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Press Releases For : October 27, 2014

SSL Duality Brings La Mansión Recording Studios to Next Commercial Level

“SSL was always the number one option because of the incredible sound and powerful workflow options”

MONTERREY, MEXICO – Originally built 15 year ago as a world-class private recording studio, La Mansión Recording Studios has become one of Mexico’s premiere commercial recording facilities with a Solid State Logic Duality console leading the way forward. Built from the ground up by the Malvicino Design Group, La Mansión is a destination multi-room facility serving the likes of Gordon Raphael, producer for The Strokes and Regina Spektor, 15-time Grammy winning sound engineer Benny Faccone and a long list of top music groups and artists including Intocable, Pablo Montero, Zurdok, PXNDX and Jumbo.

SSL Duality at La MansionSituated on a hilltop overlooking the city, with breathtaking views of the mountains, La Mansión offers four different recording/creative environments, with Duality in Studio A, the largest studio, deluxe hotel-level bedrooms, a kitchen and dining room, with private offices, rehearsal rooms and a home theater entertainment area. The facility is fancied with hand-laid marble, salam wood floors and mahogany-lined walls to provide an elegant creative and living space. Studio owner, Victoria Morales-Kühne, took charge of the facility and opened to the public two years ago.

“The studio was first built by my family and we used it as a private studio for 13 years,” explains Morales-Kühne. “This studio was world-class in every respect, with very pricey, but not very commercial, digital consoles in each room, and, while a creative haven for us and our musician friends, we didn´t really have to consider a client’s needs. After asking for ways to improve our offerings as a commercial studio, SSL was always the number one option because of the incredible sound and powerful workflow options. That is what led us to Duality being installed in our largest room.”

The industry-leading sound of Duality was apparent on the initial recordings of Morales-Kühne’s new project. “In the first week with Duality, I recorded the vocals for my upcoming single with Alejandro Rosso from Plastilina Mosh producing and we were both very excited about the workflow of the console. The second week saw Latin Grammy nominees A Band of Bitches recording and mixing their new single and they were extremely happy with the sound. We also had the opportunity to playback previously recorded material from our high grade digital console, and the quality difference was immediately obvious. The sound through Duality was noticeably tighter, wider and it really packed a punch.”

While having a great console is a necessity, equally important is having the manufacturer at the ready to back up the purchase. This is a hallmark service of SSL. “We were keenly aware of buying a product that not only moved us forward on the sonic front, but that was hands down backed by the manufacturer. SSL came highly recommended by everyone we spoke to and working with them has been a complete pleasure. All our clients are very anxious to use our Duality room.”

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast, live and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

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CARGO Nightclub Brings Unmatched Sound Quality to Reno with Powersoft

‘Power is Everything’ for Newly Redesigned Venue, Which Counts Itself Among the Finest Sounding Small-Scale Venues in Western United States

Reno, NV, October 27, 2014: The newly completed CARGO Nightclub, which opened last June, is an exquisite 1,000 person capacity venue located in the Whitney Peak Hotel in the heart of downtown Reno. The new club, which is powered by several Powersoft M and K series amplifiers, is something of a sonic gem with its best in class audio system and lighting design, created to meet and exceed the discriminating standards of A-level touring artists and engineers.

cargo1The hotel, which is located where the Fitzgerald’s Casino & Hotel once stood, underwent a multi-million dollar renovation before opening to the public as Whitney Peak Hotel on Memorial Day of this year. Now, as Northern Nevada prepares for an impending technology boon with the planned construction of Tesla’s soon to be constructed Gigafactory, CARGO finds itself at the ‘spearhead’ of a ‘rebranding’ that is already underway in greater Reno.

Prior to the reconstruction and rebranding of the hotel, CARGO was located on the third floor, situated as a 700 person capacity venue with a mediocre sound system. With the property under new ownership following the renovation, a new directive was put in place from management that would ultimately raise the audio production and lighting design standards of the venue to an entirely new level. At the core of the audio system is an EAW KF740 3-way array system, powered by Powersoft K10s, K6s and K2 (2) channel high-performance power amplifiers.

powersoftrack“The whole idea of the club was to go high-end on the production side so we could be attractive to larger, nationally touring artists,” comments Dan Bishop, Production Manager at Whitney Park Hotel. “Now, CARGO is able to produce the same or better production quality that artists are used to experiencing in much larger venues. Our choice of Powersoft amplification played a key role in helping us attain both the quality of audio we required, while reducing overall power consumption. Since reopening the club in June, we are getting amazing feedback from both fans and artists alike — everyone is insanely impressed with the quality of production.”

A ‘Big-Sounding Venue’ in ‘The Biggest Little City in the World’:

According to Bishop, there were two fundamental challenges the venue faced during the renovation and rebranding phase. First, the first floor facility to be completely redesigned and rebuilt to accommodate a dedicated HVAC system and decoupled wall construction for the performance venue, which shared the first floor with other ‘quieter’ spaces including the restaurant and hotel lobby. Second, the selection and installation of sound and lighting components was of critical concern.

cargo2“My expectation of the audio system was that it had to be sonically accurate,” says Bishop. “Many times in other rooms, where there is an inferior PA, the sound is muddy coming into the room and this is often compensated for by increasing volume. I wanted to make sure all our program material was accurately represented without depending on ‘more volume’ so it would be heard with great clarity from anywhere in the room.”

To power the EAW KF740 system, which consists of two (6) box arrays suspended from the ceiling at either side of the stage and another (3) across the front of the stage, Bishop chose (8) Powersoft K10 for the subwoofers and low frequency drivers, (4) K6s for the mid-frequency drivers, (4) K2s for the high frequency drivers and Powersoft M50Q four channel amplifier to power the center fill speakers (for mid frequency).

On specifying equipment for the venue, Bishop was surprised to learn about the K-series amazing power efficiency rating. “The efficiency was so high and the power needed to run the Powersoft equipment was so minimal that I actually changed my design for electrical requirements because I knew the system wasn’t going to need as much,” he says. “That actually ended up saving us a significant amount of money in both construction and ongoing utility costs.”

