Fairfield, NJ––Middle Atlantic Products is introducing the new HRF Series Half Rack family of products that will also serve to help develop an ECIA standard for the half-width rack format.

The new HRF Series half racks–which incorporate the dimensions of the proposed standard–feature a low profile design and compact dimensions. An offset cable tie area keeps their overall width to a slim 10 5/8�, which makes them an important off-the-shelf solution for maximizing the amount of usable rack space in confined areas. These dimensions also allow the HRF Series to be used with half rack equipment from a variety of manufacturers.

The HRF Series half racks also feature a strong welded frame that enables equipment to be pre-loaded and transported to the installation site. Initial models are available in 8 and 12 space useable racking height configurations with available mounting shelves that include a pattern of holes and slots that accommodate any device-mounting pattern. The line of complementary accessories for the Half Rack Series also includes a high-static pressure blower to exhaust heat, as well as blank and vented panels to complete the installation.

According to Mark Tracy, Director of Product Management, “There was a real need for a smaller, space-saving solution when rackmounting a variety of half-width components in lecterns, credenzas, and in-wall. Thanks to the feedback from our installer and consultant partners, as well as the participation of several manufacturers, this system accommodates the vast majority of smaller components currently available and provides installers with a useful new choice for mounting electronics.�

For technical specifications and in-depth information about Middle Atlantic Products, please click to www.middleatlantic.com or call 1.800.266.7225.

When the Museum of Tolerance in Los Angeles acquired an early letter written by Adolf Hitler, it turned to Electrosonic to create an interactive exhibit for one of the most important archival documents in the history of the Second World War.

The letter was written in September 1919 and is the only document personally signed by Hitler, linking him to the elimination of the Jewish people. In the letter, Hitler calls for “an anti-Semitism based on reason…[whose]…final aim, however must be the uncompromising removal of the Jews altogether.” The letter was found by an American GI in Nuremberg in 1945.

The four-page typewritten letter was purchased last spring by Rabbi Marvin Hier, founder and dean of the Simon Wiesenthal Center, who called the letter “the most significant ever acquired” by the Center. The letter was written six years before Mein Kampf was published.

The letter’s acquisition was widely covered by the New York Times, the International Herald Tribune, and the media around the world.

Electrosonic has been responsible for many exhibits and permanent installations since the Museum of Tolerance opened in 1993 as an educational arm of the Simon Wiesenthal Center.

Electrosonic sales consultant Les Hill and VP of Entertainment Chris Conte collaborated with Sue Burden, Chief Financial Officer and Chief Administrative Officer of the museum, to determine the best way to showcase the letter. In order to allow the guests to explore the letter in depth, Electrosonic recommended that a multi-touch surface be installed along with digital content generated from the letter itself. To insure that the best digital content was created, Electrosonic turned to long-time creative content partner Cortina Productions to develop the content and interactive software.

The artifact itself is housed in a wall-mounted glass display case along with a 65-inch Mitsubishi LED touchscreen. The touchscreen is powered by CyberTouch. Museum visitors stand in front of the touchscreen to view content crafted by Cortina Productions, which allows them to virtually interact with the letter, reading it in the original German language or translated into English. A graphic image of a magnifying glass enlarges portions of the letter for easier inspection.

“The GUI can be operated by two users at the same time,” says Electrosonic project manager Guy Fronte. “In addition to the user mode for one or two visitors, there’s also a docent mode for museum docents making presentations to groups.”

Visitors can also access major milestones in the history of the Third Reich, as well as, news articles, maps and still photos, plus video clips about the acquisition of the letter in 2011.

Electrosonic provided a Dell Vostro 460 Mini Tower with an ATI Radion HD 5570 graphics card as the interactive video source for the touchscreen display. A ceiling-mounted Dakota speaker array supplies audio for the film clips and sound design elements for the interactivity.

“The Hitler letter exhibit has been a very successful attraction with visitors,” says Sue Burden. “Electrosonic was very professional to work with, as always; it’s a pleasure to do projects with them, and we keep asking them to do more and more things for us.”

At Electrosonic, Win Roach was the exhibit’s lead installer and Julie Adgurson the engineer. All of the vendors worked with the architect, Hansol Park, a Senior Associate with Yazdani Studio of Cannon Design.

