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Shotoku Broadcast Systems Announces New SmartTrack System at IBC 2014

Latest Solution Anchors New and Enhanced Studio and Field Camera Support Gear

Amsterdam • IBC2014 — Shotoku Broadcast Systems, the well-established leader in manual and robotic camera support, and virtual reality tracking, is anchoring this year’s IBC Stand with a new ‘smart’ rail camera system that targets the rigorous demands of daily TV studio use. The SmartTrack system is being shown alongside Shotoku’s advanced and high-performing control solutions, pan & tilt heads, robotic and manual pedestals, and virtual reality products for OB, studio, field production and legislative applications.

“As always, we are totally committed to IBC, which is a major event in our calendar. It allows us to showcase our systems to the European broadcast market as well as to professionals from so many other parts of the world. It’s a fantastic opportunity to meet new clients and catch-up with old friends with whom we’ve worked for many years,“ said James Eddershaw, sales director, Shotoku. “This year, we are showing a combination of systems from across our entire range of camera supports, including for the first time outside the USA the new SmartTrack rail-based camera system for floor or ceiling use.”

ROBOTIC HIGHLIGHTS
NEW SmartTrack

For the first time at IBC, Shotoku is demonstrating the new SmartTrack system, a fully integrated product based on the core track-based technology of MAT, Germany. In combination with Shotoku pan & tilt heads and control systems the MAT system is turned into the perfect solution TV studio use, day after day. It is highly adaptable, supporting floor or ceiling operation and a range of height column configurations, in both upright and inverted modes. The high quality engineering of the MAT and Shotoku systems ensure that the system is robust and stable, designed for long-term use in demanding applications such as 24/7 news or TV Shopping environments.

ENHANCED TR-XT Control Systems
Shotoku’s leading advanced control system is on display once again, incorporating the recent enhancements and expansions in terms of camera capacity and dynamic configuration. The systems on show are controlling multiple cameras and sharing camera operation across several controller-types.

ENHANCED Fully Robotic Pedestal
Shotoku is demonstrating the latest developments in fully robotic studio pedestals, providing complete X-Y-H camera positioning with free-roaming capability, where track systems would not be appropriate. Several enhanced features including Virtual Reality tracking and simple referencing make the pedestal ideal for many TV studio applications.

SEE IT LIVE Orchestra CMS Parliamentary Systems
Fully automated and with live video touch-screen operation, Shotoku’s world-leading parliamentary TV system is also being shown in action. The TG-27 pan and tilt head, becoming a standard among high-end parliaments and legislatures all over the world, is being demonstrated under the control of the TR-S panel.

MANUAL HIGHLIGHTS
NEW TTH1502C Carbon Fibre Tripod

Shotoku’s new 2-stage TTH1502C carbon fibre tripod incorporates the latest technology to give operators a lightweight, yet sturdy tripod system that is perfect for EFP or documentary production. Built to last with carbon fibre legs, the tripod weighs a mere 5.9kg (13 lbs.), features a 150mm bowl base, and stands over 1615mm (5’) tall at its maximum height. Available with a ground spreader or a mid-level spreader, the tripod is ideally paired with Shotoku’s SX300 pan & tilt head for optimal performance.

TRIED & TRUE SX300 Pan & Tilt Head
One of Shotoku’s latest mid-weight EFP pan & tilt fluid heads, the SX300 features outstanding balance, a robust build and ergonomic design. With a high capacity 38kg (83 lbs) payload and wide-balance capability, the SX300 supports an array of cameras, lenses and accessories, making it perfectly suited for field production, OB and studio use. The 300 head accommodates flat base or 150mm ball. Operators can not only expect top-class performance and reliability from the SX300’s VISCAM technology for smooth and adjustable pan & tilt drag with reinforced torque, but a continuously adjustable balance system.

FLEXIBLE SG900 Pan & Tilt Head
Shotoku’s SG900 manual pan & tilt head offers vibration-free speed in an ergonomically designed sturdy package. Ideal for OB and studio production with Teleprompters or box type lenses, the SG900 supports 90 kg (198 lbs), and features single knob balance adjustment. The unit incorporates the VISCAM ultimate fluid drag system to control smooth pan & tilt movement and REULAUX perfect balance system for maintaining the camera’s centre of gravity. The SG900 fits various pedestals including Shotoku’s TP200 lightweight, 2-stage pneumatic pedestal and both the TP-80 and TP-90 studio models.