“Once we got the system up and running, everyone was just floored,” Bishop recalls. “The clarity of the audio was amazing. There was no hum, no buzzing, no nothing. It was dead silent until you put something through the system. And once we did put audio through the system, what came out of it was so accurately reproduced, it was just amazing.”

powersoftrack2Bishop says that he initially became interested in Powersoft on hearing an audio demonstration at nearby University of Nevada Reno, which runs its house PA system off of Powersoft amplifiers. “I saw that they were running all of their gear off of a tiny 3U rack system set up in a corner,” he says. “I was impressed with both the audio quality and the small footprint and efficiency of the gear.”

CARGO uses two Midas PRO9 consoles: one at front of house and the other at monitors. Having chosen Powersoft, he is assured that whatever audio is coming out of the audio processing will be completely neutral. “The Powersoft gear does not color the sound in any way, and the audio that gets reproduced in our room is stunning,” he says.

“Power is Everything”:

“From the very beginning of this project, we wanted to make sure that we were achieving the best possible audio for this room, and power is everything,” concludes Bishop. “Now, no matter where you are in the venue, you are going to get a great show. That means we did a good job on equipment selection and integration, and I am really proud of that.”

Since opening, Cargo has hosted nationally prominent acts like Shiny Toy Guns, Johnny Lang and renowned Ukelele player Jake Shimabukuru. The venue continues to rise in prominence in Reno and beyond, and the property itself is planning even more innovations: “We are working on a couple of new projects. And when we begin pricing installations for these, Powersoft is a name that will be at top of my list : I love the brand and the product.”

About Powersoft:

Powersoft is the world leader in lightweight, high power, single rack space, energy efficient amplifiers for the professional audio market. Founded in Italy in 1995, headquartered in Florence, Italy, with offices in Ventura, CA, Powersoft couples the experience and precision of its production department with exceptional components to deliver products with perfect audio response and high performance reliability. Its state-of-the-art amplifiers can be found in an array of markets, ranging from stadiums, sporting arenas, theme parks, performance venues and airports to convention centers, churches and clubs, and are used by the world’s leading tour sound companies. For more information, visit the Powersoft website @ www.powersoft-audio.com.

Captions:

1) Reno, Nevada’s Cargo is powered by several Powersoft M and K series amplifiers,
2) At the core of the audio system is an EAW KF740 3-way array system, powered by Powersoft K10s, K6s and K2 (2) channel high-performance power amplifiers.
3) A camera crew records the television program “Cargo”, live at the Whitney Peak Hotel.
4) Powersoft K2, K6 and K10s power the front of house system at Reno’s Cargo nightclub.

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Martin Audio Debuts PSX Powered Subwoofer

Martin Audio PSX web

Waterloo, ONT––The PSX is a companion self-powered subwoofer for the DD6, XD12 and XD15 full-range loudspeaker systems. Featuring a powerful 15”/4” voice coil, long-excursion driver in a very compact reflex-ported enclosure, it houses two channels of Class D amplification, one channel for itself and one channel to power an XD12, XD15, or up to three DD6’s.

The PSX’s Class D amplifier section produces a total peak output of 2400W, with 1400W allocated to the 15” subwoofer and 1000W to drive the associated full-range system. Its lightweight, switched-mode power supply auto-ranges to global mains voltages from 100 to 240V 50/60Hz, and Power Factor Correction smoothes out the mains current draw over the whole of the AC waveform. The operating range of the PSX is 48Hz to 150Hz, with a peak SPL capability of 136dB at one meter.

Onboard DSP performs delay, crossover and EQ functions, while the PSX plus full-range system can be controlled and monitored from a laptop or wireless tablet PC via intuitive VU-NET™ proprietary software. PC connection can be made directly via micro USB, or via Martin Audio’s proprietary U-NET™ network and Merlin loudspeaker and network management system.

An important feature of the PSX is its Internal memory, which allows factory ‘plug-and-play’ or user-generated DSP preset ‘snapshots’ of the PSX/full-range combination to be recalled by means of a preset selector button on the rear panel, instead of using computer control.

The PSX’s tour-grade plywood enclosure is coated in hard-wearing polyurethane and its Declon® backed steel grille is pre-curved to resist deformation in the field. Practical features include a pole-mount fitting in the top surface, bar handles and protective skids. When stacked, the skids on the base of the upper PSX enclosure align with recesses in the top of the enclosure below.

FEATURES AT A GLANCE
• Compact subwoofer power plant for XD12, XD15 and DD6
• Low distortion, high-excursion 15” (380mm)/4” (100mm) voice coil driver
• 136dB peak output capability
• Onboard DSP, networking and Class D amplification (1400W sub + 1000W full-range)
• Switched-mode power supply with Power Factor Correction and global mains operation
• Tour-grade plywood enclosure with integral pole mount fitting
• Wheelboard and rain cowl options

APPLICATIONS
• Portable live sound for 100-400 people
• Smaller-scale theatre productions
• Corporate AV events
• Meeting halls and HoW

For more about Martin Audio, please visit martin-audio.com

About Martin Audio®
Founded by audio engineer David Martin in 1971, Martin Audio pioneered the use of all-horn-loaded bass designs in world-class touring loudspeaker systems for groups such as Pink Floyd, ELP and Supertramp. Located outside of London, Martin Audio now embodies a sophisticated mix of acoustic design, research, mathematical modeling and software engineering for a wide range of products in the installation, cinema and touring sound markets.

Flag Systems Delivers Balanced SPL to HARD Summer Festival with HARMAN’s JBL VTX Line Arrays and Crown I-Tech HD Amplifiers

HARMAN_HardFestLOS ANGELES, California – As an audio system provider with a 40-year history of working with world-class audio equipment, Flag Systems was again contracted to provide sound reinforcement and personnel for this year’s HARD Summer Festival. Having used HARMAN’s JBL VERTEC® line arrays for over a decade, the company recently decided to upgrade to JBL VTX Series line arrays, exceeding all expectations at the show.