JESSUP, MARYLAND – FEBRUARY 2012: Evidence that JDK is quickly reaching the forefront of the audio industry, Emmy Award-winner Brian Tarquin has chosen the JDK R20 two-channel mic pre and R22 two-channel, four-band equalizer for one of his newest projects: Guitar Masters, Vol. 5.

“You know, I’ve always been a big fan of the old API stuff, so when I saw that API was putting out the JDK brand I was very intrigued – especially with the R22 compressor,” said Tarquin, who has previously recorded artists such as Steve Vai, Steve Morse, Frank Gambale and Billy Sheehan. “I knew the R22 was based on the original live mixing Paragon console, and then I saw that JDK had the EQs. JDK has some fantastic stuff.”

In his own career as an artist, Tarquin has had more than thirty commercial releases, which include more

ANAHEIM, CALIFORNIA: For the second year in a row, Ashly’s extremely efficient and powerful KLR-4000 amplifiers powered Community loudspeakers and subwoofers at the 2012 NAMM “Wanna Play?” stage in Anaheim, California. Michael Bell of Bell Event Services handled production at the stage, which featured an inspiring collection of handpicked, up-and-coming artists. The stage takes its name from NAMM’s “Wanna Play?” campaign, which encourages people of all ages and backgrounds to take up a musical instrument and perform. Last year, the “Wanna Play?” stage used a similar Ashly/Community configuration that set off alarms in the parking lot next door!

The Ashly KLR Series amplifiers leverage the company’s decades of experience building reliable, high-performance amplifiers and uses the latest technologies and materials to dramatically increase efficiency, while maintaining sonic purity and decreasing cost. The Ashly KLR Series amplifiers are dual channel, and each of the nineteen KLR-4000s used at the “Wanna Play?” stage delivered 2,000 watts per channel into a two-ohm load.

The “Wanna Play?” stage was located just outside the convention center area, adjacent to the arena fountain. The impressive collection of Community loudspeakers and subwoofers comprised a four-way system and included four Solutions SLS960 bi-amped all horn-loaded array cabinets, four iBOX i215S double-15-inch bass cabinets, eight VLF218 double-18-inch subwoofers, iBOX i2W8′s for front fill, and six channels of M12 stage monitors.

This year was the largest NAMM show in its 110-year history. Registered attendees numbered over 95,000, a six-percent increase over last year. International registration was up 15%. These numbers, along with the 236 new exhibitors, appears to forecast a prosperous 2012.

ABOUT ASHLY AUDIO With a greater than thirty-seven year history, Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of quality signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. www.ashly.com

ABOUT COMMUNITY PROFESSIONAL LOUDSPEAKERS Community Professional Loudspeakers has been a leading supplier of professional sound systems since 1968. Headquartered in Chester, Pennsylvania, Community distributes its products to over fifty countries on six continents. Visit www.communitypro.com for more information.

DOBBS FERRY, NEW YORK – FEBRUARY 2012: For over three decades, Matthew Noble has been at the forefront of pop music as a session guitarist, programmer, songwriter, engineer, and producer. His impeccable ears and knack for spinning irresistible tracks across genres has earned him an engineering client list that includes Rihanna, Diana King, Southside Johnny, and Rod Stewart, among many others. These days, he performs most of his work out of the Loft Studios in Bronxville, New York and in the newly renovated Riverworks Recording in Dobbs Ferry, New York. Recent work with the musical Big River and gospel artist Rell Holland & Experience have put Noble’s new favorite plug-in, Metric Halo’s enduring ChannelStrip, through its paces.

“I tried Metric Halo’s ChannelStrip because some other people that I respect were using it,” explained Noble. “My friend Keith Brown, who is a well-known Nashville songwriter, was working on a project with Billie Decker, who is one of the hottest mix engineers in country music. Keith’s enthusiasm for the plug-in, together with his revelation that Billie uses it ‘all over the place,’ was enough to motivate me to check it out.”

Riverworks Recording boasts a huge, luscious acoustical space, which has changed the way both Noble and the producers and artists he works with approach the recording process. “So much of my work there has involved tracking live instruments, as opposed to the ‘virtual players’ that live inside our modern computers,” he said. “While it’s been a refreshing change, it has also brought with it challenges. For example, getting a great drum sound and a great overall mix with the new expectations for how long things take these days is not easy. ChannelStrip has been very helpful because all the functions that I need to access quickly are all in one plug-in. These include the less ‘sexy’ functions, such as phase reverse and multiple trims, in addition to full-blown and flexible dynamics and equalization. Having everything in one plug-in has greatly improved my workflow.”

