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Archive of the Product Applications Category

SunBriteTV Debuts Weatherproof Media Box, Adds Affordable Option for Streaming Wireless Media Outdoors

THOUSAND OAKS, California, Sept. 12, 2014 — SunBriteTV’s new Outdoor Media Box (SB-HDME), a universal weatherproof housing for wireless media players, furthers SunBriteTV’s mission of creating high-quality products designed for long-term outdoor use. Featuring a clear polycarbonate window for transmission of IR signals, the SB-HDME lets consumers take their favorite wireless media outdoors and allows integrators to provide their customers with expanded outdoor viewing options.

Compatible with all leading streaming media players including Roku, AppleTV, Google Chromecast and Amazon Fire, the SB-HDME protects the wireless media player from outdoor weather conditions. The player then connects to an existing wireless Internet signal (required). The SB-HDME can be mounted to a SunBriteTV outdoor television or any nearby surface. Like SunBriteTV’s outdoor-rated televisions, the SB-HDME is designed for permanent outdoor installation, completely resistant to severe weather conditions including rain, snow, dust, insects, humidity, and salt air.

“Similar to our weatherproof HD Wireless Transceiver (SB-HDWT), the Outdoor Media Box makes it easy to watch your favorite content outside,” said Jonathan Johnson, Director of Brand Marketing, SunBriteTV. “Its compact size allows it to safely house all major wireless media-streaming devices in any weather.”

For more information on SunBriteTV please visit www.SunBriteTV.com or call the sales department directly at 866.357.8688.

Follow SunBriteTV on Facebook at https://www.facebook.com/SunBriteTV

About SunBriteTV
SunBriteTV engineers and manufactures award-winning televisions and displays built specifically for outdoor use. SunBriteTV developed the industry’s first all-weather TV in 2004 and its products have been time-tested in home installations, outdoor sports arenas, restaurants, hotels, amusement parks, colleges, and airports. All models are available through SunBriteTV’s network of Authorized Dealers. To inquire about becoming an Authorized Dealer, contact SunBriteTV at 866.357.8688, or visit the Dealer Inquiry page at www.SunBriteTV.com.

Yamaha Announces I/O Rack For Dante/MADI Conversion

BUENA PARK, Calif.—Yamaha Commercial Audio Systems, Inc. will launch the fifth in a series of its Remote I/O (Rio) Racks at this year’s AES Convention. The new RMio64-D provides unprecedented capabilities for Yamaha CL and QL Series Consoles as well as NUAGE DAW systems that use Dante networking. The new product enables audio from a CL or QL live sound system to be converted to MADI and fed to an OB vehicle, for example, or a MADI based console can be easily integrated into a NUAGE system for post production.

Word clock synchronization can be an issue when converting between different audio formats, but now with the RMio64-D MADI inputs and outputs feature built-in, sample rate conversion sources with differing word clocks can be connected without causing noise or dropouts. In addition to redundant Dante network connections, the RMio64-D additionally supports MADI redundancy through simultaneous coaxial and optical connections. With the MADI Split (loopback) capability, a signal received at either the coaxial or optical input can now be retransmitted to the output.

On its own or in close integration with other Yamaha products, RMio64-D adds even greater value. The rack can be mounted via the CL or QL console touch screen displays with convenient remote control of Dante patching and sample rate converter settings (future update). Precision synchronization with the NUAGE system Direct Monitoring and VST System Link functions is also provided, as well as remote control from the NUAGE Workgroup Manager software.

“The RMio64-D allows smooth, simple connection between the MADI format and the Dante digital audio networking protocol that is rapidly gaining acceptance worldwide, states Marc Lopez, Marketing Manager, Yamaha Commercial Audio Systems, Inc. Built-in sample rate conversion effectively overcomes word clock synchronization issues that would otherwise limit system design freedom, and extensive compatibility with CL, QL and NUAGE systems, significantly enhancing the value of those products for use in a broad spectrum of sound systems. Tight integration is the key to complete systems solutions offered by Yamaha for our customers.”

A late 2014 availability is expected with a target MSRP of $3,800.