The HARD Summer Festival is an electronic music dance festival, featuring some of the world’s top DJs. Naturally, this requires the highest volume levels and a heavy bass from the PA system, which not only needed to move a tremendous amount of air, but also due to city noise ordinances must have balanced SPL combined with precise pattern control. With guest appearances like Mary J. Blige and DJ Tiesto, system designers dazzled audiences with a total of 40 JBL VTX V25 loudspeakers and 44 VTX S28 subwoofers on the main stage.

Flag Systems was responsible for the audio at the main outdoor stage and one tent. On the main stage, it set up two hangs of 18 VTX V25 line arrays for the main LR system and four VTX V25 units as front fills. By using the same loudspeakers for the main hang and front fills, they were able to provide sonic consistency while maintaining high SPL’s that smaller loudspeakers cannot deliver. To ensure that the attendees enjoyed a bass-heavy experience with controlled coverage, the subwoofers were set up in a delay-steered end-fire cardioid configuration of 11 2×2 blocks.

The tent that Flag Systems was responsible for, dubbed “Pink Tent”, had a system consisting of two hangs of eight VERTEC® VT4889 line arrays and two of Flag Systems’ recently-acquired VTX V20 loudspeakers for front fills. Outside the tent for out fills and delays, there were two stacks of four VT4889 loudspeakers on risers and four of Flag System’s new proprietary SubX on each side. For the DJ monitors Flag used one VTX S25 and three V20 loudspeakers per side.

The entire system was powered by 102 Crown I-Tech 12000HD and three Crown I-Tech 4x3500HD amplifiers. JBL HiQnet Performance Manager™ was used to manage the system.

“At the request of guest engineers, we needed a system that could deliver all of the low-end frequencies in an accurate and powerful fashion,” said Dale West, Systems Designer of Flag Systems. “We believe that the JBL VTX Series is a phenomenal sounding system. The high end of the D2 driver never needs a lot of EQ, staying extremely linear as the output level increases, and the subwoofers are equally impressive. In order to generate the balanced SPL we needed for this festival and still have cancelation behind the stage, we end-fired the subs because it allowed us to achieve this with fewer boxes when compared to a traditional cardioid configuration.”

“We used Performance Manager because it is an amazing tool for system alignment, control over circuit-based EQ’ing, level control and delay times to add digital arc delays for optimum horizontal sub steering,” said West. “On a show like this where a system is pushed to its limits, it’s an absolute must to monitor system health, limiter threshold and component health. I never leave home without it.”

With this setup, the PA system exceeded the requirements of the audience as well as the touring engineers. The unique configuration rewarded the team with a good rear rejection, high SPL, smooth high end and powerful bass. West was mostly impressed by VTX’s ability to be tuned easily for any application, and is pleased with the increased efficiency of this upgrade.

“I can see that JBL did a lot of work designing these components, that in turn helps us a lot with systems design and implementation,” said West. “When I have the time to do my due diligence, by capturing multiple mic measurements and really delve into circuit based level and EQ-ing, the results have been jaw dropping. However when there is a time crunch I have complete confidence I’ll be able to get a PA into the air and timed correctly and get a fairly linear, distortion free system with a high SPL in relatively little time. With JBL VTX every show ends with smiles from the audience, artists and techs. I really enjoy using this product.”

Flag Systems will again be providing VTX for the upcoming Hard Festival Day of the Dead taking place Nov 1-2 in Los Angeles.

http://www.hardfest.com/

http://flagsystemsinc.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.

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Ward Church Makes a Joyful Noise With Renkus-Heinz

 Northville, MI – October 2014…In today’s fast-changing society, many churches have taken creative steps to grow their congregations by diversifying their offerings. Ward Church, a Presbyterian house of worship located in this Detroit suburb, is a case in point. The church had long offered three different worship settings each Sunday: a liturgical service in their chapel, a traditional service in their sanctuary, and a post-modern service in Knox Hall, a large multi-use venue. After a new worship director was hired, the church decided to start a fourth, mainstream contemporary service that featured a more driving and progressive rock musical style.

The new service was held in the sanctuary, with an existing sound system that included a pair of Renkus-Heinz STX8 loudspeakers mounted in the center above the stage. While the church had been happy with the STX8s, the more bass-heavy, driving style of music accompanying the new service called for a more powerful, full-spectrum solution.

“Overall, the sound quality was great for the more traditional service, but they wanted to take it up a notch for the more rock-oriented service,” explained consultant Nathan Cole of Sound Planning Communications in Redford, Michigan. “There was nothing wrong with the existing STX8 loudspeakers — they are good products and certainly could handle a contemporary service. What was needed was a re-installation of the speakers, some tweaking and some additional supplemental boxes here and there to fill it out.”

After modeling the room, Sound Planning Communications split up the two existing center STX8s to front right and left positions and kept an existing STX8 in the rear for back fill. An ICONYX IC Live ICL-FR-DUAL Digitally Steerable Line Array loudspeaker system was added on each side of the stage to cover the side-fill requirements created by a drop to an 18-foot ceiling on each side. Additional subwoofers were also installed.

“The IC Lives gave great penetration into the lower areas,” said Cole. “And because of their width, they delivered great horizontal front-fill coverage. We didn’t need to do any down-fill or front-fill boxes because the IC LIVEs were covering all the way across.”

After installing a series of 4-inch acoustic panels to help avoid bass traps in the final phase of the project, church leaders were pleased with the result.

“They didn’t really recognize how inadequate the previous system had been until they started the new service,” said Cole. “By re-positioning the existing Renkus-Heinz boxes and supplementing them with the ICONYX arrays, they now have a very warm, very punchy, nice sounding system for the space.”

 

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About Renkus-Heinz - Headquartered in Foothill Ranch, California, Renkus-Heinz, Inc. is the worldwide leader in the design and manufacture of audio operations networks, digitally steerable arrays, powered and non-powered loudspeakers, system specific electronics and fully integrated Reference Point Array systems.

