European studio producers, musicians and DJs will have their first opportunity to see Prism Sound’s new Lyra family of Audio Interfaces at this year’s Prolight + Sound exhibition in Frankfurt (Hall 5.1, stand B50A).

With Lyra, Prism Sound is bringing its high performance audio technology to an even wider audience. This brand new family of interfaces is aimed at musicians, composers, project studio owners, DJs, re-mixers and other audio content producers such as radio and podcasting. It is also anticipated that high-end home audio enthusiasts will find the USB interface and stereo configuration with digital volume control an attractive package.

Based on the award-winning and critically acclaimed Orpheus interface, Lyra allows music recording professionals to access the power and sophistication of the Orpheus audio path and clock circuitry, but in a smaller package and at a much improved price point.

“Lyra connects seamlessly with both Macs and PCs via a simple USB interface,� says Graham Boswell, Sales and Marketing Director for Prism Sound. “For recording professionals who don’t need eight channels of analogue I/O, Lyra is the perfect interface because it allows them to access Prism Sound quality in a convenient package and at an affordable price.�

Prism Sound plans to launch a number of different variants of Lyra and has started the ball rolling with Lyra 1 and Lyra 2. Both incorporate new ARM Cortex-based ‘Xcore’ processor design offering class-compliant USB interfacing, plus DSP and a low latency ‘console-quality’ digital mixer for foldback monitoring. Both products also have optical SPDIF capability and Lyra 2 also supports ADAT.

Lyra 1, which retails at £1,349 plus VAT, will be of particular interest to the musician and project studio market. This unit offers two analogue input channels – one for instrument/line and one for mic/line – plus two DA output channels and optical-only digital I/O. With Lyra 1, musicians can connect a guitar and a microphone through the input channels, plug into their software mixer via a simple USB connection and start laying down basic tracks in a matter of minutes.

Lyra 2, which retails at £1,849 plus VAT, takes the concept a little further by offering two AD input channels with switchable microphone, instrument or line input modes and four DA output channels. Both optical-only digital I/O and copper S/PDIF are available on this version of Lyra, which also offers wordclock In/Out enabling synchronization with other digital devices.

Both products are ergonomically designed to look as good as they sound. The front panel has a master volume control assignable to selected output channels, while the unit’s small size – just 11 inches wide – makes it very easy to transport for musicians, producers and DJs on the road. For studio use, Prism Sound can supply dedicated rack mounts as an extra.

“We know there is a market for Lyra because our customers have been demanding this product ever since we launched Orpheus,� Graham Boswell adds. “However, we are very protective of our reputation for delivering the highest possible audio quality so we were not going to bring any product to market until we were 100% convinced that it could live up to our exacting specifications. Lyra does just that, and we are very proud to introduce it.�

Lyra will start shipping in April 2013 and will be fully supported by Prism Sound’s acclaimed technical and after-sales service staff.

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

Mohonk Preserve in the Shawangunk Mountains near New Paltz, New York, is marking its 50th anniversary this year with a renovation of its green design award-winning Visitor Center tucked cozily into the woods. Electrosonic was charged with creating several new exhibits for the main floor, which enable visitors to maximize their time in New York’s largest nonprofit nature preserve.

With over 8,000 acres of mountain ridges, fields, streams, ponds and other unique and beautiful places, Mohonk Preserve is dedicated to protecting the Shawangunk Mountains by inspiring people to care for, enjoy and explore the natural world. Visitors can bike, hike, climb, ride horses, run, ski and snowshoe in the Preserve. Lee H. Skolnick Architecture + Design Partnership was responsible for the architecture, interiors, graphic design and exhibit design of the Visitor Center project.

The Visitor Center is a stone and wood structure set on over 40 acres including the J & S Grafton Sensory Trail, LaVerne Thompson Nature Trail and Children’s Forest. The main floor is an open room with an area for membership and visitor information. Large windows in the back overlook the Preserve providing the backdrop for a three-dimensional topographical map that gives bird’s-eye views of trails and major points of interest. Electrosonic added four 32-inch ELO interactive touchscreens to the map. Visitors can access details and photos about the trails and attractions via the touchscreens with content created by the Preserve in collaboration with Richard Lewis Media Group.

