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Press Releases For : October 7, 2014

Middle Atlantic Names Colindres As Western Regional Sales Manager

Fairfield, NJ––Middle Atlantic Products has appointed Marco Colindres as Regional Sales Manager for the Western Region. Colindres’ territory includes the Pacific Northwest, Northern California, Northern Nevada, and the Rocky Mountains (Wyoming, Montana, Colorado, Utah and New Mexico) for all market segments.

With extensive sales and marketing experience in the CE, Custom Install and Commercial markets and special expertise in the Power category, Colindres held several key positions at CORE Bands including Ecommerce Sales Manager, National Sales Training Manager and Special Products Marketing Manager prior to joining Middle Atlantic.

Colindres also served as National Sales Manager and Product Area Manager-Cable for Monster Products and headed up his own sales rep firm, Pride of Hawaii Sales Group in Honolulu. His educational background includes an MBA in Business Administration from San Francisco State and a BS in Business Administration Marketing from the University of San Francisco.

Commenting on Colindres’ appointment, Middle Atlantic Sales Director Whitt Adams said, “In addition to his extensive sales and marketing background and technical expertise in key market segments, Marco’s energy, passion and commitment to our customers is what really sets him apart. The fact that he’s become such a valuable asset for Middle Atlantic and our team in a such a short time comes as no surprise.”

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

Middle Atlantic Products has been part of the Legrand group since its acquisition in 2011.

Legrand is the global specialist in electrical and digital building infrastructures. Its comprehensive offering of solutions for use in commercial, industrial and residential markets makes it a benchmark for customers worldwide. Innovation for a steady flow of new products with high added value and acquisitions are prime vectors for growth. Legrand reported sales of close to $5.8 billion in 2012. Legrand has a strong presence in the North American market, with a portfolio of well-known product lines that include Cablofil, Electrorack, Middle Atlantic, NuVo, On-Q, Ortronics, Pass & Seymour, Vantage, Watt Stopper and Wiremold. The company is listed on NYSE Euronext and is a component stock of indexes including the CAC40, FTSE4Good, MSCI World, ASPI and DJSI (ISIN code FR0010307819). www.legrand.us

NETIA Radio-Assist Selected by Radio Sultanate of Oman to Automate Operations and Digitize National Audio Archives

Installed at Muscat and Salalah Stations, Complete Radio-Assist System Automates Ingest, Production, Scheduling, Playout, and Archiving (more…)

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Riedel Switzerland Serves as Official Radio and Intercom Services Provider for European Athletics Championships

Fiber-Based Communications and Intercom System Provided Simplicity and Flexibility Key to Connecting Multiple Sites, Hundreds of Volunteers (more…)

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Foo Fighters Headline With Martin Audio MLA At Invictus Games

Invictus Games - Closing Ceremony 14th September 2014

Martin Audio’s award-winning MLA (Multi-cellular Loudspeaker Array) PA system enjoyed its busiest weekend of the year, with two huge simultaneous London events on either side of the capital.

While rental/production company Capital Sound was fielding no fewer than 170 enclosures at the perennial Proms in the Park (Hyde Park), over in the east at the Queen Elizabeth Olympic Park, the Prince Harry inspired Jaguar Land Rover Invictus Games Closing Concert also featured MLA.

The five hour extravaganza combined a celebration of medallion presentations to the wounded, injured and sick servicemen and women who competed in the Games, backed by a full concert line up with Foo Fighters headlining and supporting acts Kaiser Chiefs, Ellie Goulding, Ryan Adams, Bryan Adams, The Vamps, Rizzle Kicks and James Blunt.

A crowd of over 25,000 people heard Prince Harry deliver a heartfelt speech that roused the spirits of the crowd, culminating in a Mexican wave, before introducing the Foo Fighters for their triumphant return to London.

Invictus Games - Closing Ceremony 14th September 2014

The event was promoted by AEG Live, with Capital working for site managers, Loudsound, with whom they have enjoyed a long relationship (most recently at British Summer Time in Hyde Park).