 

Press Releases For : October 25, 2014

Answering the Challenges of Audio in the Corrections Environment

 Yorba Linda , CA – October 2014…It’s hardly a misnomer to say that the corrections industry is, in many ways, a world apart. It is its own unique environment, with its own unique challenges. As with most high-risk settings, communication is essential and can sometimes be critical. Providing good audio in this challenging world can be a demanding profession.

Audio systems in most prisons are designed for two-way communication between the inmates’ living area and guards on duty in a central control area called the picket. As Louis Davis, Vice President of Southlake, TX-based Electronic Controls and Automation observes, performance and reliability are the essential factors in designing a system. “The engineers who spec these systems base their criteria on reliability and quality. They want to provide the best systems for their clients. If you have a problem out there, if you have an officer in need of help and his only means of communication is through the intercom system, then you have to have good, reliable audio.”

As James Beckham, President of A-V Corp in Amarillo, TX explains, the environment can also be something of an acoustical nightmare. “Typically, you’ve got a large dayroom with cells opening off this dayroom on one or two floors. You’ve got concrete floors, concrete or cinder block walls, concrete ceilings, and steel bars. If a guard wants to communicate with an inmate in his cell, and they’re slamming doors across the way, and the TV is playing in the dayroom, all that ambient noise is going to reduce your intelligibility to next to nil.”

Beckham points to Tech Works ICM intercom systems, including ICA-202 amplifiers and ICR-116 station relay panels, as his first choice for delivering intelligible audio in these challenging environments. “We’ve been specifying Tech Works systems for years. Their systems are designed to deliver better intelligibility, so you can actually understand what’s being said.”

 Dependability is another essential requirement. The systems must function in the face of regular, ongoing abuse. “Sometimes it’s inmate abuse,” says Beckham. “You might have an inmate pulling out a transformer to use the wire to make a tattooing machine, for example.” Perhaps less apparent, says Beckham, is the potential for vandalism by corrections officers themselves. “Generally, the inmates are fairly closely supervised, and don’t have as much opportunity to tear stuff up. It’s the officer sitting in the picket (the central control area), bored out of his mind, who doesn’t necessarily want to talk to foul-mouthed, abusive inmates. So he might tear up the intercom so he’s got an excuse.”

Whatever the cause, maintenance can be problematic, and the systems need to remain functional even under less than ideal conditions. “It’s a challenging environment for the electronics,” adds Beckham. “Something may be damaged, a short may occur, and the system needs to keep working. The facility will see that they’ve got a problem, but they won’t know what or where it is. They may not get around to repairing it for two or three weeks.”

“These facilities have very little maintenance available, so down time is something we want to avoid,” echoes Rob Johnson of Greenville, IL-based Creative Technologies, manufacturers of Secured State security control systems. “The equipment needs to be very fault-tolerant, to withstand both intentional and unintentional damage. That’s what I like about Tech Works gear – it will withstand a lot of electronic abuse without shorting out.”

Indeed, maintenance can be a significant challenge. “You typically have a shortage of qualified technical staff, so you have people maintaining the equipment who are not all that well skilled,” says Beckham. “For example, you might have an officer who at one time was an electrician. He may know very little about audio, but they’ll have him working on the equipment. They may re-wire, and often mis-wire a system. So in addition to wear and tear and physical abuse, the equipment may have to withstand electronic abuse like running a circuit to ground or to a short for a period of time, simply due to user error.”

 Despite the ubiquity of digital and online communications in today’s world, the corrections sector has remained distinctively analog. What some might view as a Luddite perspective is, in the prison environment, a matter of pragmatic practicality. “Most of the communications industry has moved to VOIP technology,” observes Beckham. “But while putting everything on the network might be the way to go in most settings, there are literally thousands of county jails, city jails, and other incarceration facilities out there who are still in the analog domain. They have wiring in conduit that has been poured in concrete when the buildings were constructed. These facilities do not have the budgets at this point to rewire a facility to meet an IP scheme. And from a maintenance perspective, the people who maintain these systems don’t necessarily possess the electronics expertise to work on IP-based technologies. But they do understand a basic analog system.”

“There are really only a handful of amplifiers available that meet the detention industry’s specifications, and we found that most of them still had a really high failure rate,” says Davis. “We’ve put in hundreds of Tech Works systems all over the US, and we’ve yet to have a single one fail. The audio is less noisy, we’ve had fewer feedback and crossover issues, and it’s pretty easy to set up.”

“When we design a system for our customers, we’re looking not only at the cost of purchasing a system, but total cost of ownership,” says Johnson. “That includes the price of operation and maintenance down the road. Since we believe our systems should not require a maintenance contract, Tech Works has been the answer for us. The dependability is outstanding. We never had to send one back or had any issues with it. That enables us to design a bullet-proof system upfront and maintain our core values.”

The Tech Works systems used in corrections facilities had their start in another challenging setting, the medical industry. As Beckham points out, the company has been proactive in adapting their systems to meet the prison industry’s needs. “When I call in for a price quote, often (Tech Works President) Mark Dundas will get on the phone with me personally to ask about how I’m using a particular component, and we’ll brainstorm together on how to improve the product to meet our unique criteria. They’ve taken their healthcare audio systems and adapted them for the prison environment by making them even more robust and more secure. There’s simply no other manufacturer that builds an entire system that fills this niche.”

“One of the reasons you do business with a company is support,” offers Louis Davis. “Any time I’ve ever had a question, whether it’s about a particular type of microphone or speaker, or an existing amplifier has been compromised, I can call Tech Works and the people there have been super helpful. I can get all the info I’m after and more. It makes a big, big difference.”

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About Tech Works - Tech Works is a US-based manufacturer of high-quality, highly specialized communications systems for the healthcare, security, corrections, and education industries. Based in Yorba Linda, California, Tech Works was founded in 1984 with the goal of creating powerful communications solutions for the most demanding environments. Our products are designed to meet the unique challenges of our customers, in applications where clear communication can be critical. For more information, please visit www.tech4people.com

 

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Press Releases For : October 24, 2014

Bexel Supports a New Season of the Best in Reality TV

From “Chopped” to “The Apprentice,” Company Provides Services for a Host of Non-Scripted Shows
Bexel
(BURBANK, Calif.) – As the Fall television season rolls out, a wide array of reality programming is being supported by Bexel, a leading worldwide provider of broadcast services and solutions. Bexel can be found behind the scenes on a veritable who’s who of non-scripted programming, including Chopped and The Apprentice, providing them with the equipment, state-of-art systems, and engineering support needed to meet the highest broadcast standards.

