CEO, Tim League, created Fantastic Fest, a world renowned film festival dubbed “The Geek Telluride” by Variety. Fantastic Fest showcases eight days of genre cinema from independents, international filmmakers and major Hollywood studios. The Alamo Drafthouse’s collectible art gallery, Mondo, offers breathtaking, original products featuring designs from world-famous artists based on licenses for popular TV and Movie properties including Star Wars, Star Trek & Universal Monsters. The Alamo Drafthouse Cinema is expanding its brand in new and exciting ways, including Drafthouse Films, which has garnered two Academy Award nominations in its short three-year existence and Badass Digest, an entertainment news blog curated by veteran journalist Devin Faraci.

More information about the Alamo Drafthouse is available on the official website at www.drafthouse.com.

Media Contact for AMIA:
Chris Purse
ignite strategic communications
818.980.3473
chris@ignite.bz

Telos and Linear Acoustic: Helping Broadcasters Keep Their Eye on the Shifting Center of the Broadcast Universe

In Three Part Interview, Chief Technology Officer of Telos Alliance Highlights Pressing Issues Broadcasters Face with New Audio Formats and The Proliferation of Mobile Devices

CLEVELAND, August 11, 2014: As the television broadcast industry increases in complexity with producers churning out more content than any other time in history, where and how consumers view content has become anything but predictable. This has put strain and uncertainty on broadcast professionals, who are constantly building and adapting new content distribution models and working methodologies where no precedents currently exist. There is a lot at stake for broadcasters, since their function is critical to both the content producers and consumers.

Linear Acoustic, part of the Telos Alliance, continues to play an active role not only in helping define this new broadcast distribution landscape, but also in helping its international customer base understand and overcome these new challenges. Tim Carroll, founder of Linear Acoustic and Chief Technology Officer of the Telos Alliance, discusses the changes taking place and how Telos and Linear Acoustic are positioned to help customers navigate and overcome these challenges in the first of a three-part interview.


What are some of the primary issues the television broadcast industry has faced over recent years? What has changed and what has remained the same?

When we consider television broadcast as we know it today, we can safely say that the loudness and surround problems have largely been solved. As an industry we have been at this for over 20 years, and it’s mostly done. More recently, the way we are consuming television has dramatically changed. For example, I have a surround system, but I primarily listen to content in stereo. Many people in younger generations are consuming television online. Everyone is doing it differently; there are financial reasons for this, and the technology is making it easier to do so.

Has this made the ‘traditional’ delivery method of television less relevant?

Well, most of the media says that it is still the terrestrial delivery of television that generates the most revenue per second out of any content. But this is rapidly becoming an incorrect perception, because nowadays it is so difficult to measure exactly how many people are watching television let alone the methods they are using to watch it. We see many more people watching television on mobile devices in the middle of the day, for example.

What changed for the broadcasters? How does this affect them and how do they now think about broadcast delivery differently?

To start with, the normal tool set that broadcasters have in a linear broadcast chain is now completely different. The processes used to deliver broadcast content second over second have changed completely. Now, much of the produced content is chopped up, jammed onto a server and oftentimes played back from multiple servers. Additionally, commercials now are inserted on your portable device as part of an app. In the past, we used to know where to put the loudness correction, but where do we put it now?

This means the content has been more difficult to contain since the ‘central point of origin’ is not as easy to identify, right?


Yes. The industry has always had its eyes on the middle of the pie, because the middle is where traditional technology business is done at a television facility day in and day out — it’s where all the servers have traditionally been located. You put a processor in there, and at prime time, it affects every sample of audio. But as soon as this center is fractured and audio is coming out from multiple places outside the edge of the pie, it becomes much more complicated and less predictable. We can control that content coming out of the middle of the pie where the central server is located, but we have no idea where the content goes after that. In some cases, broadcasters are making 8, 10 different versions of a single program to hit all kinds of mobile devices, to hit larger mobile devices, large and small. All of this has pushed us to accelerate our thinking at Telos and Linear Acoustic.

Can you give me an example of how broadcasting is now less location dependent?