For more information on the RMio64-D, visit Yamaha Commercial Audio Systems, Inc. at AES 2014, Los Angeles Convention Center, booth #1401 or on the web www.yamahaca.com.

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

Yamaha CL/QL V3.0 Boast New Features for Broadcast, Live Sound

BUENA PARK, Calif.—Announced during IBC in September, Yamaha CL and QL Digital Audio Consoles will release V3.0 updates available in early 2015.
Version 3.0 adds features and functionality that will increase the appeal of all CL and QL Series models for broadcast applications, including 5.1 panning and monitoring for surround broadcasts, and a newly developed buss compressor that is ideal for insertion in the stereo mix buss.

For live sound applications, V3.0 will add the benefit of a new 8-band parametric EQ and real time analyzer. There will not be a QL Series V2.0 so that the CL and QL Series Consoles will be at the same V3.0 level. CL and QL files are interchangeable, making it easy to choose and combine models to best accommodate live sound front of house and monitoring as well as broadcast relay and recording, from the most basic to large scale applications.

Notable new CL/QL V3.0 features for broadcast include 5.1 Surround Panning.
Pan positioning can be set via the touch panel or knobs. Mix to Matrix can be used for international feed production, and Mix to Stereo can be used for stereo mix down. In addition to surround mixing, CL/QL V3.0 adds basic surround monitoring. Monitor alignment capability is also provided, with adjustment of relative speaker levels and delays.

Also for broadcast applications, Dan Dugan Sound Design highly regarded automatic microphone mixers already included in QL Series is now included in CL Series consoles. Gain distribution for up to 16 speech microphone channels is automatically optimized in real time, achieving smooth, natural level control.

Yamaha R&D has created an accurate VCM (Virtual Circuitry Modeling) model of an acclaimed buss compressor that is relied on in broadcast and recording studios around the world. Buss Comp 369 is ideal for inserting on the stereo mix buss for increased loudness, more uniform levels, and warm overall sound. It is an excellent choice for live sound as well as broadcast applications.

Mix minus, considered important for relay broadcast applications, previously available for CL consoles is now available in the QL consoles. The signal from a specified channel can be easily omitted from a specific bus, making it easy to quickly create a mix for the location reporter, for example, that may not include his/her own mic feed. The new Frame Delay capability enables the audio engineer to delay the audio at the console in order to achieve proper synchronization, a necessity in broadcast and in live applications where video is being used. The feature makes it possible to set that delay in frame increments for easy sync with a wide variety of video formats.

Additional live sound features include an 8-band PEQ in the GEQ Rack and Effect Rack making it possible to select 8-band Parametric EQ in the GEQ RACK and EFFECT RACK. With the real time analyzer (RTA) to support room tuning and other operations, the frequency spectrum of cued channels can be shown in the new RTA display as well as in the PEQ or GEQ display to provide visual feedback while adjusting EQ.

Also of note for the live sound market, V3.0 will now provide four banks of enhanced User Defined Keys, not only reducing the possibility of running out of keys, but it also allows keys to be grouped by function for improved efficiency. DCA Assignment Selection for Scene Management has been added to the parameters for Recall Safe, Focus Recall, and Global Paste. Rather than only being selectable with ALL parameters during scene memory management, DCA assignment is now an independent setting. This allows more refined control, such as specifying only Channel Name, Fader, and DCA Assign to be Recall Safe, for example.

We’re very pleased to brings these additional upgrades that have been requested by our users, states Marc Lopez, Marketing Manager, Yamaha Commercial Audio Systems, Inc. Our loyal sound reinforcement engineers will benefit from several great tools whether they are mixing on CL or the new QL Series as well as a whole new set of amazing features for our broadcast users. In addition to the new features in V3.0, we are currently working on a number of additional refinements that will provide even greater operability and stability and will continue to deliver products and updates that contribute to the most efficient and comfortable working environment for our customers.”

CL/QL V3.0 firmware will be available as a free download from the Yamaha Commercial Audio Systems, Inc. web site, www.yamahaca.com, in early 2015.

For more information, visit Yamaha Commercial Audio Systems, Inc. at AES 2014, Los Angeles Convention Center, booth #1401 or on the web www.yamahaca.com.