The span of Bexel’s services in reality television covers the entire gamut the genre has to offer. From competitions like American Idol, Dancing with the Stars, Hell’s Kitchen, RuPaul’s Drag Race, and Utopia; to the real world exploits of Beyond Scared Straight, Black Ink Crew, The Real Housewives of Beverly Hills, The Real Housewives of Orange County, Vanderpump Rules, Watch What Happens: Live, and White Girl Problems; to sports-based shows including The Big Break, Deadliest Catch: The Bait, and Hard Knocks, Bexel contributes expertise, support, and solutions to some of television’s most entertaining shows.

Bexel provides a variety of premier technology solutions to these shows, including complete ENG camera packages with wireless monitoring, full ENG audio packages with multi-track recording, Cat-5 monitoring for offstage production offices, fiber booth kits, flypack systems, director/DP monitoring solutions, and much more. The company’s services also incorporate on-site design and installation, overall project management of the technical production, customized communication systems, and frequency coordination and consultation.

Chopped, which will soon begin airing its 22nd season, has been working with Bexel from day one. The popular cooking competition works with a 12 ENG camera flypack from Bexel, utilizing 10 Panasonic AJ-HDX900s cameras and two Panasonic AK-HC1500G robotics systems. The show is provided with CopperHead and SMPTE fiber cable, as well as Bexel’s custom camera harness, to make the ENG cameras work as needed in a studio application.

“From season one, we’ve worked with the great team at Chopped to build a camera package specific to their needs,” says Ernesto de la Torre, business development manager for Bexel. “To be cost effective, they need a very versatile system. With their 12 cameras, they have the flexibility to do what they need in the fast-paced Chopped Kitchen, while still being able to go ENG, which they do for the contestant bio packages. We’re also able to support their Steadicam Operator, who uses a Teradek Bolt Pro system. It allows him to record onboard with the Bolt, and transmit his signal to the control room integrating it into the full production process.”

Bexel also provides hands-on engineering support, delivered in a way that is uniquely integrated with the production. Timothy Quinn, a system engineer for Bexel, serves as the Engineer in Charge on Chopped. In that role, Quinn oversees the technical engineering aspects of the entire production. “Tim is an integral part of the show, and he’s truly considered to be a member of the Chopped crew after all these years,” notes de la Torre. “We also provide a Video Operator who’s charged with making sure all the cameras are matched when the show is being produced, which helps manage time and budgets during the editing process. Bexel’s commitment to our clients is exemplified by Tim and the complete services and support we’re proud to provide for Chopped.”

“Bexel’s support has been invaluable on Chopped,” comments Notional’s Loe Fahie, Line Producer for Chopped. “As an equipment and services provider, they’ve been with us every step of the way. Even when we moved studios a few seasons ago, everything went seamlessly. The team at Bexel knows our production requirements and anticipates our technical needs, which helps keep our production on schedule. I love this team. Ernesto and Tim act as if our show is their show as well. Bexel is part of the Chopped family!”

Bexel has also enjoyed a longstanding relationship with The Apprentice franchise. The popular series, featuring Donald Trump, will soon begin airing its 14th season (The Celebrity Apprentice 7), and Bexel has been in “the boardroom” from the very beginning. Each season the company sends a team of engineers to execute and oversee the entire installation in The Apprentice’s Trump Tower studios. For the upcoming season, the production is utilizing 24 cameras from Bexel, including 18 Sony PDW-F800s cameras and 60 channels of wireless audio from Sennheiser and Lectrosonics.

“From the very start, versatility was key for this production,” notes Gregory Bragg, vice president of Global Sales for Bexel. “Their field crews are able to use the 18 ENG cameras to shoot the contestants in ‘reality situations’ and set up mini-fly packs with six to ten cameras to cover a ‘task delivery’ in the field. Then all of those cameras are able to come in when they shoot the boardroom material. They get tied into Bexel’s control room facilities and become part of the studio flypack as well. The Apprentice franchise is the reason we originally developed our custom harness system. The only cost effective solution for them was to allow the flexibility of an ENG camera into a flypack situation, and our harness has continued to serve us well on many other shows.”

Bexel has served as a resource to production companies from the initial days of reality television. “Since the dawn of the early MTV shows in the mid-1990′s, including Road Rules and many others, Bexel has been at the forefront of support for reality television,” concludes Bragg. “As the genre has evolved, so have the services and solutions that we offer. The depth of our reach into the reality market is really unmatched. Whether it’s a small two to three camera production, a 24 camera mega-show, the 90 robotics involved in Hell’s Kitchen, or the massive infrastructure of Utopia, Bexel covers the entire range.”

About Bexel
Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers – including producers of the biggest and most important televised events in the world. For more information, visit www.bexel.com, and follow them on Facebook and Twitter.

About the Vitec Group
Capture the moment(tm)

For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com.

# # #

Media Contacts:
ignite strategic communications
818.980.3473
Christine Purse, chris@ignite.bz

The Walt Disney Company, Panasonic, Dolby Laboratories Make Cornerstone Donations to SMPTE Centennial Campaign

In Recognition of the Society’s Centennial Celebration, SMPTE Next Century Fund Will Support Next-Generation Standards, Membership, and Education Programs

LOS ANGELES — Oct. 23, 2014 – The Society of Motion Picture and Television Engineers(R) (SMPTE(R)), the worldwide leader in motion-imaging standards and education for the communications, media, entertainment, and technology industries, today announced that The Walt Disney Company, Panasonic, and Dolby Laboratories have made contributions totaling $1 million to the SMPTE Centennial Celebration Campaign’s Next Century Fund. These gifts, formally recognized today at the SMPTE 2014 Annual Technical Conference & Exhibition, are the largest financial commitments in the Society’s history.