But unlike Hyde Park where sound leakage is at its most sensitive, there was optimism MLA would be able to produce an even bigger sound. “This was a totally new situation and the promoters were keen to see what we could get out of it, sound wise,” commented Paul Timmins, Capital Sound Account manager. “[Loudsound site production manager] Dan Craig really understands audio and was confident he could achieve proper rock and roll levels.”

With the closest residence still within 850 ft. of the stage and with Vanguardia measuring propagation at four separate offsite locations, the production team was still able to hit the FOH SPL’s demanded by the Foo Fighters, playing at well over 100dB(A) as the level ramped up incrementally through the day; at the same time the sound comfortably tapered off below the offsite restriction of 75dB(A) at the nearest measurement point — and recorded values as low as the mid 60’s.

The main front facing PA comprised two hangs of 14 MLA per side and two MLD Downfills, while for sidefills, because of the site topography, Capital was able to field 12 MLA Compacts on one flank and 16 on the other—an asymmetric solution that worked particularly well. This enabled the shorter hang to fire into the VIP grandstand without straying beyond into the large block of apartment buildings behind.

Two Martin Audio W8LCs were deployed for center front fills and there were two masts of delays, set 245 ft. back from the stage (midway from the site perimeter), each containing eight Martin Audio W8L Longbow enclosures. Meanwhile, 12 Martin Audio LE1200 low profile wedge monitors were provided as floor monitors onstage.

Invictus Games - Closing Ceremony 14th September 2014

The real customization came in the 32-enclosure MLX sub array. In order to meet the Foo Fighters tour spec they deployed Philip Reynolds, who has worked extensively with Martin Audio US partner Delicate Productions and is familiar with MLA.
Along with Martin Audio R&D director, Jason Baird, and Capital Sound technical manager, Ian Colville, Reynolds adapted the sub array into a Left/Center/Right design, which included cardioid elements to contain coverage, while bringing even more low-end transient attack to the central section.

Having been involved with the Foo Fighters since their Wasting Light album back in 2011, Reynolds confirmed: “That sub design was exactly as I wanted and for the band it delivered the high impact in the mix” — a mix that was delivered by veteran sound engineer Craig Overbay, piloting a DiGiCo SD10.

But the planning of the event was to throw a final curve at the Capital Sound team as Paul Timmins explained. “Although we had designed the audio for the closing concert, since we had the infrastructure already in place, at short notice we were asked to also handle the Invictus Games Opening Ceremony. We had to come up with a system we could change in a day, and throughout the opening ceremony there was an element of rapid reconfiguration as we had to make it work for every dignitary on stage.”

Marty Beath, a seasoned MLA tech, was part of the crew, and this is where his MLA experience, and knowledge of the audience geometry in the MLA software, was brought to bear. “The area that became the audience zone at the Closing Concert was set out like a military tattoo,” he explained. “We needed a new solution for MLA which covered the competitors’ section—set 20ft in front of the stage—so we optimized the system in the software to use the bottom part of the main PA to cover the front.

(left to right): Jason Baird, Marty Beath; Philip Reynolds

(left to right): Jason Baird, Marty Beath; Philip Reynolds

“When Prince Harry was at a lectern in the PA zone I loaded a new snapshot in MLA which enabled us to get another 8dB of gain before feedback; so by using MLA’s software to set a hard avoid I could direct the sound over the lectern, which was fantastic.”

The entire production seemed more than satisfied with the levels and quality achieved. Phil Reynolds was enthusiastic: “I enjoy how far MLA has come. I was happy with the deployment, everything matched Foo Fighter specs, the PA did exactly as planned, and it’s been exciting hearing the band today playing through a full MLA for the first time.”

Dan Craig added, “Once again MLA displayed all we know and love about the system and delivered effective, even coverage. It’s my third major park event of the summer and yet again MLA has demonstrated its flexibility to create a system design network.

“Since I have been using the system it has solved three very different problems and I am happy to be working with Ian [Colville] and the Capital team to provide the solutions which MLA enables us to implement.”