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

Steely Dan’s Pursuit of Perfection with MLA

Rock and Roll Hall of Famers Walter Becker and Donald Fagen took Steely Dan’s “Jamalot Ever After” tour across the U.S. and Canada this summer, with OSA International, Inc. providing Martin Audio’s Multi-cellular Loudspeaker Array (MLA) sound system.

Steely Dan has a reputation among audiophiles and throughout Pro Audio for their fastidious attention to sound production, so much so that many FOH engineers and system techs use a Steely Dan track to tune a system. When it comes to live sound, their expectations for the PA are no less demanding.

Returning to mix Steely Dan is Mark Dowdle, whose extensive credits include Elton John, Gloria Estefan, Fleetwood Mac, Tina Turner and Jackson Browne, to name just a few. Last year’s tour included a stop at Ravinia Festival in Chicago, where Dowdle mixed on two 7-box MLA arrays, the first year of a new OSA installation and the first new PA in a decade at North America’s oldest music festival.

Mark Dowdle

Late last year, Steely Dan’s road manager, tour sound icon Robert ‘Nitebob’ Czaykowski, introduced Walter Becker to MLA at a demonstration at New York’s Manhattan Center, where they were able to walk around and hear the evenness of its response and coverage. Steely Dan often plays theaters, where the mix position is usually at the back, beneath a balcony. “I go out there every day and listen to it; that’s part of my gig,” Czaykowski said. “What really knocks me out about MLA is that you can really control it so it’s not splattering off a back wall or cluttering up in the lower balcony.”

Present also at the NYC demo was Jim Risgin, Vice President for OSA –owners of the largest inventory of MLA in North America. With offices in Chicago, Las Vegas and now also Nashville, OSA have built an impressive reputation and client list providing complete technical services to some of the largest corporate, sporting events and concert tours in the U.S. The NYC demo was followed by extensive research from Mark Dowdle to confirm that the system would deliver the desired performance, and as a result Steely Dan added MLA to their tour.

Across the demanding 56-stop tour, MLA showed its versatility, control and overall sound performance credentials. Dowdle points out that the MLA provides extremely even front-to-back SPL as well as evenness of frequency response throughout the listening area. “The coverage is very smooth, especially its shading,” he said. “You can walk up on the PA in the front and it sounds just like it does in the back of the room.”

Dowdle also mentions an improvement to the stereo field. “Everything is more defined, so that automatically translates into the stereo field being more discernable,” he said. “MLA gives me dynamic range, clarity and definition so that I’m able to position and layer sounds in the stereo field which you can really hear where they all are.” He adds that the MLA’s sound is extremely coherent and is very responsive from a mixing standpoint. “You make a small fader move and it’s immediately noticeable.”

Furthermore, Dowdle is surprised by the constant comments from the audience. “I’ve been mixing for a long time and usually nobody ever says anything. This particular tour I’ve had more response from the audience than any tour I’ve ever done in my entire career, and it’s always been very positive and it’s always been very poignant. That’s in large part because of MLA allowing me to get it exactly how I want everywhere in the room.”

OSA crew chief and MLA system engineer Martyn ‘Ferrit’ Rowe is well known from his tenure at Martin Audio as an MLA product specialist before leaving to work for OSA as Director of Engineering. The Steely Dan tour travels in two trucks, carrying consoles and backline (including a Steinway grand) in one, and lights and PA in the second. “We’re carrying 26 MLA and 2 MLD down-fills, as well as 18 MLA Compacts, plus 8 MLX subs and 6 W8LMD used as front-fills,” Rowe explains.

The tour played Oklahoma City’s Chesapeake Energy Arena and New Orleans’ UNO Lakefront Arena using the 14-box MLA main arrays and 9-box MLA Compact side arrays that they carry. “The LA Forum was the only venue on our 56-show itinerary where we had to add PA,” said Mitchell Keller, Steely Dan’s production manager for the fourth year running. “It’s quite impressive that on a two truck tour we can carry enough PA to do arenas.”

The rest of the itinerary ranged from sheds and theaters to casinos. “The smallest venue was Humphrey’s in San Diego, putting in two subwoofers and ground stacking six MLA per side,” Rowe explains. “We recently did four shows in a row with single point hangs using ten MLA enclosures.”