Because it can do so much, Noble often puts Metric Halo’s well-crafted presets to use. “The ChannelStrip presets are a great starting point. They’re especially useful in a time crunch, when the client is breathing down your neck. The acoustic guitar and drum presets are often spot on, right out of the gate. When I tweak, the informative GUI lets me know exactly what I’m doing.” Of course, the best GUI in the world is useless if the algorithms behind it don’t cut the mustard. It’s here that Noble finds it really shines. “ChannelStrip has a great sound,” he said. “Like an SSL, it can be very aggressive and not at all subtle. Despite all its flexibility and sonic muscle, it has remarkably low CPU drain, which means I can use it whenever I need it.”

Noble’s introduction to Metric Halo’s ChannelStrip came back to him in an interesting way. “Last week, a New York client of mine wanted to make a few changes on a song that he had recorded recently in Nashville,” he explained. “I opened the session and saw ‘Dekerator’ on it. Then I knew Billie Decker had performed the original mix. A moment later, the mix window opened and there was the ChannelStrip plug-in – all over the place!”

ABOUT METRIC HALO Now based in the sunny city of Safety Harbor, Florida, Metric Halo provides the world with high-resolution metering, analysis, recording and processing solutions with award-winning software and future-proof hardware. www.mhlabs.com

Matt Noble: www.matthewnoble.com
Loft Studios: www.theloftstudios.net
Riverworks Recording: www.riverworksrecording.com

Bergen, Norway, Vizrt Ltd. (Oslo Main List: VIZ)

Vizrt Ltd., a leading provider of content production tools for the digital media industry, has completed the implementation of Vizrt’s “Newsroom Connect� ActiveX plug-in for Viz Content Pilot at TVE — Spain’s largest public television network. Viz Content Pilot is Vizrt’s core content control system.

Vizrt’s graphics creation tools are now fully integrated within the Avid newsroom environment of TVE’s GALICIA TERRITORIAL CENTER, making TVE one of the first broadcasters in Spain to implement this technology. TVE has used the system since December for its Territorial Journal.

Vizrt’s ActiveX plug-in allows users of the Avid iNews newsroom computer system (NRCS)—as well as many other NRCS — to create graphics for their news stories from within the NRCS. Newsroom Connect now goes a step further and interfaces with Avid iNews Command, Avid’s automation system that manages the “playlist� and playout of news stories in the rundown.

“The newsroom computer system, which is at the heart of any modern news broadcast operation, gives journalists all the tools they need to develop, write, and edit news stories without leaving a self-contained production environment. Now that Viz Content Pilot is fully integrated with iNews and Command, journalists, news directors, and producers can create, preview, control, and playout their Pilot graphics without ever leaving that workflow,� said Petter Ole Jakobsen, Chief Technology Officer at Vizrt.

Viz Content Pilot graphics can then be linked to specific news stories, along with their start/end timecodes and durations and dropped into the Avid iNews rundown. Once that rundown and the associated graphics metadata are loaded into Avid Command, the automated playout system generates a playlist that triggers playout from a Viz Engine real time rendering system, with video clips as primary and graphics as secondary events. The integration allows Avid Command automatically to see, request, and playout specific Viz graphics at the appropriate time during newscasts.

“With this innovative newsroom integration, our journalists who are most familiar with particular news stories can create their own animated graphics by adding elements such as text, lower third supers, data, images, and video into ready-to-use Viz Content Pilot templates, all from within iNews,� said Alberto Lema (Chief of Production and Media) at TVE in Galicia.

“This accurate, seamless integration between the Viz Content Pilot graphics system and Avid newsroom workflow enables us quickly to create visually rich graphics for our live newscasts,� Lema added. “For broadcast newsrooms, these are vital, empowering tools, and now they work seamlessly together.�

About Vizrt:
Vizrt’s content management system, Escenic Content Engine, manages media assets for websites and cross-channel publishing, allowing customers to publish online content onto numerous platforms. Content and page layout is be optimized and formatted to support the full capabilities of each individual device. The Widget Framework, a component of the Escenic Content Engine, is used to build and flexibly manage websites.