At the entry is the “Nature Notebook,” made up of two 46-inch Samsung LCD screens provided by Electrosonic and hung in portrait mode. One side is a Welcome Information Station, which features weather updates and daily information on trail conditions and upcoming events. The other offers visitors a chance to leave observations and questions with a keyboard and mouse, which is displayed like a Twitter feed. The Preserve posts seasonal nature observations as prompts.

Electrosonic installed and programmed the 10-minute orientation film produced by Richard Lewis Media Group, and displayed it in a visitor orientation theater with bench seating. The theater boasts a 26-foot wide curved screen fed by four projectiondesign F12 projectors blended and warped via Dataton WATCHOUT. Four JBL speakers and a subwoofer provide the theater’s sound.

“The theater was our biggest challenge,” noted Electrosonic project manager Jackson Benedict. “It’s a very small space with a low ceiling. We had to use fixed-lens projectors, which meant there was very little tolerance in installing them. We had to build a custom ceiling mount that allowed for projector adjustment in the field, as necessary. Projector airflow in the small space also had to be managed effectively.

“The very sharp curve of the screen provided a challenge for warping the blend in WATCHOUT,” Benedict said. “It was quite complicated. Shifting the projector one inch in the wrong direction would change everything.”

A Crestron control panel in the theater enables guests to start the film on their own. “The screen displays a loop of beautiful photos with a prompt to start the film with the touch panel,” Benedict explained. “There are two operating modes: with or without subtitles.”

A small control room behind the screen houses equipment in a single rack. The content for all of the interactives can be updated remotely to keep content fresh and up to date. “Electrosonic worked with the exhibit fabricators to make sure we had relatively easy access to all equipment for service,” said Benedict.

About Mohonk Preserve
Located in the Hudson River Valley, Mohonk Preserve is the largest member and visitor-supported nature preserve in New York State. Managing over 8,000 acres of the Shawangunk Ridge, the Preserve works to protect the ridge and to inspire people to care for, enjoy, and explore the natural world. For more information visit www.mohonkpreserve.org.

About Electrosonic

Electrosonic is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, control rooms, and corporate meeting rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

Learn more about Electrosonic. Visit http://www.electrosonic.com

Solution enables IP voice paging over analog speakers via digital phone systems

ZURICH, SWITZERLAND, March 25, 2013 — Conversion from analog to digital phone systems brings many benefits, from enabling voice communication on a common network to programming data applications. The transition also has its share of challenges, such as leveraging analog devices within digital voice environments. This includes enabling IP-based voice paging over existing analog speakers.

IP audio and control specialist Barix now collaborates with Enghouse Interactive, an enterprise-level communications software and services company, to eliminate this challenge in schools, hospitals, warehouses and other facilities transitioning to digital phone systems.

The solution extends the power of Enghouse Interactive Applications for Avaya CS 1000 (formerly Datapulse Progression), which enables IP voice paging in leading digital phone systems, to analog speakers using low-cost Barix IP audio hardware to receive and decode live voice. This adds functionality without forcing end users to discard speaker systems — thereby reducing costs and simplifying installations. The solution is also viable for decoding pre-recorded emergency notifications and data-centric audio applications, like bell schedules in K-12 schools.

“We’re essentially turning an analog speaker into an IP speaker with Barix,� said Dane Smith, technical services engineer, Enghouse Interactive. “It’s ideal in situations where it’s difficult or unsuitable to add phones, such as in school and hospital hallways. Instead, our customers can use existing systems by removing ceiling tiles and placing a Barix decoder between the Ethernet cable and the speaker.�

Enghouse Interactive Applications for Avaya CS 1000 were developed to enable organizations to leverage their investment in IP by delivering practical, converged business applications to Avaya IP telephones. Applications include voice paging, pre-recorded announcements, broadcast alerts and RSS feeds on IP phones for the Avaya CS1000 PBX system. The software is added to existing IP phone systems instead of requiring end users to purchase a separate paging system. Enghouse Interactive Applications for Avaya CS 1000 customers can subsequently pick up any receiver and page to single points or multiple zones; or initiate pre-recorded announcements from the IP phone or the Applications for Avaya CS 1000 web-based administration page. This enables remote activation of audio warnings in emergency situations.

Enghouse Interactive brings Barix into projects that extend IP voice paging and pre-recorded announcement capability to analog speakers. Barix Exstreamer IP decoders are shipped direct to the end user; Enghouse Interactive simply registers each device’s corresponding IP address to the network. All Barix devices are configured to receive multiple multicast streams, ensuring reliable delivery and minimal network traffic congestion.