And describing the concert as “a fitting end to an inspirational four days of Games,” Jim King, Director of Events, AEG Live said: “AEG are very proud to have played our part in producing the Invictus Games Closing Concert.”

Or as the Foo Fighters put it, “What a perfect way to finally return to the UK for the first time in years…it’s been waaaay too long! Thanks for having us; it is truly an honor to come play for these incredible men and women….”

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

Photo credit: Jessica Gilbert

RTW Mastering Tools PlugIn Makes US Debut at AES 2014

Additional Loudness Solutions on Display at Avid Connectivity Partner Pavilion

LOS ANGELES, OCTOBER 6, 2014 – RTW, the market leader in visual audio meters and monitoring devices, will showcase its RTW Mastering Tools, the second plugin in its Masterclass PlugIns line of software-based metering solutions, at the 137th AES Convention (Avid Connectivity Partner Pavilion Booth 1101). Ideal for post production, TV, film and music recording, the new addition brings extensive analysis and display functions for mastering, metering and loudness measurement for single- and up to eight-channel applications as a standard-format plugin for Windows and Mac OS platforms, including AAX Native 64-bit plugin for Avid ProTools 11.RTW_Mastering_Tools

Designed for simple, intuitive operation by a broader user base, RTW Mastering Tools offers a wide range of PPM scales, displays and TruePPM measurements. As with all of RTW’s software plugins and TouchMonitor line of meters, RTW Mastering Tools provide support for many of the leading global loudness standards including ITU BS.1770-3/1771-1, ATSC A/85, EBU R128, ARIB, OP-59, AGICOM and CALM Act. Other key features include numerical or bar graph-type readout, plus MagicLRA and correlator display, audio vectorscope, RTA (Real Time Analyzer), SSA (Surround Sound Analyzer) and multicorrelator. For added convenience, users can choose from up to six selectable window frame sizes and multiple instances.

“We are thrilled to introduce our new RTW Mastering Tools software to our friends in the U.S., especially as part of Avid’s Connectivity Partner Pavilion at AES,” says Andreas Tweitmann, CEO, RTW. “Our plugins put a very powerful tool for mastering, metering and loudness measurement into a convenient, easy-to-operate software package, adding further efficiency to the overall workflow. Having them available for use right within Avid ProTools is an exciting step for us and we are happy to join our new partner during this year’s show.”
RTW_Mastering_Tools_Box
Also on display will be RTW’s Masterclass PlugIns Loudness Tools software (also available as an AAX Native 64-bit plugin for Avid). RTW Loudness Tools was designed to serve the needs of users in the DAW sector. Finally, RTW will also demo its TM3-Primus, the latest entry to its smart product category, a compact, fully-loaded specialized meter at an entry-level price point, perfectly suited for individuals working in smaller production environments such as OB vans.

About RTW
RTW, based in Cologne (Germany), has nearly 50 years of experience in designing, producing, and marketing advanced recording-studio equipment, leading and innovating the market for high quality audio metering and monitoring tools. RTW operates a worldwide distribution and service network. For more information on RTW, visit www.rtw.com, www.facebook.com/rtw.de or call +49 221 709130.

Westlake Pro Posts Tony Shepperd Mixing Master Class

First installments of video series now available on YouTube

Los Angeles, CA (October 7, 2014) – Westlake Pro, a leading retailer of professional audio, recording, live sound equipment, and technical services has posted the first two videos in a new Mixing Master Class series with veteran mixing engineer Tony Shepperd.

TonyShepperd

Shepperd, a prolific engineer who has recorded and mixed such music heavyweights as Take 6, Whitney Houston, Quincy Jones, Diana Ross, Madonna, Kenny Loggins, Boyz II Men and more, deconstructs his mix of Sheléa’s hit single I’ll Never Let You Go as he talks about his workflow and his vocal production technique, which have become his specialty over the past two decades.