“It is our great pleasure to lend our support to SMPTE, both in terms of leadership and financial support, as the Society prepares for its Centennial Celebration,” said Vince Roberts, executive vice president of Global Operations and chief technology officer, Disney/ABC Television Group. “For almost 100 years, SMPTE has played a critical role in advancing the art, science, and craft of the moving image and its sound. We are proud to partner with SMPTE as it continues its groundbreaking work in moving-imagery education, engineering, and research.”

“We can’t think of any organization more worthy of our support than SMPTE,” said Kunihiko Miyagi, director, Professional AV Business Unit, Imaging Network Business Division in Panasonic Corporation’s AVC Networks Company. “The ongoing role the Society plays in advancing standards and technical education for our industry is absolutely critical to our success, and to that of all SMPTE members. Panasonic salutes SMPTE as it enters its second century of advocacy and advancement for the field of moving imagery.”

“SMPTE has made a remarkable and long-standing commitment to education and to the development of standards that support ever-greater creative and technical achievements in the field of motion imaging and sound,” said Pat Griffis, executive director of technology strategy, Office of the CTO, Dolby Laboratories. “The Society’s centennial celebration is an ideal opportunity to recognize this work and its enormous influence on our industry.”

The SMPTE Centennial Campaign has been established in recognition of the Society’s 100-year anniversary in 2016. The campaign is led by an advisory committee consisting of Wendy Aylsworth and Chuck Dages (retired) of Warner Bros.; Peter Fannon of Panasonic; Richard Friedel of Fox; Charles Jablonski of SMPTE; Peter Ludé of RealD; William Miller of Miltag Media Technology; Chuck Pagano (retired) of ESPN; Bob Ross of CBS; and Larry Thorpe of Canon.

“Without question, SMPTE’s next hundred years will be very different from the first. As our industry evolves, new developments are challenging every aspect of the media workflow — from technology tools to business models,” said Barbara Lange, executive director of SMPTE. “With their generous gifts, The Walt Disney Company, Panasonic, and Dolby Laboratories are providing a tremendous boost to the Society’s ongoing expansion and evolution across our three pillars of activity: standards development, membership development, and education programs.”

The Next Century Fund will support specific SMPTE standards activities that speed the development, adoption, use, and understanding of new industry standards, as well as creating tools such as a repository for test materials that are crucial for certifying new IP-based workflows. In the area of membership development, SMPTE’s goals include international Section expansion as well as improving programming and networking for students. In education, the Society will focus on creating educational programs that support rapidly changing industry needs; establishing regular conference events throughout the world; and developing and deploying educational programs that serve all levels of membership.

Further information about the SMPTE Centennial Campaign is available at www.smpte100.org.

# # #

About the Society of Motion Picture and Television Engineers(R) (SMPTE(R))
The Oscar(R) and Emmy(R) Award-winning Society of Motion Picture and Television Engineers(R) (SMPTE(R)), a professional membership association, is the preeminent leader in the advancement of the art, science, and craft of the image, sound, and metadata ecosystem, worldwide. An internationally recognized and accredited organization, SMPTE advances moving-imagery education and engineering across the communications, technology, media, and entertainment industries. Since its founding in 1916, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 800 standards, recommended practices, and engineering guidelines.

The Society is sustained by more than 6,000 members — motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students — who meet in Sections throughout the world. Through the Society’s partnership with the Hollywood Post Alliance(R) (HPA(R)), this membership is complemented by the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media, and other dynamic media content. Information on joining SMPTE is available at www.smpte.org/join.

All trademarks appearing herein are the property of their respective owners.

Photo Link: www.wallstcom.com/SMPTE/SMPTE-VinceRoberts_BarbaraLange.jpg
Photo Caption: Vince Roberts, Disney/ABC Television Group and Barbara Lange, SMPTE
Photo Credit: Ryan Miller, Capture Imaging

Photo Link: www.wallstcom.com/SMPTE/SMPTE-RonMartin_BarbaraLange.jpg
Photo Caption: Ron Martin, Panasonic and Barbara Lange, SMPTE
Photo Credit: Ryan Miller, Capture Imaging

Photo Link: www.wallstcom.com/SMPTE/SMPTE-PatGriffis_BarbaraLange.jpg
Photo Caption: Pat Griffis, Dolby Laboratories and Barbara Lange, SMPTE
Photo Credit: Ryan Miller, Capture Imaging

Video Link: www.youtube.com/watch?v=jN2yYrEFMFQ
Video Caption: SMPTE Centennial Campaign: The Next Century Fund

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Primestream Products on Display at CAPER 2014:

FORK Production Suite v4.6
At CAPER 2014, Primestream(R) will show FORK(TM) Production Suite v4.6, the latest version of its acclaimed software platform for managing the automation of the most complex broadcast workflows. With new modules, functionality, and integrations with the leading broadcast hardware and software vendors, FORK v4.6 is the most extendable, configurable, and powerful version of FORK ever released and includes major revisions to the underlying structures of FORK 4.5 that debuted at the 2014 NAB Show. These upgrades increase overall system responsiveness and provide for the handling of a vastly increased quantity of media assets.

These many improvements position FORK for the support of H.264, H.265, and MXF as well as 64-bit and 4K workflows. Behind this thinking is the intent that customers feel secure that the investments they make today pay big dividends in the future as they move toward the adoption of new formats and standards. FORK v4.6 also includes deep two-way integrations with nonlinear editors like Adobe(R) Premiere(R) Pro, Avid(R) Media Composer(R), and Apple(R) Final Cut Pro X(R). The integrations support edit-while-capture workflows with XDCAM(R), ProRes(R), and AVC-Intra(R) — empowering sports, news, entertainment, and corporate video operations to use industry-leading NLEs — while gaining the benefits of the FORK media asset management and automation platform for I/O, logging, tagging, proxy editing, workflow management, and archiving.