BACKED BY EXPERIENCE Virtual Tracking Systems
Based on decades of extensive VR experience, Shotoku VR tracking systems offer outstanding design features, robust and reliable platforms for a wide range of camera and lens configurations. High-accuracy, real-time data output with absolutely no loss in manual performance is common to all Shotoku systems as is compatibility with all leading VR graphics systems. Shotoku’s VR range includes the simplest PT head and tripod right up through studio pedestals and high payload heads to state of the art cranes and jibs with total freedom of movement within VR studios small or large. Shotoku has samples of these systems on show at IBC.

About Shotoku Broadcast Systems
Shotoku Broadcast Systems is an international leader in the manufacture and marketing of a full range of camera support products with emphasis on manual and robotic pedestals and pan/tilt heads for the television broadcast industry. The Company also provides robotic camera systems capable of interfacing with third-party equipment. Established as an engineering design firm specializing in advanced mechanics and electronic control systems, Shotoku maintains headquarters in Japan with offices in Staines, UK and Torrance, CA. The Company’s robotic camera systems are designed, developed and manufactured in Staines, UK. For further information: www.Shotoku.co.uk
# # #

Shotoku contact: James Eddershaw
+44 (0) 1784 224650 / mailto:info@shotoku.co.uk

Press contact: Desert Moon Communications / Harriet Diener
+1-845-512-8283 / mailto:Harriet@DesertMoon.tv

HARMAN’s Studer Leads the AoIP Race With AES67 Integration via Digigram Interface

MONTBONNOT, France — Sept. 12, 2014 — Digigram today announced that its LX-IP AES67 PCIe(R) Sound Card is making it possible for HARMAN’s Studer Infinity Core to integrate with audio-over-IP (AoIP) networks according to the AES67 standard. Delivering more versatility and speed than ever before, the Studer Infinity Core drives the company’s flagship Vista X and Vista V digital audio consoles. more

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Digigram to Demo 4K Real-Time HEVC Video Encoder Based on KALRAY Manycore Processor Array Chip at IBC2014

MONTBONNOT, France — Sept. 12, 2014 — Digigram today announced that at IBC2014 it will present a proof of concept for a high-quality, low-power, real-time 4K HEVC video encoder based on a massively parallel multipurpose processor array (MPPA) chip developed by KALRAY. more

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Big Pic Media Becomes U.K. Reseller for Cinnafilm Tachyon Wormhole Retiming Solution

Powered by Wohler RadiantGrid Intelligent Media Transformation Platform, File-Based Solution Automates Retiming up to Plus or Minus 10 Percent of Runtime more

Point Source Audio will Demonstrate Digigram’s New Lower Cost AQILIM *FIT/LE Live Video Streaming Encoder to the Worship Market

Visitors at this year’s WFX Expo in Dallas, Texas, will get a first-hand look at how to use AQILIM for Live Streaming in a growing array of applications.

Point Source Audio (PSA), Digigram’s Master Distributor for the Americas, announced that the AQILIM *FIT/LE professional video encoder will be on display from October 1 – 2 at this year’s Worship Facilities Expo (WFX) 2014 Expo (booth #844) in Dallas, Texas.

The AQILIM *FIT/LE is an intuitive and cost-effective solution for high-quality live event broadcasting over an IPTV network or multiscreen video distribution over the Internet. With flexible input options and compatibility with leading web streaming providers, this latest addition to Digigram’s encoder line is ideal for increasingly popular streaming applications for live video, live distribution of religious services, corporate, sporting, or news events; the creation of WebTV; and live education via e-learning.

“AQILIM *FIT/LE is an affordable professional encoder that makes it easy to connect to most major web streaming providers and stream live broadcast-quality video to PC, Mac, smartphone, and tablet users around the world,” said Laurent Gros, video product manager at Digigram. “Built on proven technology and ready to use, right out of the box, the AQILIM *FIT/LE provides reliable, straightforward operation for the user while assuring exceptional video quality. By making live streaming both simple and affordable, the AQILIM *FIT/LE opens up new and valuable opportunities for a broad variety of businesses, institutions, and organizations.”