Smith notes that the Barix interface is simple to learn and easy to use. “We investigated several IP speaker solutions, and chose the Barix Exstreamer for its simplicity and reliability,� he said. “One of the first questions asked when talking to new customers is whether they intend to send voice or pre-recorded audio announcements to IP speakers. The Exstreamers are easy to set up and once installed, listen for multicast streams on a specific port and reliably play out any messages that are sent out across those multicast addresses.�

Smith adds that more than one multicast address can be assigned to the same speaker for maximum impact. “The customer can have IT support, sales and finance as different zones, yet pages to any of the three will still go to the same speaker using Barix, which makes it so easy to deploy,� he said.

To learn more about Enghouse Interactive Applications for Avaya CS 1000, please visit http://www.enghouseinteractive.com/products/avaya-cs1000-applications.php. To learn more about Barix Exstreamers, please visit http://www.exstreamer.com.

About Enghouse Interactive (http://www.enghouseinteractive.com)
Enghouse Interactive delivers technology and expertise to maximize the value of every customer interaction. The company develops the most comprehensive portfolio of interaction management solutions. Core technologies include contact center, attendant console, IVR and call recording solutions that support any telephony environment, on premise or in the cloud. Enghouse Interactive has thousands of customers worldwide, supported by a global network of partners and more than 700 dedicated staff across the company’s international operations. Enghouse Interactive is a subsidiary of Enghouse Systems Limited, a software and services company traded on the Toronto Stock Exchange (TSX) under the symbol “ESL.” Founded in 1984, Enghouse Systems is a consistently profitable company, which has grown both organically and through the acquisition of well-regarded specialists including Arc, CosmoCom, Datapulse, Syntellect, Telrex, Trio and Zeacom. Learn more at http://www.enghouseinteractive.com.

Barix: The Voice of Simplicity (www.barix.com)
Barix AG, headquartered in Zurich Switzerland, specializes in the research and development of state-of-the-art IP based communication and control technology. The company is a long-term and reliable supplier of IP audio and control devices, with more than 150,000 devices shipped in its first decade of business. Barix products are stand-alone and able to remotely connect worldwide over standard networks/Internet, offering new and improved solutions to the commercial audio distribution, communication and automation industries. Barix products provide solutions in Audio over IP (audio distribution and monitoring, communication, security) and automation (remote controlling, monitoring and maintenance).

# # #
Barix AG, Seefeldstrasse 303, 8008 Zurich, Switzerland
Phone: +41 43 43322 11, Fax: +41 44 2742849
Barix Technology Inc, St. Paul, MN – (866) 815-0866

http://www.barix.com

http://www.ip-audio.info

Award-winning composer and producer Michael Price is using a Prism Sound Maselec Master Series MEA-2 equaliser on his latest project – creating the music for ITV’s acclaimed supernatural drama series Lightfields.

“I wanted something fabulous that could add some sparkle and warmth to the TV mixes we were doing in the studio for Lightfields. I loved the MEA-2 when I’d used it at Abbey Road so I decided to invest in one for my own studio,â€� Michael explains.

Prism Sound’s MEA-2 is a stereo or two-channel, four-band precision equalizer that is designed for recording and mastering applications where ultimate sonic performance, musicality and precision are required. The unit provides a very transparent signal path where only the desired equalization is obtained, without adding any particular sonic signature.

Developed for Prism Sound by engineer/producer Leif Mases, who has worked with a diverse range of artists including Abba, Led Zeppelin, Jeff Beck and Black Sabbath, the MEA-2 is one of a number of products in the Maselec Master Series range. All of these combine Leif Mases’ experience with the creative process and Prism Sound’s focus on engineering and technical excellence to ensure the delivery of great-sounding audio in an intuitive and easy-to-use package.

Michael, who has worked on more than 30 major studio pictures, says: “The MEA-2 is incredibly well made, but more than that it has a peculiar sonic ability to make things just sound better, without stamping too much of its own opinion on the music. It’s no surprise that mastering engineers love them, but it’s also a super useful thing to have in a mix studio.â€�

Michael bought his MEA-2 from Studioxchange, the official Prism Sound Retail Partner. It now has a permanent home in his project studio in Berkhamsted.
“This studio has been mostly digitally equipped up till now,â€� he says, “but I’m really excited about getting more into high-quality analogue gear. I’m really delighted with the sound I’m achieving with the Prism Sound MEA-2 and we always try and specify them when we are recording in studios like Abbey Road. Now that I own one, try prising it out of my hands. It’s going nowhere!â€�

As a film, TV, classical music and contemporary dance composer, equally at ease writing in full orchestral or more electronic idioms, Michael is in great demand. He is currently writing a new album for Erased Tapes Records, which will be released on vinyl later in the year, and is scoring the new independent British film, Delicious, on which Michael makes his producer debut.