As well as MLA’s flexibility and scalability, Rowe is keen to point out the simplicity of its operation. “It’s like fly by wire; you tell it what you want and the software produces a custom preset for your system and the room,” he said. “This isn’t auto EQ, you still have control over all the decisions that are being made, but the computer is doing the heavy lifting for you.”

So, coming full circle, what did Fagen and Becker make of the sound quality? According to Dowdle, “Both have come out into the audience on a number of occasions and have always been positive with their feedback and what was going on.

“More often than not Donald will come out and listen and frequently comments, ‘It sounds great,’ which is probably the highest compliment that I could ever receive in my career.”

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

RTW to Support the 2014 IBC Show with a Range of Loudness Metering Solutions

AMSTERDAM, 11 SEPTEMBER, 2014 – RTW (IBC Hall 8, Stand D92), the market leader in visual audio meters and monitoring devices, is once again providing the IBC 2014 show’s technology team with TM9 and TM7 TouchMonitor audio meters and SurroundControl 31960SD controller to support audio in the RAI’s D-Cinema auditorium featuring the IBC Big Screen Experience, as well as four TM3 TouchMonitor units to support the IBC News crew’s live and studio coverage of the show.

“We are very happy to be back this year, supporting the IBC show with an assortment of audio metering tools from RTW,” says Andreas Tweitmann, CEO, RTW. “We are longtime collaborators with IBC and are happy that the technology team finds our metering solutions useful for their important productions. This show represents the epitome of innovation in the broadcast technology market and we look forward to another inspiring show.”

In the RAI’s D-Cinema Auditorium, RTW’s TouchMonitor TM9 (HW 20911) will be used for confidence monitoring between the outputs of the console in the auditorium and the input to the cinema system. The IBC technology team chose to also use RTW’s SurroundControl 31960SD controller with 3G/HD/SD-SDI de-embedder interface option, “in order to give us flexibility to meet any de-embedding or other signal requirements,” explains Terry Nelson, Technical Resources, IBC.

Also in the auditorium, engineers will use the TouchMonitor TM7 (HW 20711), that is connected to the control surface of the Cadac console, this will help to provide accurate monitoring of the cinema system feeds.

Meanwhile, the IBC News crew will make use of several TouchMonitor TM3 audio meters. These will be used in the different production areas of IBC News and were chosen to be an important element in controlling and verifying levels.

The IBC Big Screen Experience is the ultimate showcase that demonstrates how the disciplines between cinema and traditional broadcast are merging. For the full IBC Big Screen Experience programme of events, click here.

HARMAN’s Martin Professional Lighting Creates Stunning Mountain Backdrop for Verdi’s La Traviata at the 2014 Masada Opera Festival

MASADA, Israel — The fifth annual Masada Opera Festival, held at the foot of Mount Masada—one of Israel’s most popular tourist attractions—featured stunning performances of Giuseppe Verdi’s La Traviata opera for an audience of thousands over the course of six days. With Mount Masada serving as a stage backdrop and the sets incorporating the desert elements of the area, Lighting Director Bogumil Palewicz along with Michal Znaniecki, Stage Director, and Luigi Scoglio, Set Designer, deployed HARMAN’s Martin Professional fixtures to provide stage and effects lighting.

The outdoor stage was created to depict the city of Paris, France rising from desert sand. Working with the stage designer and set designer to ensure the audience’s view was not obstructed, Palewicz created a design that positioned the lighting equipment in the sand and on towers placed away from the main stage. Palewicz used Martin’s MAC Aura LED Wash lights to create a bulb effect for the Paris stage and used Martin’s MAC Quantum Wash fixture for white light washes.

The stage design also featured Martin’s MAC III Performance, MAC Viper Profile, MAC Viper Performance, and MAC Viper Beam moving head lights. “The MAC III Performances are great for big productions like La Traviata or even events on small stages,” said Palewicz. “Despite the long distances from the stage, the fixture’s framing system allows for really precise lighting. Martin’s MAC Viper series has strong output, true colors, and tremendous gobo effects.”

