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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

NEW YORK CITY’S EXCLUSIVE UNION LEAGUE CLUB UPGRADES TO ASHLY

Union_League_Club_NYCNEW YORK, NEW YORK: The Union League Club of New York City was founded by Union loyalists during the Civil War and has grown since then to become one of the city’s most exclusive clubs, where the public-minded members of New York’s upper class meet away from the bustle of urban life. Its elegant clubhouse on East 32nd Street and Park Avenue in Manhattan thus serves as an oasis, and the Union League recently refurbished many of its rooms to add modern audio/visual technology where appropriate. Based on its functionality and rock-solid reliability, A/V integration firm Audio Production Services (Amawalk, New York) specified an Ashly ne24.24M Protea™ DSP Matrix Processor and an Ashly ne4250.70 Network Four-Channel Amplifier for the Union League Club’s new system.

Although most of the clubhouse areas provide a refuge from technology, club members requested video and audio in one of the large lounge spaces, the nearby coffee bar, and some ancillary lounge spaces. Inputs to the new system are many and include all manner of video feeds, wireless microphones for events, and iPod® connectivity. Those inputs feed into an Ashly ne24.24M matrix processor, which handles all of the routing, mixing and equalization. Audio Production Services biased the modular I/O of the ne24.24M to accommodate the huge number of inputs, reserving just four outputs to feed a four-channel Ashly ne4250.70 amplifier. Those four amplifier channels power 70-volt RCF ceiling speakers in four separate zones.

“I’ve used Ashly products on many previous installations,” said Simon Nathan, president of Audio Production Services. “They are very flexible and easy to work with. In addition, they are reliable, which was critical for the Union League clubhouse. Ashly’s Protea processing worked well with Key Digital’s user interface technology and allowed us to give the staff an iPad that could control the new A/V system. In all, it was a straightforward design and an easy installation, and the client is happy with its sound and performance.”

ABOUT ASHLY AUDIO Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of high quality & high performance signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The 40-year old company is headquartered in Webster, New York U.S.A.

www.ashly.com

HARMAN’s Studer Infinity Series and Vista Digital Consoles get Lexicon PCM96 and UAD Plug-Ins Support and Significant Feature Upgrade

AMSTERDAM, The Netherlands – At IBC 2014, HARMAN’s Studer is introducing the version 5.2 software upgrade to its Vista X, Vista V, Vista 1 and Vista 5 M3 digital consoles. This new software provides Vista operators with even greater versatility and ease of use, creating a more efficient mixing experience.

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.

With the 5.2 software, saved Strip Setups can be assigned as CUE Events in the CUE List. Recalling CUEs that have these events assigned, will automatically load the specified Strip Setup onto the desk’s surface. This feature is a great help for users who are mixing in a “scene”-based workflow like in application such as theatres and pre-programmed shows. Loading the CUEs for the next scene will also bring the currently needed channels onto the surface.

Up to four Soundcraft Realtime Racks, loaded with high quality Universal Audio (UAD) Plug-Ins, can now be connected to every Vista system. All plug-in parameters are saved and recalled by CUE events. The CUE events are also organized in a library and can be re-used for other CUE events. The individual CUE events can be enabled and disabled, and can be updated at any time.

Vista FX quality reverb is now also available for Vista X and Vista V running on Infinity Cores. Up to six (in pairs of two) original Lexicon PCM96 Surround reverb units can be connected over AES/EBU. Parameter control works over HARMAN HiQnet™ directly from the mixer’s Vistonics™ user interface.

In addition, stereo and 5.1 input channels will have individual digital input gain parameters for each channel leg. Pressing the button next to the ‘Main’ digital input gain Vistonics rotary will flip the input page into a view, where the individual digital input gain parameters (L, R, C, LFE, Ls, Rs) are accessible.

Channels contributing to any type of busses can immediately be brought up within a user-definable ‘Spill Zone’, on top of the desk’s active fader layer. Pressing the Contribution button of any bus channel in the control bay will line up all channels in the predefined Spill Zone, which are contributing to this bus, allowing full processing parameter access of these member channels. The user can quickly define the size, position and spill direction of the Spill Zone at any time from the Strip Setup page.

The 5.2 software’s User GUI is also enhanced with the well-known Ribbon Bar, giving a better overview and easier access for the operator. With the Infinity Core’s power, a huge amount of channels can be organized and controlled. To simplify this task, new user-definable Patch Groups, comprising easy-to-handle filtering options as well as customizable Source and Target views have been added.

For Infinity Core with D23m, the Ethernet control signal can be tunnelled together with the audio stream from the CoreLink card through the A-Link ports to the D23m’s HD cards. This means that no additional Ethernet cable has to be connected to the D23m’s Ethernet card anymore (although this option is still available).

Finally, in stereo channels, all contribution paths to mono Aux busses now have a PAN control before the mix-down to mono. This not only enables assignment of the channel’s left or right leg to the Aux bus, but also sends a user-defined mix of the stereo channel to the mono Aux bus. This dramatically expands the possibilities of signal contribution to loudspeakers, especially in theatres

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.

New Infinity Core 200 Processing Engine Drives HARMAN’s Studer Vista V Digital Console

AMSTERDAM, The Netherlands – With the introduction of its Vista V digital console, HARMAN’s Studer is also unveiling the new Infinity 200 processing engine that drives the console. The Infinity 200 is designed for smaller facilities that require lower channel counts and full system redundancy.

The Infinity 200 offers the same benefits of the original Infinity DSP Core, which is found in the Vista X console, introduced earlier this year. The Infinity 200 enables up to 200 audio channels to be processed in a single CPU-based board.

The Infinity 200 features Studer A-Link high-capacity fiber digital audio interfaces, and D23m I/O frames are used to break out these A-Link connections to standard analog, digital, Audio over IP (AoIP) and video interfaces. The A-Link interface also provides direct connection to the Riedel MediorNet distributed router, allowing many Infinity systems to be connected together with router capacities of 10,000 square or more.

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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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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