Vizrt’s product suite is used by the world’s leading broadcasters, publishing houses and telecom operators, including: YLE (Finland), TV 2 (Norway), The Sun, The Independent, The Telegraph, London Evening Standard (all UK), n-tv.de, Welt Online, Axel Springer (all Germany), The Globe and Mail (USA), and Aftonbladet (Sweden).

Vizrt is a public company traded on the Oslo Main List: VIZ, ISIN: IL0010838154.

Press contacts:

Martin Burkhalter Ofra Brown HÃ¥vardMyklebust
President & CEO CFO EVP Marketing
+41 22 365 75 01 +47 5351 8040 +47 9184 5602
mbu@vizrt.com ofra@vizrt.com hmyklebust@vizrt.com

grandMA’s in the house at the Adrienne Arsht Center for the Performing Arts of Miami-Dade County where a pair of grandMA2 lighting consoles, installed by Miami Stagecraft in the John S. and James L. Knight Concert Hall, are in demand by an array of artists. Miami Stagecraft also upgraded the hall’s entire network to 1gb to promote fast, high-speed response time. A.C.T Lighting is the exclusive distributor of grandMA in North America.

“The space is designed to host everything from symphony orchestras to Willie Nelson, Cindy Lauper and BB King,” says Tony Tur, head electrician at the Knight Concert Hall. “We were running another console, and a lot of people were asking for the grandMA. I attended a grandMA2 training course and really liked the console’s features and versatility. It was the kind of technology we needed, capable of accommodating a rock show, a symphony or a musical comedy, and meeting the needs of their designers.”

Steve Welsh, vice president of Miami Stagecraft, echoes Tur’s observations that many touring groups appearing at the Knight Concert Hall were accustomed to using grandMA. In addition, “because of the way the hall is configured there are very few conventional lights,” Welsh points out. “The space is highly-dependent on moving lights mounted to the ceiling and that also helped tip the scales in grandMA’s favor.”

Welsh notes that in order to give the grandMA2 fast, high-speed response time, the hall’s entire network required an upgrade. “grandMA runs flawlessly on a gigabit network,” he says, “so we upgraded the whole system to be 1gb capable. The movable ceilings feed data down to fiber-optic cables even when they’re moving – we had to upgrade all that to 1gb with industrial-grade components.”

Will Murphy, A.C.T Lighting technical support, says that the hall originally had “a big fiber network and all these little gangbox two-universe nodes around the space. When Tony (Tur) fell in love with the grandMA2 they needed to decide what to do with the existing network. So we started to talk about what would make their life easier.”

He explained to Tur that “MAnet is the only protocol in the industry with frame-synchronous DMX. If you have a properly-designed gigabit network, no matter how close or far apart ports are, everything is going to be frame synchronous: the frame comes out of every port at the same time regardless of length. No protocol but MAnet can do that and deliver two-way communication.”

Tur specified a grandMA2 console with NPU and a second unit with 18 2-port nodes. “Tony chose to go all-MA to get 100 percent support,” Murphy says.

The upgraded network “eliminated a lot of equipment on the racks and a lot of connection points with the possibility of faults,” says Tur. “The network was very simple to put together and worked from the get-go: It was all done in two days. Now I have a system where I can communicate right to the nodes from the console; I don’t need another computer to do that. A.C.T’s customer support was another reason I decided to go with the nodes – it’s just amazing. They are there to help me out.”

Welsh concurs that the installation “came out very nicely. There are very reliable communications throughout the system, especially the fiber-optic cable reels.”

Tur reports that the grandMA2s and network are “working great. We just ran BB King and a couple of symphonies, and it’s been very smooth. The grandMA gives us the versatility to do everything. That’s just what people were requesting.”

Welsh believes that the hall’s installation represents “a new phase in the lighting of the theater. They now have a control system that will carry them into the future with LEDs and new lighting fixtures.”

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

About the Adrienne Arsht Center for the Performing Arts of Miami-Dade County
The Adrienne Arsht Center for the Performing Arts of Miami-Dade County is one of the world’s leading performing arts organizations and venues. Made possible by Miami-Dade County’s largest ever public/private-sector partnership, the Center is home to the Florida Grand Opera, Miami City Ballet and New World Symphony, America’s Orchestral Academy. In addition, numerous South Florida arts organizations perform in its theaters regularly. Since opening in 2006, the Center has emerged as a leader in offering and presenting innovative programming that mirrors South Florida’s diversity, as a catalyst for development in Miami, and as a host of impactful community outreach and education programs.