In addition to lighting the stage, Palewicz also used Martin fixtures to light Mount Masada as a backdrop for the production’s set designs and integrate the mountain background seamlessly with a video wall on stage. In order to effectively extend the stage with the mountain, he utilized Martin’s MAC III AirFX fixtures to light a section of the mountain 1,200 meters wide by 500 meters tall.

Not only did the production call for the color of the mountain to change with the performance, but Palewicz also needed to project shapes and images onto the mountain as well. “I needed a powerful fixture capable of producing strong output over a long distance,” said Palewicz. “The mountain had to connect with the video wall on stage and the AirFXs were the perfect solution for creating a flawless backdrop.”

“Due to the outdoor nature of the performances, the Martin fixtures were subjected to harsh conditions such as dust and extreme heat. Their durable design more than withstood the desert environment, allowing us to have a consistent show throughout the six day festival,” said Palewicz. “I could not have imagined our success without the support from the Martin team and the reliability of their equipment.”

The production company involved with the project was Israel’s Stage Design Israel.

For more information on Martin’s stage 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 (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 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 workforce of approximately 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

HARMAN’s Studer, Soundcraft, AKG and JBL Offer World-Leading Audio Tools for Broadcasters at IBC 2014

AMSTERDAM, The Netherlands – At IBC 2014, HARMAN Professional is showcasing an impressive array of new products for the broadcast industry, ranging from Soundcraft and Studer routers, cores and digital consoles to AKG’s professional lines of microphones and headphones and JBL’s studio monitors. Studer is introducing no less than eight new products and updates for its industry-leading line of digital audio consoles.

Studer is adding to the immense power of its Vista X digital console with the next step in processing power and intuitive functionality, the Studer Vista V. The new 52-fader Vista V is based on the same Quad Star technology as its predecessor the Vista X launched earlier this year, but in a more compact footprint ideal for smaller studios, OB trucks and large live productions.

In addition, Studer is introducing the Infinity Core 200, version 5.2 software upgrade to its Vista X, Vista V, Vista 1 and Vista 5 digital consoles and AES67 interfacing via a D23m card. New to the 5.2 software are: the ability to assign Strip Setups as CUE events; support of the Soundcraft Realtime Rack (UAD plug-ins); support of Lexicon PCM96 Surround reverbs with Infinity Core; Input Gain unfold for multi-format channels; Spill Zone for contributing channels; GUI enhancements and new patch groups; A-Line embedded Ethernet; and contribution PAN in stereo channels to mono Aux busses.

Studer will be demonstrating its new D23m I/O system, which features enhanced channel count architecture that allows customers of its Vista X and Vista V digital consoles to transfer a huge number of channels. The D23m works seamlessly with Studer’s new Infinity Core and A-Link interface technology.

Offering continued support of its customer base in the radio broadcast market, Studer is also announcing the release of its OnAir v6.1 software. This new software release is a free update for all owners of Studer OnAir digital mixing consoles. The OnAir v6.1 software offers a wealth of new feature enhancements including: loudness metering; delay function; improved AoIP support with Dante; automated gain calibration; and BSS BLU link support.

Addressing a specific need in the sports broadcast market, HARMAN’s Studer is unveiling a prototype unit designed to provide a more rewarding audio experience for television viewers. Known as the Studer Ball Chaser, this unique product allows broadcast engineers to use a joystick to open the shotgun microphone closest to the action on the playing area, while keeping the other microphones closed.

Also at the HARMAN stand, Soundcraft will feature the Realtime Rack, a 1U unit compatible with Soundcraft Vi as well as Studer Vista consoles housing Universal Audio’s portfolio of top quality audio plug-ins, plus three Si Performer 1 19” rack-mounted digital consoles. The Si Performer 1 has an input capacity of 80 audio inputs to mix on all models, while featuring the same mix power as the Performer 2 and 3 consoles but with 16 mic pres and 16 faders. Moreover, the unique integration of a DMX512 port offers core lighting control, ideal for single (audio + lighting) operator application.