He started his career as assistant to the film composer, Michael Kamen (Robin Hood Prince of Thieves, Lethal Weapon), then worked as a music editor (Lord of the Rings, Children of Men and Love Actually), before returning to composition. Since then he has written the score for BBC’s critically acclaimed Sherlock series with David Arnold – a project that won them a Royal Television Society Award and BAFTA and EMMY nominations – and composed music for the Inbetweeners movie, Horrid Henry: The Movie and Cheerful Weather for the Wedding.

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

Dubai, UAE, 25th March 2013: Media Group International (MGI), the region’s leading systems integrator, has been awarded ISO 9001:2008 certification, the world’s most recognised quality management standard. MGI is the first company of its kind to receive the prestigious accolade within the Middle East region, guaranteeing customers world-class quality assured products.

The certification follows a thorough auditing and validation process by British Standards Institute (BSI), and will see the company regularly continue to comply with quality monitoring processes. ISO 9001:2008 accreditation guarantees optimum quality assurance and control to MGI’s customers.

Paul Hennessy, CEO of Media Group International says: “This great achievement is a strong stepping stone for Media Group International towards excellence. The award of the ISO 9001:2008 certification is evidence of the company’s on-going commitment to quality management and continual improvement. It also demonstrates Media Group International’s promise to consistently provide quality products and services to its customers.

“I would like to congratulate the entire project team, senior management and all staff members who were involved in this project.�

Representatives from the BSI attended leading industry event CABSAT 2013 to present the certificate to MGI’s Chief Executive Officer, Paul Hennessy. Formerly known as Salam Media Cast, MGI debuted under its new name at the trade event held earlier this month at the Dubai World Trade Centre.

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Media Group International
Media Group International is a proven media broadcast and communications technologies systems integrator, serving the media, telecommunications, security, education, hospitality and advertising industries in the Gulf region for more than 35 years. Formerly known as Salam Media Cast (SMC), the company joined GSSG Holdings in 2010, with offices in Qatar, UAE, Oman, Bahrain, and Saudi Arabia. MGI opened its first European office in London in August 2012, under the direction of Managing Director, Neils Thomas, who formerly worked as Head of Sales for North Europe at Sony Professional Solutions Europe.
Media Group International is diversifying its business into new technologies. As well as equipping professional television stations and studios, master control rooms, newsrooms, concert stages and theatres providing light and sound technology, the company also equips whole multivendor and multisensory environments. Media Group International provides solutions from safeguarding national security such as in government operations, creating the best venues for education such as museums and classrooms, enhancing sports environments and revolutionising health facilities and satellite telecommunications.

To support the workflow and innovation demands of our valued customers, the team has grown with new local and international talent. We use our expertise to help realise your goals and ambitions – we listen, advise, design and build great workflows that work for you. Our ambition is to be your trusted partner in the Gulf region.
Website: www.mgi.tv
About Ghanim bin Saad Al Saad & Sons Group Holdings

Ghanim bin Saad Al Saad & Sons Group Holdings (GSSG) was founded by Ghanim bin Saad Al Saad in 1993 and incorporated in 2007. Today it is one of Qatar’s most successful private sector business groups, making a major contribution to the country’s economic growth.
GSSG has enjoyed steady growth and success in many fields and industries locally and internationally. GSSG’s diverse portfolio gives it strength and enables its companies within the group to maximise global business opportunities wherever and whenever they arise.
The founder, Mr. Ghanim bin Saad al Saad, has enabled the group to grow to over 40 companies around the world. As an inspirational business leader, he has steered the group to achieve its success in industries that include aviation, maritime, automobiles, oil & gas, real estate, manufacturing, contracting and trading, finance & asset management, engineering, education, fitness, hotels, hospitality and fashion, information technology and telecommunications.
In addition to its corporate headquarters in Doha, GSSG also has five international offices located in London, Zurich, Cairo, Singapore and Dubai.
info@gssg.com
www.gssg.com

The Music Producers Guild’s efforts to establish an industry standard for embedding ISRC data within digital music files has received a significant boost with the announcement by MAGIX Software GmbH that it will incorporate EBU (European Broadcasting Union) Broadcast WAV files in the latest software upstate for its popular Sequoia Digital Audio Workstation.