Photo Link: www.wallstcom.com/Primestream/Primestream-FORK4-6ProductionSuite.jpg
Photo Caption: FORK(TM) Production Suite v4.6

FORK Xchange Suite v3.0
Primestream(R) will demonstrate FORK(TM) Xchange(TM) Suite v3.0, a major upgrade to the application that gives broadcasters instant Web access to content on their FORK Production servers from any Windows(R), Mac(R), or tablet device. Xchange v3.0 features a completely redesigned iPad(R) interface optimized for Apple(R) iOS 7. Also new in Xchange, users can now manage non-video files such as audio, image, document, and project files. Direct integration with multiple transcode engines for proxy rendering is also available in Xchange v3.0.

Other new features and capabilities include:

* Xchange Uploader: Allows users to submit raw or finished packages directly into the FORK production environment via a Web-based interface.
* Xchange Downloader: Allows users to download source content in order to edit final packages locally, with the ability to choose among multiple qualities to download.
* Xchange Partial File Download: Allows users to download sections of media, leading to faster download workflows and eliminating the need to download entire media.
* Quick, Cuts-Only Editing: Allows users to create a rough cut with footage in Xchange and send the timeline to the FORK Production environment for distribution.

Photo Link: www.wallstcom.com/Primestream/Primestream-FORKXchangeSuite3.jpg
Photo Caption: FORK(TM) Xchange(TM) v3.0

FORK Logger With STATS
FORK(TM) Logger, the metadata tagging module in the acclaimed FORK Production Suite, now integrates with in-depth data feeds from STATS, the global leader in sports information, technology, and content. With this service, FORK Logger users can start their sessions with prepopulated placeholders that contain rich event data pulled from the STATS feed, such as team name, location information, rosters, conference name, and win/loss records. Working from these populated placeholders enables users to avoid manually entering data, which increases the accuracy of the descriptive information.

Photo Link: www.wallstcom.com/Primestream/Primestream-Logger-sports.jpg
Photo Caption: FORK(TM) Logger for Sports

FORK Archive Bridge v1.0
Archive Bridge(TM) v1.0 is a new module for the FORK(TM) Production Suite that provides tight integration between industry-leading archival solutions and the FORK media asset management and production automation platform. Archive Bridge enables disaster recovery workflows and interconnects multiple production environments with a central archive point — adding essential visibility into the archival workflow and allowing facilities to make the most of their archiving dollars.

Photo Link: www.wallstcom.com/Primestream/Primestream-ArchiveBridgeUI.jpg
Photo Caption: FORK(TM) Archive Bridge(TM) v1.0

Company Quote:

Spanish:

“Es siempre importante para Primestream participar en la convención de CAPER, este año vamos a exhibir nuestra completa suite de automatización y administración de contenido con los nuevos y avanzados módulos de Logger y Xchange con los cuales se obtiene una rápida y efectiva implementación de varios procesos incluyendo la posibilidad de trabajar en un ambiente de colaboración remoto a traves de la nube. A su vez en CAPER estaremos demostrando nuestra integración con múltiple plataformas de edición y captura.”
– Claudio Lisman, Presidente y CEO, Primestream

English:

“It’s always important for Primestream to participate at CAPER. This year we will show the entire FORK automation and asset management environment with Logger and Xchange being highlighted for fast metadata tagging and multisite cloud asset management environments. We are also emphasizing integrated workflows with leading NLE platforms that increase productivity and efficiency with features such as edit-while-capture.”
– Claudio Lisman, President and CEO, Primestream

Company Overview:

Primestream(R), a leader in advanced automation and asset management software, offers a seamless end-to-end platform for the digital acquisition of live and file-based content, editing, logging, control room and master control playback, Web publishing, smartphone video contribution, and archiving. Primestream’s proven solutions are implemented by some of the world’s leading broadcasters, uplink service providers, online digital media operations, corporations, and production/postproduction facilities, and are ideally suited for multisite operations. More information is available at primestream.com.

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Wohler Products at CCW 2014

CCW 2014
Nov. 12-13
Wohler Technologies Product Preview
Booth 701

Tachyon(R) Wormhole(TM) Media Retiming
The award-winning Tachyon(R) Wormhole(TM) file-based media retiming solution enables up to a plus or minus 10 percent runtime adjustment while preserving not only video and audio quality, but also closed caption integrity. Based on Cinnafilm’s popular Tachyon algorithms and the Wohler RadiantGrid Intelligent Media Transformation Platform(TM) framework, Tachyon Wormhole saves time for content producers, allowing them to “fit and fill” — easily adjusting content to meet specific customers’ length requirements without compromising the integrity or quality of audio, video, and captioning/subtitling. In many cases, this approach allows users to replace a great deal of expensive specialized hardware with a single server at a fraction of the cost. At the same time, Tachyon Wormhole not only gives time back to broadcasters and content distributors, but also allows them to realize new revenue opportunities without materially altering the viewer’s experience of their media assets.

Photo Link: www.wallstcom.com/Wohler/Wohler-Tachyon-Wormhole.jpg
Photo Caption: Tachyon(R) Wormhole(TM) File-Based Media Retiming Solution

RadiantGrid Intelligent Media Transformation Platform(TM) Version 8.7
The award-winning version 8.7 of the Wohler RadiantGrid Intelligent Media Transformation Platform(TM) offers broadcasters a variety of powerful tools that boost the efficiency of file-based workflows for multiplatform media delivery. The platform enables fully compliant OTT offerings for leading formats, including MPEG-DASH, HLS, and Microsoft Smooth Streaming, and aids broadcasters and other content producers in meeting the array of target bit rates, resolutions, and frame rates necessary for today’s content delivery ecosystem.

The media processing engine parallelizes complex audio loudness correction alongside the video at unprecedented speeds. Along with optimized video pipeline features such as anamorphic video handling, 2K/4K Ultra HD support, and bit depths of up to 16-bit YUV, the RadiantGrid platform has been enhanced with the RadiantGrid Detect and Correct(TM) video legalization option, which leverages Wohler’s unique RightHue(TM) algorithm to ensure comprehensive NTSC and PAL color compliance within the file-based domain.