“It was an honor for us to host Tony Shepperd,” said Peter Malick, Director of Online Content for Westlake Pro. “The depth of knowledge that he shares with our customers and viewers is a testament to his willingness to further the craft of recording, mixing, and producing.”

Co-sponsored by A-Designs Audio, the master class was filmed at Westlake Pro in Los Angeles in front of an overflow crowd of more than 100 local musicians, producers, and engineers and is divided into 14 videos of easily digestible content and cover a wide variety of mixing topics. Shepperd’s relaxed presentation style demystifies complex mixing concepts and he takes questions from the audience throughout the series as well as during a Q&A at its conclusion.

The Tony Shepperd Mixing Master Class video series can be found on Westlake Pro’s YouTube channel at: https://www.youtube.com/playlist?list=PLWvgCiRlNKN9Ef94nM302FlrBS3Rv-o73

About Westlake Pro
Based in Los Angeles, Westlake Pro specializes in business-to-business and retail sales of professional audio and video equipment, broadcast equipment, video editing software, recording software, computers, musical instruments and live sound application products. The company also provides technical services from complete studio design to live sound system design. Westlake Pro serves the Post Production, Broadcast, Music Production, Educational, House of Worship and Government markets.

For more information, visit http://www.westlakepro.com.

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NEW DRAWMER 1973 THREE-BAND STEREO FET COMPRESSOR WINS 2014 RESOLUTION AWARD

Drawmer_1973LAS VEGAS, NEVADA – OCTOBER 2014: Ivor Drawmer, veteran designer and manufacturer of boutique high-end audio processors, has earned a 2014 Resolution Award for the new Drawmer 1973 three-band stereo FET compressor. The Drawmer 1973 benefits from Ivor’s deep, thirty-plus years of experience building best-in-class signal processors and is unique in its combination of three critical attributes: its controls are remarkably easy to use, its price is low, and its sound is, of course, beautifully musical. Resolution Magazine’s Resolution Award is determined by industry expert nominations and reader votes, and the Drawmer 1973 edged out three other respected manufacturers in the “Dynamics” category.

“The Drawmer 1973 multi-band compressor is the kind of tool that mix and mastering engineers will find so useful they’ll wonder how they ever got by without it,” said Brad Lunde, president of TransAudio Group, Drawmer’s U.S. distributor. “It has a pristine signal path that imparts dimensionality and life to a signal – even as the processing tames its dynamics, and the multi-band controls are easy to visualize and work with. Nevertheless, Drawmer has set the price of the 1973 far, far lower than its quality and features justify. The 2014 Resolution Award win is nice validation of everything we’re so excited about in the Drawmer 1973.”

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

STOP BY AND SEE US AT AES 2014 – PLEASE NOTE OUR NEW BOOTH #1014

SOUND DESIGNER AND ENGINEER MAURIZIO ARGENTIERI EDITS AND MIXES THE IMAGINATIVE TRANS-OPERA FILM THE GIRL FROM NAGASAKI WITH METRIC HALO

Maurizio_ArgentieriSAFETY HARBOR, FLORIDA: After earning a degree in classical guitar and finding that the world does not value classical guitarists as it should, Maurizio Argentieri retooled his education and fueled his passion for sound on the other side of the microphone. He dove in just as the industry was lurching from its analog foundations to its digital future, and he secured a very educational three-year gig as the on-location sound mixer for a small documentary crew that filmed Greenpeace activities around the world. “From there, I dreamed of recording sound for movies,” he laughed. Twenty years later, it’s clear that his dream became a reality. Argentieri has recorded and mixed for directors such as Mario Monicelli, Marco Bellocchio, Bernardo Bertolucci, Giuseppe Bertolucci, Mel Gibson, Barry Levinson, Spike Lee, Woody Allen, Ridley Scott, and Michel Comte. Comte is the visionary behind The Girl From Nagasaki, and Argentieri used his Metric Halo ULN-8 to record and tweak almost every aspect of the trans-opera’s sound.