André Standke, Product Manager Sequoia, MAGIX Software GmbH, says: “For years, Sequoia has been an integral part of leading broadcast and mastering studios worldwide. We focus our attention on delivering the best sound and tools by working closely with engineers and music producers including Sterling Sound in New York, Air Studios, Alchemy Mastering in London and many more.

“As optical media is gradually replaced by file and server based audio content, we will continue to support the changes to the mastering process with innovative developments such as EBU tech3352 and we are happy to announce this feature is now incorporated into Sequoia, our number one product on the market.”

From the MPG’s point of view, the importance of ISRC cannot be understated. ISRC, which stands for International Standard Recording Code, is uniquely allocated to every song recorded. These codes are then registered with royalty payment agencies, thus ensuring that recording artists and copyright holders are properly remunerated for their work when it is played on radio or TV.

In the past the ISRC information was included within sub data streams of a CD, but in today’s digital age, where music is often stored on digital WAV files, the ability to securely associate ISRC data with specific tracks has been lost. This is because the only common way to incorporate ISRC into a WAV file is via the file name – and if someone changes the file name or it is truncated or amended by a software program, the vital ISRC information can easily go missing.

To resolve this problem, the MPG’s Mastering Group has been working closely with the EBU to develop an industry-approved method for embedding ISRC data within a WAV file. Following discussions, it was agreed that the best solution was to use was the EBU’s existing Broadcast WAV File (BWF), a variant of the traditional WAV file that was developed for use by broadcasters. The EBU has now agreed to adopt the BWF as standard so that all-important ISRC data can be securely associated with specific tracks.

MPG Mastering Group board member and Alchemy Mastering Engineer Barry Grint, who is leading the BWF initiative, adds: “MAGIX’ decision to incorporate BWF into Sequoia is a significant step forward for the MPG’s initiative and we are delighted that the company has embraced BWF as the standard specification for file exchange. The new system is simple to implement and, once adopted, it will allow ISRC to flow through the whole production chain. We now hope that other DAW manufacturers will follow suit.�

Grint adds that ISRC is set to become the cornerstone of every aspect of digital asset management, from tracking and reporting through to royalty reporting and song identification.

“The entire music industry needs a robust and secure system for identifying tracks, and who had input into their creation, so that we can safeguard the incomes of all artists and copyright owners,� he says. “Ultimately, the adoption of BWF as standard will provide a cornerstone for the MPG’s Credit Where Credit is Due campaign, which aims to highlight the woeful lack of credit information within the digital domain. Our overall goal is to ensure that all music creators receive proper credit and proper payment for their work, and having an industry-standard technical solution that allows credit information to be included in the metadata is a major step forward in achieving this ambition.�

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For more information about Sequoia Digital Audio Workstations, please visit www.sequoia-audio.com.

About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

Christie®, a global leader in cinema projection, is pleased to present Paramount Pictures’ highly anticipated G.I. JOE: RETALIATION on March 28 at AMC Theatres’ (AMC) Burbank 16’s ETX theatre. Christie is joining forces with AMC using laser projection technology to project the 3D movie at brightness levels of 14 foot lamberts (ft-L) – a “first� in the world of commercial cinema projection – on a 65-foot wide screen. This technology test will last for a two-week period and will be the first time that the average moviegoer will be able to enjoy compelling, immersive 3D images delivered at 2D light levels.

Paramount, Metro-Goldwyn-Mayer Pictures (MGM) and Skydance Productions, in association with Hasbro®, will release G.I. JOE: RETALIATION in digital 3D theaters across the U.S. and Canada beginning March 28.