Designed by world-renowned architect Cesar Pelli of Pelli Clarke Pelli Architects, the venue is comprised of the 2,400-seat Sanford and Dolores Ziff Ballet Opera House, the 2,200-seat John S. and James L. Knight Concert Hall, the black box Carnival Studio Theater, a restored Carnival Tower, the Peacock Foundation, Inc. Studio, the Peacock Foundation, Inc. Education Center and the outdoor Parker and Vann Thomson Plaza for the Arts. The Carnival Tower, an architectural icon and one of Miami’s oldest Art Deco buildings, houses the street-level BOMBAY SAPPHIRE(r) Lounge. Events impresario and restaurateur Barton G. Weiss brought his signature style to the Center in 2009 with PRELUDE BY BARTON G, a full-service upscale restaurant.

Inspired by Customer Feedback, Additional New HD Line Features Include DIP Switch Display, Mute Groups, and an Expanded Control System API more

FLETCHER, NORTH CAROLINA: With multiple, well-booked indoor and outdoor event spaces, something exciting is always happening at the Western North Carolina Agricultural Center (WNCAg). On any given day, equestrian shows, dog shows, or gun shows may run in parallel with conventions, meetings, or workshops. For a week-and-a-half every summer, the North Carolina Mountain State Fair celebrates life in the Blue Ridge Mountains at WNCAg. The center recently updated the Davis Arena, which boasts 45,000 square feet of exhibition space plus meeting rooms and hospitality suites. In order to deliver reliable, sophisticated sound reinforcement, local A/V integrator B&R Audio deployed Ashly Audio amplifiers and signal processors, including a Pema Multi-Channel Amplifier with on-board Protea(tm) DSP Processor. To give the non-technical staff a transparent user interface, the company provided WNCAg with Ashly’s new FR-8 and FR-16 Networkable Remote Fader Controls.

“The Davis Arena supports a huge diversity of events,” said Bruce Jensen, president and owner of B&R Audio, who led the design and installation. “The center needed a very flexible sound reinforcement system that would allow any member of the staff to play music from a variety of input sources and deliver announcements that would be clearly intelligible. In a nutshell, they asked for input volumes and mutes as well as output volumes and mutes to a number of zones, including several far-flung buildings. But perhaps even more importantly, they wanted something that would not intimidate even the most technologically bashful user.” Jensen had worked with Ashly Audio before and caught wind of the FR-8 and FR-16 before they were officially released.

“Ashly’s FR-8 and FR-16 remote controllers were perfect for this installation,” continued Jensen. “And because Ashly’s support is so complete and reliable, I had no fear that I’d be stranded with a semi-functional beta if I pressed the company for an early model.” The FR-8 and FR-16 offer eight and sixteen faders and mutes, plus a master fader. The integrator has full control over which input, output, or mixer volumes are controlled by each fader, with flexible range limits and defaults. An Ashly ne24.24M DSP Matrix Processor handles all of the complex input processing, matrix logic, and output processing behind the scenes. Jensen was careful to set the fader limits and the ne24.24M’s output protection limiting in such a way that even a complete novice can do the system no harm.

Four Ashly Audio amplifiers provide power to the Davis Arena’s distributed loudspeakers. An ne2400.70 Two-Channel Networkable Amplifier rated at 1200W into 70V feeds an outdoor collection of Community R1-64Z weather-resistant horn-loaded loudspeakers. An ne800.70 Network Amp covers the bathrooms and corridors, with ne1600pe.70 and ne2400pe.70 Networkable Amplifiers powering the main exhibition hall. All indoor speakers are down-firing SoundTube models, which do an excellent job of keeping energy off the reverberant walls. Both main exhibition hall amplifiers deliver loudspeaker conditioning with integrated DSP. “Like everything with Ashly, when I buy the amps, I know I’m also getting the company,” said Jensen. “The stuff is solid, and on those rare instances when there is a problem, the people at Ashly are on it right away. Ashly installations always run smoothly.”