The AQILIM *FIT/LE connects directly to the camera or video mixer, capturing live video and streaming encoded video either to an IP network or to the CDN responsible for Internet distribution of live video. A Web-based interface gives users convenient access to simple configuration parameters for video streaming, eliminating the need for specialized training or dedicated operators.

Occupying just one rack unit, the robust hardware system is available with analog, SDI, and/or HDMI video inputs. Quiet operation enables use of the encoder even in a meeting or conference room.

The AQILIM *FIT/LE is now available for purchase at select Point Source Audio resellers. More information about Point Source Audio’s various audio solutions can be found by visiting www.point-sourceaudio.com

About Point Source Audio
Point Source Audio (PSA) manufactures and distributes worldwide their SERIES8 miniature microphones—a unique line of headset and earworn microphones known for their robust bendable boom and waterproof features. As a result of PSA’s pro-audio expertise and its admired reputation for sales and service support, the company was also named Digigram’s Master Distributor for the Americas. The world renowned brand of Digigram sound cards, IP audio and video codecs, and Ethersound audio networking technology are now available from Point Source Audio. Founded in 2004, Point Source Audio is headquartered in Petaluma, Calif. For more information call (415) 226-1122 or visit www.point-sourceaudio.com.

HARMAN’s Studer OnAir Radio range adds Dante AoIP, Loudness Metering and BSS Blu-link among many other new features

AMSTERDAM, The Netherlands – Offering continued support of its customer base in the radio broadcast market, HARMAN’s Studer is 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.

The OnAir v6.1 software offers loudness metering as an added option for the main screen of OnAir 3000 digital mixing consoles. It offers EBU R128, ITU-R BS.1770-3/1771-1 compliant loudness metering, covering single-channel and summing bar graphs, Loudness Range (integrated value, short term, momentary), true peak and numeric views. The physical presentation of both loudness (R128) and peak-programme metering is software-based and emulates a twin-indicator meter display.

The delay function is an option for OnAir 1500, OnAir 2500 and OnAir 3000 consoles, according to available DSP processing. It offers up to five seconds each. Summing bus delay for all master channels include an pre-delayed output to be used for output routing and monitoring. It is configurable as mono/stereo/surround in the OnAir Config Tool. The OnAir 1500 has stereo delay of 400ms on program bus.

As a next step in Studer’s open Audio over IP approach, OnAir v6.1 supports the new Studer D21m Dante interface providing, Dante 64 I/Os. This allows connection of an OnAir console into a Dante audio network with the D21m Dante interface and operates the OnAir mixing desk with other Dante devices.

As a perfect addition to Studer’s VMix function that was successfully introduced with OnAir software 6.0, this new software release brings automated gain calibration for mic input sources to OnAir products. Once levels are measured and set up in rehearsal before a show, the stored parameter can be loaded and activated with a single click. The combination of VMix and gain calibration will enable any operator to run a discussion or interview in a fast and secure way with less effort.

Lastly, OnAir v6.1 introduces support for the new Studer D21m BLU link card. This card is a 32 x 32 interface between a console and the Soundweb London digital audio bus, informally known as BLU link. The card allows connection to a wide variety of HARMAN products equipped with a BLU link interface, such as BSS London BLU 800, dbx PMC or Crown PIP‐BLU interfaces, amongst others.

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.

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DANLEY JERICHO HORNS COVER NORTH TO SOUTH AT PENN STATE UNIVERSITY’S BEAVER STADIUM

Penn_State_Beaver_StadiumUNIVERSITY PARK, PENNSYLVANIA – SEPTEMBER 2014: The Penn State Nittany Lions play all of their home games at Beaver Stadium in University Park, Pennsylvania. With an astounding capacity of over 106,000, Beaver Stadium is the second largest stadium in the Western hemisphere (after the University of Michigan’s stadium) and the fourth largest in the world. A recent off-season upgrade to high-definition LED scoreboards inspired a parallel upgrade to a new high-definition sound system that relies on Danley Sound Labs Jericho Horns to throw sound from the south end zone clear across to the north end zone – and all areas between – with point-source, horn-loaded fidelity. Coverage is a remarkable ±2dB across that huge expanse, and eight Danley TH-812 subwoofers support the full-range content with honest, musical low end that shakes the stands.