“When I have the opportunity, I always love working both as the recordist on location and as the post-production engineer,” said Argentieri. “On location, I get the benefit of hearing the director explain the motivations and feelings behind every scene. We shot The Girl From Nagasaki in some very peculiar locations, and I naturally became impressed by the real sounds in those locations. That inspired my post-production work and gave it a better connection than it would have otherwise had. Moreover, everything Michel said about sound on the set came back to me in post-production, which gave me an excellent starting point. My goal is always to lead the audience’s emotions in a specific direction with the sound. And I always want that direction to be the one that most naturally conveys the intentions of the director.”

Argentieri met Comte in Los Angeles before production on The Girl From Nagasaki began and had a long conversation about his vision for the soundtrack. “It was his first feature film, and he was very well prepared,” said Argentieri. “He showed me a book with reference pictures for the movie, and we talked about sound. He was very precise about the imagery, but I found that when we actually got to shooting, the imagery we were capturing was even better!” A self-described “trans opera,” the movie is surreal and combines elements of opera, film, and performance art that evoke emotions as much as they tell a story. As such, Argentieri had a great deal of freedom to create an intense soundtrack. His roles were many. He recorded sound during production, he edited all the dialog and sound effects, and he recorded several of the musical tracks, including a number sung by Marianne Faithfull. He also collaborated with the music composers Alessandro Cipriani and Luigi Ceccarelli, helping them to mix and record the score to the film, and he performed the film’s final mix.

Argentieri recorded all of the production sound and music using his single-rack space, eight-channel Metric Halo ULN-8 combination mic preamp/converter. “I also used it to record a couple of huge live performances, but I really can’t say much about them because they are to be a surprise,” he said, teasingly. A few of the highlights that he is willing to divulge include the recording of the very active Stromboli volcano and a surround recording of some Puccini arias that are featured in the film. Argentieri stepped up to the ULN-8 from the Metric Halo 2882 interface that he has had since 2004 (and continues to use when he needs more than eight channels), which he first used on HBO’s series, Rome. “In my opinion, the Metric Halo ULN-8 is the very best portable interface,” he said. “It has fantastic preamps and fantastic converters.” Not only does Argentieri use the ULN-8 on location, he prefers it to all his other options as an AD/DA for his Pro Tools rig.

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

ROSWELL HIGH SCHOOL FOOTBALL FIELD COMES ALIVE WITH DANLEY GENESIS HORNS AND SUBS

Roswell_HS_StadiumROSWELL, NEW MEXICO: For too many years, football fans and supporters of Roswell Independent Schools in Roswell, New Mexico suffered the poor performance of small paging horns that squawked announcements no one could understand and that emitted music no one could feel. It was a sad, uninspiring, and yet not uncommon situation. When money finally became available to make improvements, the school hired local firm J&G Electric to oversee the project. Relatively new to the Pro Audio market, Mike McClain of J&G Electric sought, without bias, the very best sounding system for his client at the most reasonable price. A thorough search turned up Danley Sound Labs, and Roswell Schools now benefit from a pair of Danley GH-60 Genesis Horns for vivid full-range output and a pair of beefy Danley DBH-218 subwoofers for low-frequency support.

“The school gave J&G Electric free reign to choose the best audio system they could, given the constraints of the budget,” explained Noel Darby of DarbyReps (Denver, CO), who represents Danley in the Rocky Mountain Region and who consulted on the design. “They had heard great things about Danley – that Danley’s designs are uniquely efficient, natural sounding, and easy to work with. I’ve been selling loudspeakers for a long time, and I believe Tom Danley’s designs really are amazing. He’s not chasing the same old woofer/tweeter or line array concept.”

Roswell_HS_Scoreboard_SpeakersGiven that the existing light poles are all behind the seating, it didn’t make sense to use a distributed system. Instead, Darby suggested an end-fired system that would split the field down the middle and provide equal coverage to the home and visitor seating. A Xilica XP-2040 2×4 processor handles modest input conditioning and system EQ, and feeds two Danley DSLA 3.3k and two Danley DSLA 6.5k amplifiers. Those amplifiers in turn power two Danley Genesis GH-60 horns and two Danley DBH-218 subwoofers mounted above and behind the scoreboard. The Genesis Horns use Danley’s patent-pending Paraline acoustical technology to gradually attenuate output at lower angles so as to deliver even SPLs to all the seats, near and far.