Sure. Let’s say I am making a program — a police drama. After it is produced, what happens is not necessarily up to the production people — it’s up to the broadcasters who say, “Hey, thanks for the content, we have to get this through our linear paths without touching it. We’ve also got to send it out to all these other destinations, and we better get it onto YouTube before somebody rips it or sells it.” Yesterday, you could often go to whoever owned the television station as a single point. But today, that producer’s broadcast content could be housed in servers across multiple locations and therefore becomes much more difficult to manage.

Can anything be done to remedy this?


We can help the broadcasters get the loudness or the 5.1 correct, but eventually the garden hose turns into a firehose before the content is sprayed out across the universe. And if nobody was touching it, our job would be done. But with Internet, it is essentially the Wild West. So with our normal tools, we have to start thinking outside the box. We need to look at the guts of our products and say to our customers, “Hey, we are happy to help you integrate our technology in your server hardware instead of selling you boxes that might not fit your workflow.”

Is technological innovation helping resolve these issues or exacerbating them?

It’s a bit of cat and mouse. If you go and see a movie today, you might be lucky enough to find a theater and a piece of content that is being played back in Immersive Sound. Now, program producers are saying, ‘Wow — we can do a 360 degree immersive audio experience. But then the questions start coming out: “Hey, can we get this same experience to consumers?” Then the broadcast industry says, “We just delivered 5.1 and now you want us to carry 128 channels to consumers?” But that’s what ATSC (Advanced Television Systems Committee) 3.0 is all about: how do we deliver an entertainment experience like consumers have in a movie theater? If we are able to deliver an immersive experience to the home, how do we then ensure mobile device users can enjoy it to a similar degree? So there is no finite end point, because consumers always want more content and want to access it more conveniently. Consumers see the end and Hollywood sees the beginning. It is the middle that has to catch up, yet this is the part that nobody sees.

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‘David Bowie Is’ Makes its U.S. Debut in September at Chicago’s Museum of Contemporary Art

Sennheiser Technology Enables Visitors to Experience a Unique, Multi-Faceted Journey of the Artist’s Sound and Style

Chicago, August 11, 2014: On September 23rd, the ‘David Bowie Is’ exhibition makes its U.S. debut at Chicago’s Museum of Contemporary Art (MCA). The exhibition, meticulously curated by the Victoria and Albert (V&A) Museum in London, explores the incredibly diverse work of one of the greatest artists of our time. For each of the exhibits, including the MCA exhibit coming to Chicago in September, V&A has partnered with audio specialist Sennheiser to ensure the best possible audio experience for visitors.

‘David Bowie Is’, which has already been experienced by more than half a million visitors around the world during its recent visits to London, Berlin, São Paulo and Toronto, is an artistic and technical marvel that covers the entire expanse of Bowie’s luminous career: from Ziggy Stardust to Aladdin Sane and beyond. By leveraging Sennheiser’s audio expertise, including its guidePORT technology and 3D immersive sound simulation equipment, visitors are left with an unforgettable sound and style experience that explores the very essence of David Bowie. Sennheiser’s guidePORT expert Robert Généreux is on site to install and configure the system at MCA.

David Bowie’s career is marked by continual re-invention, intellectual depth, musical inno-vation, striking visual presentation and unwavering artistic integrity. The exhibition takes visitors on a sonic and visual journey, retracing his creativity and influences from all areas of his art using a wealth of material — including videos, stage costumes, album covers, stage sets, photographs and of course his music. To develop the exhibit, curators Victoria Broackes (V&A) and Geoffrey Marsh were given unprecedented access to the David Bowie Archive, consisting of more than 70,000 pieces.

An Unprecedented Marriage of Art and Technology

In preparation for their sonic and visual journey, each museum visitor is given a pair of Sennheiser headphones and a guidePORT receiver — enabling them to walk freely into 25 different ‘display zones’. Inside a control room behind the scenes, Sennheiser is constantly broadcasting 25 live audio streams through transmitters that are perfectly mapped to the floor plan of the exhibit. Each time a visitor walks towards a different display, the relevant audio stream activates, broadcasting high quality audio through corresponding antennas located nearby. Small trigger units called ‘identifiers’ located throughout the exhibit are able to recognize the geo-location of each visitor and pick up the appropriate audio stream.