“As a leader in innovation in the movie exhibition industry, AMC Theatres continues to push the envelope, looking for new ways to improve the movie-going experience for our guests,� said Dan Huerta, vice president, Digital Systems, AMC. “We are delighted to enlist a technology leader like Christie to provide a sneak peek at a major advance in movie-illumination levels that is on the horizon.�

Mark Christiansen, EVP of World Wide Operations for Paramount Pictures said, “We fully support the advancement of cutting edge technologies to further enhance the theatrical presentation for moviegoers. Laser projection provides incredible brightness, making each film look all the greater, but its impact on 3D is startling.�

Noted Dr. Don Shaw, senior director, Product Management, Christie Entertainment Solutions, “Audiences will be impressed with 3D shown at 14 foot-lamberts, which is much brighter than current technology produces on most screens. This test of our laser technology will demonstrate how spectacularly a moviemaker’s vision can be realized when shown at light levels normally only possible for 2D movies. Audiences who attend the AMC Burbank 16 during the laser demonstration will see a 50 percent increase in the typical contrast ratio for 3D on a crystal-clear 4K projector and we’re confident that the average moviegoer will relish this new level of immersive experience.�

Christie Laser-Projection Juggernaut Gaining Speed, Building on Previous Successes
Commenting on the laser projector test, Dr. Shaw said, “This is not the first time that Christie has employed laser technology to stretch the boundaries of digital cinema projection. Last year, Christie also showed select exhibitors in Asia how 72,000 Lumens could be achieved, in a demonstration of our prototype laser projector in Beijing.

“And at IBC 2012 Amsterdam this past September, I was pleased to preface the showing of Hugo 3D – the first CPG (Cameron Pace Group) certified movie – along with noted stereographers, Demetri Portelli and Corey Turner (‘Transformers: Dark of the Moon’), which was then projected using Christie’s laser-light projector prototype.�

Christie hosted its first laser projector demo for cinema industry luminaries including Douglas Trumbull, Gordon E. Sawyer Academy Award winner, at its High Frame Rate Summit held in its manufacturing and engineering headquarters in Kitchener, Ontario in April 2012.

BANDAR SERI BEGAWAN, Brunei — Radio Televisyen Brunei (Radio Television Brunei or RTB), the state broadcaster of Brunei, runs five radio networks from its base at Bandar Seri Begawan—these are National FM, Pilihan FM, Pelangi FM, Harmoni FM and Nur Islam FM. Recently a HARMAN Studer OnAir 2500 fixed frame console, configured with 18 faders, became the de facto choice for its regional studio in the Tutong district. Previously the broadcasters had been using a Studer 916 for their on-air studio for the past 15 years, and according to the operators, superior sound quality, reliability and the user friendly interface were the main factors in continuing to specify Studer.

According to Mahajak Trio Senior Manager, Sales and Project, Lee Chin Kah, the station had been looking for a reliable, fully flexible and cost-effective solution. The tender was awarded to AFS Engineering Kuala Lumpur for the complete integration and the console was supplied by the HARMAN Malaysia distributor, Mahajak Trio Electronic Sdn Bhd.

A spokesman for the RTB engineering team was equally positive. “We needed a console that was reliable, well supported from the supplier and the manufacturer, fully featured and sufficiently flexible to meet our workflow needs. Furthermore, no advance programming skills are required.

“The OnAir 2500 has all the features available in Studer’s complete range of OnAir consoles and provides a fully scalable platform of solutions to broadcasters.�

All Studer OnAir consoles are fully customisable in workflow requirements, and although stand-alone in configuration, the OA2500 can be fully integrated into a Studer ‘Relink’ control and audio networking environment, as required.

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 13,400 people across the Americas, Europe and Asia, and reported net sales of $4.4 billion for the twelve months ending June 30, 2012.

American rock bands Three Days Grace and Shinedown are on the road with grandMA and Clay Paky Sharpy fixtures helping to light up their tour. A.C.T Lighting is the exclusive distributor of grandMA and Clay Paky products in North America.

Three Days Grace and Shinedown are coheadlining a national arena tour, which commenced in February. “Transit of Venus,” the new album from Three Days Grace, debuted at Number Five on the Billboard 200 and includes the Number One Active Rock single, Chalk Outline. Shinedown’s most recent album, “Amaryllis,” produced a pair of chart-topping Active Rock singles.

“Using Sharpy is almost mandatory these days,” reports Mike Filsinger, the lighting designer for Three Days Grace. “It’s an advanced light – pretty much the only technological advancement in lights lately: Clay Paky has really done the R&D to make better fixtures and is now reaping the rewards.”