Photo Link: www.wallstcom.com/Wohler/Wohler-RadiantGrid.jpg
Photo Caption: RadiantGrid Intelligent Media Transformation Platform(TM)

MPEG DVB-ASI and IPTV Monitors
Providing functionality critical for facilities migrating toward IP-oriented distribution networks, the award-winning MPEG Series monitors decode and provide convenient at-a-glance monitoring of program content from MPEG-2/4 ASI and Ethernet IP streams, as well as 3G/HD-SDI inputs. To meet broadcasters’ increasing need for stream-based monitoring, the MPEG video monitors identify, decode, and display in high resolution both MPEG-2 and MPEG-4 signals (input via BNC or Ethernet), while giving users the ability to browse the PAT, PMT, PID, EIT, and NIT data (both ATSC and DVB tables) for each selected stream. In addition to MPEG ASI and dual-input 3G/HD-SDI with loop-through, the MPEG monitors also accommodate audio with level meters, GPI, and tally. Convenient monitoring capabilities include Dolby Digital and Digital+ decoding, as well as the capacity to decode as many as 12 audio groups. In-picture level metering of up to 16 channels of audio is provided for both average and PPM (peak) levels with selectable meter scales.

Photo Link: www.wallstcom.com/Wohler/Wohler-MPEG-4290-VideoMonitor.jpg
Photo Caption: Wohler MPEG-4290 Video Monitor

AMP2-E16V Series Modular Audio/Video Processing Monitor
The AMP2-E16V monitor’s feature list continues to be the longest in the industry, yet the product is operated with one-touch simplicity. In addition to its top-quality audio system, it features simultaneous multiformat monitoring, quick program selection, instant stereo downmix, loudness monitoring, internal channel mixing including SDI re-embedding, and audio delays. The monitor also includes a wide variety of meter scales and ways to view meters, video, and Dolby or SMPTE 2020 metadata.

The AMP2-E16V offers Dolby Zoom, Dolby E line position, and CRC error monitoring, as well as automatic system configuration based upon signal inputs, 32 complete system configuration presets, a complete internal help system, and Ethernet software updates. Audio processor card options facilitate easy configuration for multiple SDI, AES I/O, analog I/O, and connection to external surround systems.

A new AVB Monitoring Option card allows AVB channels to be mixed, level-adjusted, and monitored alongside AES, SDI, analog, and other input types, and in the same fashion. Further enhancements include new processing modules and newly developed software that expand the feature set and capabilities to include loudness monitoring and extended audio interfacing.

Photo Link: www.wallstcom.com/Wohler/Wohler-AMP2-16V-Audio-VideoProcessingMonitor.jpg
Photo Caption: Wohler AMP2-E16V Audio/Video Processing Monitor

AMP1-16M Dual 3G/HD/SD-SDI Audio Monitor
Wohler’s new AMP1-16M dual-input SDI audio monitor provides high-performance monitoring of embedded audio in two 3G/HD/SD-SDI streams at an attractive price point. The 1-RU system de-embeds and provides metering and monitoring of any or all of the 16 audio channels in the selected 3G/HD/SD-SDI stream. It assures intuitive operation and clear display of levels and other critical information using bright 2.4-inch LED-backlit LCD displays, enabling one-touch monitoring and summing of any selected channel pair(s) to built-in speakers, headphones, or XLR-balanced analog outputs.

The AMP1-16M monitor features a number of convenient capabilities including remote access for setup and storage of user-defined presets via Ethernet and USB connections, along with gain adjustment/trim on individual audio channels with the ability to assign channels as left, right, or center (both) to the internal audio system and the analog outputs. It offers both pass-through of each SDI input and a reclocked output of the selected monitored SDI stream.

Photo Link: www.wallstcom.com/Wohler/Wohler-AMP1-16M-Dual-3G-HD-SD-SDI-AudioMonitor.jpg
Photo Caption: Wohler AMP1-16M Dual 3G/HD/SD-SDI Audio Monitor

RDM-173 Slide-Out Rackmount Video Monitor
Wohler will feature the company’s RDM-173 slide-out video monitor, a 1-RU rackmount system that provides robust monitoring tools and 17-inch HD IPS (1920 x 1080) display in a design that is ideal for space-constrained environments. An optimal solution for AV conferencing and both electronic newsgathering (ENG) and OB production, as well as for integration into electronic field production (EFP) flypacks, the RDM-173 supports all formats of 3G/HD/SD-SDI, HDMI, DVI, composite, Y/C, and component video. The high-resolution display provides superb imaging video quality with viewing angles of 160°H by 140°V and both picture-in-picture (PIP) and picture-by-picture (PBP) display modes. The unit provides a 16-channel level meter on-screen, as well as waveform and vectorscope display, tally, time code, format display, and area/title safe indicators. Front-panel controls simplify operation, and intuitive on-screen menus make configuration easy.

Photo Link: www.wallstcom.com/Wohler/Wohler-RDM-173-3GFrontView.jpg
Photo Caption: RDM-173-3G Front View

Company Quote:

“At CCW 2014 we’ll highlight products with innovative functionality that enables users to realize greater efficiency and — through both cost savings and new revenue-generating opportunities — a rapid return on their technology investment. In particular, we will demonstrate the capabilities of the award-winning Tachyon Wormhole file-based media retiming solution, including the ability to insert additional ad spots seamlessly and to reduce and expand content runtime for international distribution without the need for manual editing of media.”
– Craig Newbury, Vice President of Sales, Wohler

Company Overview:

Wohler’s tradition of innovation began more than 30 years ago with the creation of the industry’s first in-rack audio monitoring product, and it continues today through the company’s continued development of unique solutions that span the baseband, stream, and file-based domains and include advanced monitoring solutions for video, audio, and captioning applications; solutions for IP monitoring, encoding, and decoding; and the award-winning RadiantGrid(TM) platform for efficient file-based content transformation and distribution. Together, Wohler’s advanced, cost-effective confidence monitoring and media transformation products ensure high-quality production across any platform and delivery to any device. More information about Wohler is available at www.wohler.com.

All trademarks appearing herein are the property of their respective owners.

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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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