In addition to the pristine streaming audio occuring throughout the exhibit, visitors are also invited to experience an extraordinary 3D audio spectacle, consisting of Bowie concerts from over the years and an exclusive ‘mash up’ of his songs, created by Tony Visconti, Bowie’s long-time producer. The immersive audio experience is made possible by a special 3D upmix algorithm created by Gregor Zielinsky, Sennheiser’s International Recording Applications Manager, and the experience is delivered through an array of hidden loud-speakers from Neumann — a Sennheiser subsidiary.

‘David Bowie Is’ is groundbreaking not only as an interactive exhibition of one of the greatest artists of our time, but also in how it integrates Sennheiser technology throughout the overall experience. This is another example of how Sennheiser has been a driving force in the innovation of sound since 1945 and routinely supports innovators and artists all around the world.

The Sennheiser Group based in Wedemark near Hanover, Germany, was founded in 1945 and has gone on to become a leading manufacturer of microphones, headphones and wireless transmission systems. Sales in 2013 totaled 590.4 million euros. Sennheiser employs more than 2,500 staff worldwide and operates plants in Germany, Ireland and the USA. The company has a worldwide network of subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hongkong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading partners in other countries. Georg Neumann GmbH, Berlin, a maker of studio microphones and monitor speakers, and Senn-heiser Communications A/S, a joint venture making headsets for PCs, offices and call cen-ters, are also part of the Sennheiser Group.

More up-to-date information about Sennheiser is available on the internet at www.sennheiserusa.com.

Photo captions:
(1) Album cover shoot for Aladdin Sane, 1973
Design by Brian Duffy and Celia Philo, make up by Pierre La Roche
Photograph by Brian Duffy
© Duffy Archive

(2) Teaser video for the ‘David Bowie Is’ exhibition at Chicago’s Museum of Contemporary Art (MCA).

(3) Striped bodysuit for Aladdin Sane tour, 1973
Design by Kansai Yamamoto
Photograph by Masayoshi Sukita
© Sukita / The David Bowie Archive 2012

(4) Using Sennheiser’s guidePORT receivers, visitors of the ‘David Bowie Is’ exhibit are able to experience pristine streaming audio throughout the exhibit.

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Worcester State University Upgrades to HD with FOR-A Video Switcher

Cypress, CA – When Worcester State University began its most recent studio upgrade, the school was looking for video equipment to take them into the world of high definition. In the market for a cost-efficient yet feature-rich switcher to train students, the university found what it was looking for in FOR-A’s HVS-390HS video switcher.

“We’d been using a switcher that limited our production capabilities. FOR-A’s HVS-390HS allows for more creativity and functionality, so we’re able to add an extra dimension into our teachings,” explained Tom White, Assistant Director of Multimedia Services at Worcester State University. “While our FOR-A switcher is HD, we had the option to keep our remaining equipment SD if we had to for budgetary reasons. This gave us some breathing room.”

Worcester State University’s video production studio went completely high definition in November 2013. The school primarily uses the HVS-390HS switcher for educational training purposes, but it also puts the switcher to work for in-house productions, such as student television shows, and announcement and marketing productions for the university.

The university has found the ease of use and design of the HVS-390HS switcher as two considerable benefits. Some of the students who operate the switcher have never done any type of video production before, but they quickly learn the basic functions of the unit. Durability and reliability are big factors of the HVS-390HS for the university, since around 80 students work with the switcher in a given week.

“We’ve been very impressed with the high cost performance of the switcher,” White said. “We’ve also noticed that there’s a great synergy with FOR-A’s HVS-390HS in the way it fits in our studio and works with our other equipment. It took almost no effort to integrate the switcher into our system. It’s just a beautiful unit that has been a great match for our school.”

About FOR-A
FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A’s product line, call 714-894-3311 or visit our web site at www.for-a.com.

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New COVER Financing Program from Cambridge Sound Management Makes it Easier to Budget Sound Masking Installations

WALTHAM, MA, August 11, 2014 – Cambridge Sound Management (CSM), the global leader in sound masking solutions announces COVER™, a new financing program that will help facility managers, office managers, and other decision-makers budget sound masking installation projects over time.

“We noticed some situations where customers were excited about adding sound masking to their work environment but just didn’t have it budgeted up front” says David Sholkovitz, Marketing Director at CSM. “With COVER, customers can amortize their equipment and installation costs over time – COVER is yet another tool CSM provides to make it as painless as possible for facility managers to make their work environments less distracting and more private with sound masking technology.”