Bandit Lites supplied 28 Sharpys in the main package and two full-size grandMAs. A primary lighting rig serves both shows; each band also has a supplemental rig. Three Days Grace has eight additional Sharpys in its package; Filsinger’s Sharpys are the dominant light in the rig and are used in the air and on the floor. Shinedown has 24 additional Sharpys, which are used to achieve a variety of moves.

“The band really likes Sharpy’s look and beams – they’re known for being beamy and bright,” says Carter Fulghum, Shinedown’s lighting designer. “The gobos give you great breakups, too. But the Sharpy is so bright that you have to be careful of what other lights you use because Sharpy will overpower them.”

grandMA was also a unanimous choice for the lighting designers. “I’ve been using grandMA forever,” says Filsinger, who also serves as Three Days Grace’s programmer. “It’s definitely the console of choice – it’s the best out there, reliable and versatile. I won’t use any other console these days. I really count on grandMA.”

Fulghum has also been using the desk “for years. I switched over in 2005 and have been with it ever since. You can set up the views the way you want and that makes programming really fast.”

He notes that “we are something on this tour that we’ve never done before: triggering the Catalyst system for the video with the grandMA and using timecode to get things started in sync with the song. It’s a very neat trick.”

Fulgham concludes, “It was great working with Mike [Filsinger], who is so easy to work with on this co-headlining tour. Also great were Aron Altmark, Esteban Caracciolo, Mario Collazo and Bob Gordon for all there help and support through the years.”

At Bandit Lites Brent Barrett is the development officer. “With the increase this year of so many new Sharpys and MA products, Brian Dowd and the whole team at A.C.T has done a great job in several difficult logistical situations for us. They always seem to be one step ahead of any our needs. It really provides us with a level of confidence that makes our job so much less stressful,” Barrett concludes.

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.

JESSUP, MARYLAND – MARCH 2013: The original plan was simply to upgrade Sammy Hagar’s project studio – Red Rocker – so that he and his super group Chickenfoot could deliver decent-sounding demos, but in consultation with his engineer, John Cuniberti (Stevie Wonder, Dead Kennedys, Joe Satriani), Hagar ended up purchasing a 16-channel API 1608 analog console. They recorded Chickenfoot’s first demo on the 1608 several years ago, and, owing to the magic of a few takes and the sonic integrity imparted by the 1608, several of those demo recordings made it to the album. Inspired by what they could accomplish at Red Rocker, they did the entire recording for the ironically-named follow-up album, Chickenfoot III on the 1608. Currently, Hagar is tracking on the 1608 for an as-yet unnamed solo project.

“We’re an old school bunch, it’s true, and we wanted the feel and sound of an analog console for Red Rocker,� said Cuniberti. “We weren’t going to go so far as to roll in a two-inch tape machine – we’re not that old school! We appreciate the virtues of digital recording and editing when it’s handled properly. But a nice analog console would tie things together with a workflow and a sound that we were all comfortable with.�

Cuniberti has spent over three decades behind vintage consoles of all stripes. “They have their charms, of course, but they’re also a pain in the ass,� he said. “You really need full-time maintenance. I didn’t want to burden Sammy or myself with that level of investment. We wanted something new, and I was therefore happy that API released the 1608. API is one of my favorite console manufacturers of all time, but I don’t think we could have justified the jump to one of their large-format consoles. It turns out that the 1608 was an excellent choice. In four years, we’ve never had a single issue with it – not even a burned out light! Having spent so many years dealing with unreliable vintage consoles, it’s nice to know that when I show up to the studio, everything will be working.�

Cuniberti finds the sound of the API 1608 meets the high expectations he had from his previous work on other large API consoles. “It’s classic API,� he said. “It has clarity and punch, and it’s very pleasant sounding. I don’t want to say it’s transparent; I just want to say that it has a great sound. It passes signal like nothing I’ve ever heard. It has tons of headroom. You can abuse it and it still sounds great.�

The 1608’s architecture allows Cuniberti to maximize his productivity with just sixteen channels. “API worked hard to optimize the flexibility of the 1608’s signal path,� he said. Its modular design allows one to swap 500-series processors to suit the needs of a project, and Cuniberti replaced the four stock API 560 graphic EQs with four API 550b four-band sweepable EQs. Because it’s been such a pleasure to work on, Hagar and Cuniberti are currently contemplating adding a 16-channel expansion unit for their 1608 to bring Red Rocker up to 32 channels.

ABOUT API (AUTOMATED PROCESSES, INC.)
Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com