Clair Solutions Senior Systems Designer Jim Devenney (Manheim, Pennsylvania) designed the system with assistance from Chad Edwardson at Danley Sound Labs and Al Harris from Populous Architects (Kansas City, Missouri). Jason Hertz led the installation for Clair Solutions with assistance from Jonathan Hoffman and Forrest Brewer from Barton-Mallow/Alexander, the general contractor. “The new scoreboard would no longer be able to accommodate the old sound system,” said Devenney. “It simply wouldn’t fit. Mike Hedden, Danley president, came up from Georgia to demo a Danley Sound Labs solution, and the school officials liked its full-bandwidth sound, dynamic response, and even coverage.” Importantly, the Danley solution would allow Devenney to cover the entire stadium with a much smaller footprint. Hedden commented, “Our demo was an opportunity to do a side-by-side with a very popular line array. At 800 feet the Jericho Horn was clear and present, like it was fifty feet away. When we switched to the existing line array it was as if the sound stepped backwards three hundred feet. It was a stunning difference. One of the officials asked me how I could explain what everyone was hearing. I replied, to paraphrase the founders, we hold these truths to be self evident, that all loudspeakers are not created equal!”

The system hangs from three levels on the new scoreboard, and each side is a mirror image of the other side. At the top level, two Danley J4 Jericho Horns hit the stands beyond the opposite end zone. Below that level, four Danley J3 Jericho Horns cover the far half of the east and west stands. At the lowest level, two Danley J3 Jericho Horns cover the near half of the east and west stands, and two Danley SH95-HO loudspeakers provide near fill. All told, eight Danley TH-812 subwoofers, four on the top and four on the bottom, provide abundant bass. Devenney left a distributed system of fill speakers under overhangs in place. Lab.gruppen LM26 processors running Lake software provide equalization and protection for the system. Lab.gruppen FP-Series amplifiers with the NLB-60E controller provide system power as well as network control and monitoring.

“Everything worked out very well,” said Devenney. “Coverage is excellent: plus or minus 2dBA throughout the stadium, except in club areas where I intentionally made things quieter. The system has good articulation, nice fullness, great dynamics, and impressive vocal clarity. The J4’s do a great job getting high end to the far side of the stadium, and the efficiency of the Danley components reduced the footprint considerably from where it had been.”

ABOUT DANLEY SOUND LABS Danley Sound Labs is the exclusive home of Tom Danley, one of the most innovative loudspeaker designers in the industry today and recognized worldwide as a pioneer for “outside the box” thinking in professional audio technology.

www.danleysoundlabs.com

RECORD API 1608 SALES ALLOW FOR SUPERIOR COLLEGE AND UNIVERSITY CURRICULUMS ACROSS THREE CONTINENTS

Hochschule_Musik_NurnbergJESSUP, MARYLAND – SEPTEMBER 2014: Since introduced at the 123rd AES Convention in New York City in October 2007, the API 1608 console continues to make its way into colleges and universities across the globe. In the past year alone, more 1608s have been placed in educational institutions compared to any other year since 2007. These full-featured consoles, each with various channels of recording and mixing capabilities, now grant students, ranging from high school to graduate school, the opportunity to learn on the analog technology used in professional studios all over the world.

“We’re very pleased to have placed so many of these highly-versatile consoles in the past year,” said Larry Droppa, president of API Audio. “Each of these 1608s will now join the ranks of top audio schools including the New England School of Communications, American University, and California State University.”

Since the summer of 2013, nearly a dozen consoles have been placed in schools including Nashville’s Pearl-Cohn Entertainment Magnet High School, and Blackbird Academy. Colleges and universities in the United States include Emerson College in Massachusetts, Mesa Community College in Arizona, Broward College in Florida, Glendale Community College in California, and the University of Michigan in Ann Arbor. Locations outside the United States include the University of Western Ontario, Canada, Technologico de Monterrey in Mexico, the University of Örebro in Sweden, and Hochschule für Musik Nürnberg in Germany.