The COVER financing program was built around a common sense approval process and offers multiple payment options for end customers. The installation partner is paid in full immediately after the sound masking installation is completed. COVER is available nationwide, includes same-day or next day approvals, and allows decision-makers to preserve their credit lines and yearly budget allocations.

“COVER minimizes our installers risk while giving end customers in our region a lot more flexibility with their budget – it’s a win-win for everyone,” says John Cardone, of the CSM Manufacturer Rep firm Cardone, Solomon, and Associates. “Plus, CSM handles all of the paperwork, which makes the whole process easy.”

For more information about COVER visit csmqt.com/cover.

About Cambridge Sound Management
Cambridge Sound Management, LLC is the developer of Quiet Technology and the manufacturer of patented QtPro™ direct-field sound masking systems which help organizations across multiple industries protect speech privacy, and reduce distractions. Extremely cost-effective, QtPro systems are deployed in hundreds of millions of square feet and are trusted by over 40% of the Fortune 100. QtPro systems are extremely reliable and consume less than 27 watts of power per 72,000 square feet (6,689 m2)of space, are GreenSpec listed, and can contribute to LEED Certifications. For more information please visit csmqt.com.

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Masque Sound Gives Back to the Community with Donation to Industry Charity, ROAD RECOVERY

EAST RUTHERFORD, NJ, AUGUST 11, 2014 — Masque Sound, a leading theatrical sound reinforcement, installation and design company, recently presented a charitable contribution to ROAD RECOVERY, a non-profit organization devoted to helping today’s youth overcome addiction and other adversities. With this donation, ROAD RECOVERY will continue its mission of empowering the younger generation to face their adversities through its range of music-focused programs and events.

An organization that is important to Stephanie Hansen, vice president and general manager at Masque Sound, ROAD RECOVERY was founded in 1998 by music industry veterans Gene Bowen, a tour manager and recovering addict, and Jack Bookbinder, an artist manager who struggles with Type II diabetes, to help young people battle addiction and other adversities by harnessing the influence of entertainment industry professionals who have confronted similar crises and now wish to share their experience, knowledge and resources.

“Currently in its 16th year, ROAD RECOVERY, a non-profit organization rooted in the music industry, needs our support more than ever in order to reach the ever-growing numbers of young people and their families who are seeking help,” says Hansen. “We understand how important it is to be able to give back to the community and couldn’t be more proud to give our time and capital to an organization from our industry that needs the support in order to make a difference. We strongly encourage and hope that others in our industry get involved and offer their support to this great organization.”

With assistance from leading professionals in the mental health field, ROAD RECOVERY provides hands-on mentorship training, educational/performance workshops, peer-support networking, and “all access” to real-life opportunities by collaborating with young people to create and present live-concert events and recording projects.

In addition to the support ROAD RECOVERY has received from leading companies in the audio and music industries, such as the late Phil Ramone and Steve Lillywhite, Road Recovery has garnered support from several celebrities who have rolled up their sleeves and plugged in, giving so much of themselves to the charity’s kids including Sharon and Ozzy Osbourne, Slash, John Varvatos, Denis Leary, among others.

“Organizations such as ROAD RECOVERY play a vital role in the support of our youth today, as they face so many adversities and struggles,” adds Hansen. “We are inspired by the amazing work that Gene, Jack and the rest of the wonderful people at ROAD RECOVERY have done since 1998 and are thrilled to support the organization’s efforts, so that they can continue their exceptional community outreach in the years ahead.”

“We are extremely thankful to Stephanie Hansen and the team at Masque Sound for their generous donation,” says Gene Bowen. “Masque Sound’s commitment and support, along with that of the many artists and music industry companies we work with, is what allows ROAD RECOVERY to continue its mission. I further express our thanks for Masque’s willingness to spread the word, and opportunities concerning Road Recovery, to companies in the music industry and professionals who might be looking to get involved.”