Because several of the buildings that require a music and/or announcement feed from the Davis Arena are quite distant, Jensen convinced the WNCAg for forego the miles of speaker cable (literally!) they had been using in favor of fiber optics. A MultiDyne DAM-1000 provides conversion on either end of a pilot feed. “They weren’t sure that they wanted to commit to fiber optics, so we did one trial run,” said Jensen. “They love it, and we’ll be upgrading the other distant feeds in the near future.” Every aspect of B & R Audio’s installation is future-proof. Jensen continued, “One of the nice features of the Ashly ne24.24M is that the input and output count is totally modular. So when the needs of the event center change, we can accommodate those changes without having to rip everything out.

As part of the renovation, the WNCAg added three classroom spaces that are large enough to require sound reinforcement. “It was the perfect application for Ashly’s Pema Multi-Channel DSP Amplifier,” said Jensen. “Because the Pema has everything I needed inside a two-rack space unit, the installation was simple, quick, and reliable.” The Ashly Pema 4250 four-channel delivers input conditioning, switching logic, and loudspeaker conditioning (again for SoundTube loudspeakers). Similar to the FR-8 and FR-16 in the big room, each classroom has an Ashly neWR-5 wall-mounted remote control that allows users to easily select inputs and volumes.

ABOUT ASHLY AUDIO With a greater than thirty-seven year history, Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of quality signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets.

www.ashly.com

CES 2012 in Las Vegas celebrated the ability of three companies, all siblings, to come together and provide unique solutions for the Microsoft, Intel, Qualcomm and Ericsson keynote presentations. High Resolution Engineering provided the screen switcher processing technology for the keynotes, Lightware USA supplied hardware for Digital Multimedia Matrix Routing, and High Resolution Systems furnished the UDC control software and hardware options.

“Every year the CES keynotes are more challenging due to the growing number of mobile devices – tablets, cell phones and other handheld systems – that participants want to use as sources on screen for their presentations,” says High Resolution’s Drew Taylor. “CES is such a big show that you really need to have some experience under your belt to master the logistics. I’ve been doing the keynotes for the last four years and [High Resolution Partner] Mike Taylor has over a decade’s worth of CES credits. We spend about 10 days on site working with each group to ensure the maximum amount of rehearsal and set up time – we’re going nonstop!”

This year the Microsoft, Intel, Qualcomm and Ericsson keynotes in the Venetian Ballroom all featured multiple big screens that spanned the width of the space.

High Resolution Engineering provided the screen switching technology with Vista Spyders, Lightware routers, DVI cables and control systems. The Lightware UMX and HDMI and DVI routers were supplied by Lightware U.S.A., the US distributor of professional AV products manufactured by Lightware Visual Engineering in Budapest, Hungary. They were utilized for onstage demos of tablets and other HDMI handheld devices.

High Resolution Systems supplied UDC Software and UDC 400, Lightware Touch controllers front of house and Spyder Touch controllers backstage to switch the screens. High Resolution Systems’ own Universal Device Controller (UDC) software ran on a Microsoft Windows 7 tablet backstage for router control.

UDC software was also employed in Panasonic’s booth on the convention floor. UDC was used in conjunction with a PESA HD router to switch and route signals to a huge wall of monitors and to play back clip information on Grass Valley T2 iDDRs (Intelligent Digital Disk Recorders) and KG 4K and 8K video servers. UDC allowed the manufacturer to access the clip names of all the files in its playback servers and configure the buttons to recall certain clips. UDC also read timecode from the 4K server and executed presets based on timecode of the current playing clip. Todd Hewitt was the UDC consultant at the booth.

Also on the convention floor, High Resolution Engineering helped fulfill the equipment needs of the Canon booth, providing a Spyder X20 for image processing.

“Only our trio of companies can offer such a comprehensive technology-equipment-control solution for the high-profile keynotes and meet the needs of major manufacturers like Panasonic and Canon on the show floor,” says Drew Taylor.

About High Resolution Systems
High Resolution Systems, a member of the Society of Broadcast Engineers is a company with a strong systems engineering and applications background. Its founders have decades of experience in the audio visual rental and staging industry, broadcast applications, A/V installations and system design. This combined experience allows them to provide the highest possible quality solutions to its customers in the most efficient manner. For more information, visit www.hrscontrol.com.