The install proved to be the largest hurdle to overcome. “With the original site being built in 1968, and seeing numinous additions and upgrades, we had our hands full,” said McClain. Trenching was tedious in order to avoid underground utilities and unknown paths, so we were forced to dig slowly and carefully. When it was all said and done we had over 700 feet of trench at four feet deep. In order to avoid the necessity of repeating the arduous process at a later date a second “spare” conduit was installed. Dealing with the harsh desert heat cooling the equipment was also an issue. To avoid building a structure to hold the equipment, we used a self-contained climate controlled rack to house the amps and processors. Using the assistance of a local fabricator the forty-foot tall structure holding the loudspeakers was built. “After all the sweat and heavy lifting the system worked as designed and as promised.”

Deward Timothy of Utah’s Poll Sound came in for the final tuning, which, by all accounts, didn’t take very long given the natural sound of the GH-60s and the fact that they are true point-source devices. “The school district is amazed at how much output they’re getting,” said McClain. “The coaches are ecstatic! This is a huge leap up for them, and the system will serve them well for a long, long time to come.”

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

ONE OF THE LARGEST HIGH SCHOOLS IN OHIO MOVES TO ASHLY

Beavercreek_HighSchool_ExteriorBEAVERCREEK, OHIO: Beavercreek High School in the Dayton suburb of Beavercreek, Ohio is the third largest high school in the Buckeye State and supports an exceptionally active athletics program. The school’s girl’s basketball team has been especially successful, averaging eighteen wins per season over the past thirty-six years of coach Ed Zink’s tenure. With over 650 wins, Zink is the winningest girls high school basketball coach in Ohio’s history. Until recently however, poor sound system intelligibility put a damper on home games and dulled the excitement of award ceremonies. That’s all changed for the better with a new gymnasium sound reinforcement system centered on cost-effective Ashly Audio ne4400 Protea™ digital processing and KLR3200 amplification matched to Community R-Series loudspeakers.

“They used to have a few of what I call ‘nightclub speakers’ chained to the ceiling,” said Mike Staffan, owner of local A/V integration firm Lighthouse Sound and Communications. “The athletic director took a lot of grief about intelligibility in general, but especially at award ceremonies. Parents couldn’t hear their kids’ names being called, which is sure to generate complaints.” Under Staffan’s direction, independent engineer Jack Buttermore designed a new system in EASE that would deliver appropriate coverage, and Staffan and his staff installed it over the summer.

Inputs to the new system include Shure wireless microphones and a Denon CD/iPod player, which feed a Shure SCM800 mixer. Its mono output meets an input on an Ashly ne4400 4-In x 4-Out Protea™ Matrix Processor, which handles all necessary equalization, automatic microphone mixing and feedback suppression. The ne4400′s four outputs feed three dual-channel Ashly KLR3200 amplifiers, rated at 1,600W into a 2-Ohm load or 800W per channel into a 70V line. Four of those amplifier channels power the four Community R.35 loudspeakers that cover both sides of main floor seating. The two additional channels power ten Community R.15 loudspeakers – five to a side – for coverage of the gymnasium’s balconies.

Beavercreek_Gymnasium“I’ve been using Ashly equipment for a while now because the products are solid and, perhaps more importantly, the customer support is excellent,” said Staffan. “For me, trust and a good relationship are the most important things. Ashly is always ready to help, which is critical when I’m in the field and need answers to move an installation forward.”

“The newly installed sound system in the Beavercreek High School gymnasium is awesome, to say the least,” said James Smerz, the school’s previously besieged athletic director. “We finally have sound that covers the entire gym area with clarity and heightened volume. For the first time in the school’s history, the sound in the main gym will reach everyone effectively, even in a packed house!”

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

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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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