SUNY_PurchaseThe 1608 offers sixteen input channels, each with a mic pre and equalizer. It also has the option of adding sixteen-channel expanders, allowing for a 16, 32, or 48 channel console in total. API also offers its optional motorized fader automation system called P-Mix. Derived from the technology used extensively in API’s large format consoles, P-Mix offers a host of features found only in the most sophisticated console automation systems, often costing many times more.

“Since the 1608 is built to the same standards as our Vision and Legacy large-format consoles, it’s a powerful tool for students to learn with,” said Droppa. “It’s the same equipment used in some of the best recording facilities around the world, where many of the students will want to work after graduation.”

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 CAPTIONS) IMAGE 1: Hochschule für Musik Nürnberg in Germany; IMAGE 2: State University of New York (SUNY) Purchase.

STOP BY AND SEE US AT AES 2014 BOOTH #1219

COUNTRY MIX ENGINEER BILLY DECKER DISCOVERS REAL TALENT IN METRIC HALO PLUG-INS

BillyDeckerNASHVILLE, TENNESSEE – SEPTEMBER 2014: Mix engineer Billy Decker scored his first #1 single in 2006 with Rodney Atkins’ “If You’re Going Through Hell,” which is among the first (if not the first) #1 country song to be mixed entirely in Pro Tools and bounced to disc. He recently celebrated his eighth #1 single with Parmalee’s “Carolina.” An in-demand engineer stationed in Nashville, Decker gracefully negotiates the happy demands of a 22-year marriage and two children by maintaining a rigorous work schedule. “I come in at 8:30 in the morning and leave by 5:30 or 6:00,” he said. “I mix entirely in Pro Tools, where instant recall of everything allows me to juggle multiple projects at the same time.”

His knack for delivering radio-friendly mixes that play to the artists’ strengths has earned him work with a who’s who of country music talent: Darius Rucker, Kenny Chesney, Jason Aldean, Colt Ford, Montgomery Gentry, Frankie Ballard, Brett Michaels, Bubba Sparxxx, Josh Thompson, Josh Kelly, Kenny Loggins, Trace Adkins, John Michael Montgomery, and Billy Dean, in addition to the already-mentioned Rodney Atkins and Parmalee. As far back as he can remember, Decker has been using Metric Halo’s ChannelStrip plug-in, including all of his #1 songs, and he recently added Metric Halo’s Production Bundle plug-in collection to his streamlined workflow.

“I once found myself in a situation without ChannelStrip, and I tried to mix anyway,” Decker laughed. “It didn’t work. The mix sounded terrible, and I won’t ever try it again. ChannelStrip is absolutely indispensible to everything I do.” Basically, everything he’s ever mixed has ChannelStrip all over it. Apart from handling all of his routine and unusual equalization tasks, Decker relies on ChannelStrip for the all-important vocal compression. “I typically run three or four instances of ChannelStrip to get multiple compressors going at the same time,” he said. “Each compressor does a little bit, and in a different way, so that in the end I get a vocal that’s locked right in your face and that requires almost no gain riding. Recently, I’ve started adding ChannelStrip’s limiter at the end, which gives me a little bit more control and smooths out the top end.”

To keep his workflow speedy, Decker doesn’t fool around trying to listen for the right frequency to de-ess. He uses Metric Halo’s SpectraFoo sound analysis software, which is always running in the background to quickly diagnose issues. “That gives me the right starting point, and from there, yes, I use my ears to dial it in,” he said. “I use Metric Halo’s Precision DeEsser plug-in to do the de-essing; actually, I use two instances. One for traditional de-essing and the second for what I call ‘de-honking.’ Using so much compression brings a lot of junk to the surface, including the nasty nasal sound that pretty much every voice has between 1.5kHz and 2kHz. By setting the second Precision DeEsser to that frequency, everything smooths out and sounds much nicer. I’ve used a lot of de-esser plug-ins, but I find that Metric Halo’s version is noticeably smoother and more transparent. Where other plug-ins can sound grainy and degrade the signal, Precision DeEsser is colorless and pleasant.”