AKG will be showing a series of professional microphones and headsets that are ideal for broadcast customers. Among these products include the PR4500 ENG multichannel wireless system, the HC577 L reference head-worn microphone, the CK77 WR miniature lavaliere microphone, the C45,the C414 XLII multi-pattern condenser microphone, the C230 dynamic ENG microphone and the HSD 171 and HSD 271 professional headsets.
Finally, JBL will be showing its award winning range of high performance LSR305 and LSR308 monitors featuring the revolutionary Image Control Waveguide.

HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 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 workforce of approximately 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

Clay Paky B-EYEs Shine at Lollapalooza 2014 Music Festival

Lollapalooza 2014 returned to Grant Park, Chicago this time with Clay Paky’s A.leda B-EYE K20 innovative, LED-based moving lights helping the annual music festival to shine.

Lollapalooza was held July 31- August 2 and headlined by Eminem, Outkast and Lorde with hundreds of other performers and bands on hand for the three-day celebration of alternative rock, heavy metal, punk rock and hip hop.

Lighting designer/lighting coordinator Seth Jackson did plots for Lollapalooza’s four stages working with the lighting designers who accompany the bands. “It’s a three-month process going back and forth with the bands,” he explains. “This year we had 10 B-EYEs on two of the stages, supplied by LD Systems, on the Lake Shore and Grove stages.”

Lollapalooza marked Jackson’s first time using B-EYEs. “I had seen a demo of the fixtures and was really excited about them,” he says. “Most of the bands’ lighting designers hadn’t seen them before either. But it’s been great fun to see how every designer has used them, and they all love them.”

Jackson mounted all the B-EYEs on the upstage truss with a lot of smaller fixtures in between. “The idea of those two stages was to look big but not be big,” he says. “I had the B-EYEs upstage looking down on a pyramid creating this monster wall of color and movement in the back. They powered over all the other fixtures in front of them.”

The B-EYEs also stood out from a distance. “If you were on stage at the other end of the field you could see them even before it got dark,” he reports. “It was really nice to see them cut through at that distance.”

Jackson says the fixtures not only “looked great” but “performed beautifully. There were no issues at all with the mechanics, and LD Systems was pleased by the simplicity of getting the fixtures in and out. Everybody at the festival was very happy with the B-EYEs.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “We’re glad to see Mr. Jackson working with our B-EYEs and look forward to seeing what else he may do with them.”

A.C.T Lighting is the exclusive North American distributor for Clay Paky.

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THE API BOX BREAKS INTO AUSTRALIAN MUSIC SCENE THROUGH FAMED SONGWRITER/PRODUCER STUART CRICHTON

Crichton_Sloss_1VICTORIA, AUSTRALIA: As the API BOX makes its way to recording studios around the world, it has now found its first home in Australia through world-renowned songwriter/ producer, Stuart Crichton. Crichton has been a contributing factor in numerous top ten hits internationally, primarily in the U.K. He consulted Deb Sloss at Studio Connections Australia, API’s Australian distributor, when looking to make the addition to his home studio.

In just a short period of time, the BOX has already made a difference for Stuart. “The API BOX has totally changed the quality of my mixes, adding the warmth and width of a large room console,” Stuart shares. “The ease of set up and use is amazing – so straight-forward.”

Quality of sound is the most important feature for Stuart, who works with major artists including Kylie Minogue, Guy Sebastian, and Pet Shop Boys. “The mic pres and EQs are that beautiful API sound that many crave. The bus compressor is also now a major part of my mixes. Once I’m done mixing, I put it over the whole mix and BANG! There it is – a real vintage sound for what are usually digital-sounding mixes.”

Stuart relocated from the U.K. to Australia in late 2009, where he continues to make his footprint in the Australian recording scene, as well as work with top artists from around the world. He’s finding that his new console is the perfect tool to achieve a big studio sound in a relatively small space. “The BOX is an affordable way for a home studio to get that big room sound, which usually costs a lot of money per day.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and the BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com
(PHOTO CAPTION) Stuart Crichton with Deb Sloss of Studio Connections Australia. (PHOTO CREDIT: © 2014 SCA)

Pro Control Releases Two-Way Drivers Across a Spectrum of Devices

New Drivers Enable Integration With Sonos(R), Lutron(R) Caséta(TM), Wirepath(TM) IP Cameras, and More more

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