To learn more about the organization and how to get involved, visit www.roadrecovery.org.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and Vice President and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mamma Mia!,” “Lion King,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” “Once” and “Kinky Boots” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater and historic St. Bartholomew’s Church. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

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HARMAN’s Martin Professional Exterior 200 Fixtures Light Russian Residential Complex in Celebration of World Cup Final

MOSCOW, Russia — In celebration of the 2014 World Cup final game, the three towers of “Vorobievy gory”, an iconic residential complex in Moscow that faces the German Embassy, were lit during the match with the colors of Germany and Argentina’s national flags. With only a single day to light the towers, lighting designer Sergey Babaliants of Moscow-based BaSinstall was brought in to program the tower’s existing system, which includes 198 of HARMAN’s Martin Professional Exterior 200 fixtures.

Installed in 2006, the exterior lighting for each of the three towers features 30 Exterior 200s for the “crown,” located on the roof level and 36 Exterior 200s for the “gallery,” located three floors below the crown. The design is controlled via LightJockey placed on the second level below the middle tower, while the left and right towers were connected through wireless DMX signal via an omnidirectional antenna on the roof of the middle tower.

The lighting design for the World Cup’s final match was pre-programmed to ensure the right tower was fixed with the German colors and the left with Argentina’s, while the middle tower alternated between each nation’s colors every 15 seconds.

One of the project’s major challenges was the tower’s aging and poorly maintained existing system.

“The whole installation had not seen any serious maintenance for about eight years,” said Babaliants. “The building management only replaced fixture lamps. The system’s control had never been replaced or even switched off. And on the top of all that we discovered a serious problem with the DMX radio transmitter that prevented us from synchronizing the towers.”

The unusually tight scheduling presented additional challenges. “Having only one day at my disposal, I had to find a creative solution to light the towers with the very limited capabilities of the system in place,” said Babaliants. “We would not have successfully completed this project without the ability of Martin’s Exterior fixtures to withstand such low maintenance in such a demanding environment. It’s a true testament to the durability and reliability of Martin lighting.”

For more information on BaSinstall, please visit: http://basinstall.ru/

To learn more about Martin’s architectural lighting solutions, please visit: www.martin.com

As a world leader in the creation of dynamic lighting solutions for the entertainment, architectural, and commercial sectors, Martin lighting and video systems are renowned the world over. Martin also offers a range of advanced lighting controllers and media servers, as well as a complete line of smoke machines as a complement to intelligent lighting. Martin operates the industry’s most complete and capable distributor network with local partners in nearly 100 countries. Founded in 1987 and based in Aarhus, Denmark, Martin is the lighting division of global infotainment and audio company HARMAN International Industries. For more information please visit: http://www.martin.com.

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

Guitarist/Singer Ben O’Neill Uses HARMAN’s AKG Microphones To Achieve Pure Sound

PHILADELPHIA, Pennsylvania – As a guitarist/singer/songwriter who has performed as a sideman for the likes of Kanye West, Christina Aguilera and Kid Cudi, and has recorded with Jason Nelson, Ben O’Neill relies on HARMAN’s AKG microphones for his own rock/alternative country acts, home recordings, and guitar recording classes at the University of Arts in Philadelphia.

O’Neill is a true jack-of-all-trades, having been nominated for a GRAMMY Award and fulfilling more roles in the music industry than some do in a lifetime. However, his pursuit of clean, organic-sounding tones within the music that he makes or teaches has never changed, which is why he continues to use AKG microphones. Whether it is the AKG C414 XLS microphone for recording, the 415 B in the classroom or the D5 microphone onstage, he has always relied on them for consistency and clarity.

“Unlike simulated sounds on a lot of records you heard on the radio, I try to make real guitar tones that are super-clean,” said O’Neill. “Whether I’m playing Bakersfield country or contemporary R&B, I’m looking for compelling sounds that are beautiful and organic. That’s why I love the C414 XLS microphone, because it gives the vocals and the guitars a level of clarity that you just can’t get from a dynamic microphone.”

O’Neill’s love for AKG is underscored by years of unwavering performance from his microphones. While affordable, AKG microphones are also designed to remain consistent throughout the years, capable of taking abuse that would leave other microphones faulty.

“When teaching, I try to incorporate a technology element in my lessons,” said O’Neill. “We look at amps, guitars, microphones and how they work in conjunction. AKG microphones are great for this purpose, and it’s always a blessing to be able to work with them. I really appreciate the support that I’ve received from the company, and the service has been great.”

For more information on Ben O’Neill, please visit www.benoneillmusic.com

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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