Decker has also been enjoying Metric Halo’s TransientControl plug-in for snares and toms. “Sam Hunt’s ‘Leave The Night On’ is climbing the charts, and it’s got TransientControl all over the drums,” Decker said. “It set a record for the most-added debut for a male country artist. I love the sound I get from TransientControl. I used to use its main competitor, but Metric Halo’s version sounds smoother. It tops a little tighter, has a better release, and a cleaner decay. I’d say that TransientControl rolls over each peak rather than falling over it. I’ve been very pleased.” Hunt’s single also contains Metric Halo’s HaloVerb on the snare. “I usually like plates on my snare drum with no pre-delay,” Decker continued. “For Sam’s single, I used a medium plate preset with a 700-800ms decay. It’s the perfect snare reverb – very thick and three-dimensional. After every snare hit, I can hear the little bits of dust crumbling in the background, little fairies floating around in the background. It’s very deep!”

Although collaborators frequently ask Decker to mix on a console at such-and-such famous studio, he staunchly refuses. “Technology has come a long way,” he said. “Digital has caught up, and it’s a much faster way to work. If you can turn on the radio and tell me which songs were mixed in the box and which were mixed on a console, well, I’ll buy you dinner. Hell, I’ll buy ya the whole restaurant!”

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

INTRODUCING THE ATC SCM20ASL PRO MKII: ATC IMPROVES ITS MOST POPULAR SMALL-FORMAT, 2-WAY ACTIVE REFERENCE MONITOR

LAS VEGAS, NEVADA – SEPTEMBER 2014:ATC_SCM20ASLPro_MkII TransAudio Group, U.S. rep for ATC and other boutique professional audio companies, introduces the ATC SCM20ASL Pro MkII near-field reference monitor. The ATC SCM20ASL Pro MkII improves upon the ATC SCM20ASL Pro. Like its predecessor, the MkII is a high-performance two-way active loudspeaker that is ideally suited for critical near-field applications or as surround channels in larger systems. Its exceptionally neutral output extends across the audible spectrum and is now improved by a new amplifier design, a new ATC-made dual suspension tweeter, and a new cabinet design.

“ATC is well-known for designing and building studio monitors that are unflinchingly truthful and that help engineers deliver mixes that translate everywhere,” said Brad Lunde, president of TransAudio Group. “ATC founder Billy Woodman and his team of R&D engineers never tire in the pursuit of perfection, and improvements to the passive SCM20PSL Pro MkII led to parallel improvements in the active the SCM20ASL Pro MkII.”

The new SCM20ASL Pro MkII is based around the ATC 6.5-inch “Super Linear” LF driver with integrated midrange, utilizing the same SL technology developed for the larger nine-, twelve- and fifteen-inch based monitors. Constructed with a 75mm/three-inch voice coil and a short-coil, long-gap topology, it combines the high-power handling and low-power compression usually only found in large, high-efficiency systems with the fine resolution and balance of modern high fidelity systems.

Five years in development, the new ATC dual-suspension 25mm tweeter offers lower distortion, higher output, and greater reliability. The electronics in the active design have also had considerable development time invested in them, resulting in reduced noise and distortion (a further -10dB @ 10kHz) and a reduced operating temperature for improved reliability. The amplifier design is a revised version of ATC’s discrete MOSFET Class A/B design with 200W and 50W continuous power available for the bass and high-frequency sections, respectively. The user controls have also been improved over the previous generation with more flexible input sensitivity controls and a revised low-frequency shelf control to help achieve good balance in difficult acoustic conditions. The amplifier includes protection circuits for both DC offset and thermal overload.

The new cabinet design maximizes linearity and minimizes size and weight. The cabinet has been restyled to more closely follow the larger monitors in ATC’s professional range and is constructed from heavily-braced MDF. Highly damped, elastomeric panels are bonded and stapled to the cabinet’s inner walls to suppress cabinet panel resonances, while the enclosure’s front panel is heavily radiused to reduce cabinet diffraction, improving the frequency response and imaging.

“Even given the excellence of the previous design, these new features lead to a substantive improvement,” Lunde concluded.

MSRP $6,695/pair

ABOUT TRANSAUDIO GROUP TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.

www.transaudiogroup.com

BE SURE TO STOP BY AND SEE US AT AES 2014 BOOTH #1110

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

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