Gearhouse Broadcast, a leading international broadcast services company, has chosen Riedel Communications‘ state-of-the-art Artist Digital Matrix intercom system for updating its range of portable production units and flyaway broadcast packages. The project was handled by MI Broadcast, Riedel‘s UK distribution partner.

With offices located in the UK, Australia and the U.S., Gearhouse Broadcast provides comprehensive services including broadcast sales and rental, project solutions, outside broadcast solutions and systems integration to cover live and recorded events, particularly sporting and entertainment productions. Gearhouse Broadcast rental works closely with clients and manufacturers investing in the latest equipment to meet market needs.

Kevin Moorhouse, technical director of Gearhouse Broadcast says, “Riedel Communications provided us with a solution that is fully scaleable, ideal for rental applications and is truly flexible, surpassing all of our expectations. You can have several individual systems that can be used for smaller events and can easily be linked over fiber to form one big, non-blocking matrix for larger events. ”

As a first step Gearhouse Broadcast invested in two Artist 128 digital intercom matrix mainframes as well as 60 of Riedel‘s Artist 1000 premium control panels. The systems will be used for the first time for the Australian Open in January 2008, which are traditionally equipped by Gearhouse.

About Riedel

Riedel - one of the major suppliers of communications equipment to the 2007 Rugby World Cup in France - designs, manufactures and distributes the most sophisticated intercom and radio technology for customers worldwide in the broadcast, pro-audio, event, sports and theatre industries. The products reflect today‘s leading-edge technologies that expand conventional concepts into tomorrow‘s applications. The Riedel group of companies also includes a European based large rental operation that provides radio, intercom services, event accreditation & ticketing systems as well as fiber-based audio and video transmission systems. The Company was founded in 1987 and today employs over 150 people located within 7 locations in Europe, Asia and North America.

Toronto, Canada, December 20, 2007 — Power Group, LTD, a Canadian-based distributor of quality musical instruments and professional audio products, will kick off the New Year by rolling out The Highland Guitar Company and outfitting its electric and acoustic guitars with Elixir® Strings, pioneer of long-life strings. more

ARCS® loudspeakers providing enhanced front-/side-fill coverage for legendary venue

NEW YORK CITY - December 2007 — Long revered as one of the Big Apple’s most renowned live performance venues, Radio City Music Hall offers its visitors the opportunity to enjoy a wide cross section of musical extravaganzas, including the world-famous Radio City Christmas Spectacular starring The Rockettes, which this year celebrates its milestone 75th anniversary.

As one can imagine, complex productions like the Christmas Spectacular require that intelligible, uniform audio be not only delivered to the audience, of course, but to the dozens of dancers gracefully executing their choreographed moves across the Great Stage. With this in mind, Radio City Music Hall’s production crew and owner, Madison Square Garden Entertainment, chose to ultimately update the on-stage monitoring system with a dozen L-ACOUSTICS ARCS® front- and side-fill cabinets supplied by Clair Brothers Systems. more

Hollywood, CA - As the castaways held their collective breath waiting for the million-dollar prize to be awarded, the grand finale of Survivor: China put CONEQ to the test as well.

The much talked about invention from Latvian technology company Real Sound Lab, CONEQ survived close scrutiny during the setup and rehearsals of Survivor: China, to become a Tribal Leader in its own right. As the host loudly proclaimed “Live from CBS Television City,” the scene shifted seamlessly from taped footage of the last Tribal Council in a remote part of China, to Sound Stage 46 at CBS in Hollywood. The 16 “castaways” of this popular reality TV show were all present, the final three contenders were on the edge of their seats, and the million-dollar winner was about to be announced. The audience was going wild!

Standing for CONvolution EQualization, CONEQ is an advanced audio processing system that flattens and naturalizes the sound quality of loudspeakers to a degree that has previously been unknown. Suitable for applications ranging from large-scale PA systems all the way down to studio monitors, a CONEQ measurement, and the resultant 4096 point amplitude correction, is based on Acoustic Power instead of the standard SPL measurements that have previously dominated the sound industry. On the Survivor set, ten channels of CONEQ correction were used to equalize the sizeable system provided by Production Resources Group (http://www.prg.com/people/bdaly).

While Survivor provides its loyal fans with the opportunity to bond with the contestants and live vicariously through them as they go through the process of reaching the finish line (without having to actually eat bugs and chicken feet), CONEQ ensured that the live audience at the finale could clearly hear and enjoy the final moments leading up to the election of the sole survivor.

As challenging as it is to “survive” on a remote island, it‘s perhaps equally challenging to mic 16 diverse contestants, none of whom are trained actors, and enable them to be heard over the substantial crowd noise generated by the loyal fans of the show. CONEQ did this effortlessly, as well as significantly streamlining the workflow for the CBS crew.

“The CONEQ tuning process is about as painless as it gets,” stated Bill Daly, Survivor‘s sound designer and lead mixing engineer. “The usual time I allocate for system tuning with an FFT was cut in half, while the results were better than I could have imagined. On a major live telecast like Survivor, I normally allocate two nights for system tuning. With CONEQ, I was ready for rehearsals in just one.”

A CONEQ measurement is made by moving the measurement mic around the sound source for a period of about two minutes, during which time several hundred data points are acquired. The data points are then processed by the CONEQ computational engine, revealing the true Acoustic Power of the sound system. Simultaneously, CONEQ synthesizes a 4096 point correction curve which is then uploaded to a two-channel APEQ equalizer.

“My rack of ‘emergency graphics‘ was literally left untouched, as were the EQ filters on my 10 channels of XTA loudspeaker processors,” observes Daly. “The ten channels of CONEQ correction were all that I needed. The sound for the telecast was smooth as silk, and in particular, I‘ve never heard the main arrays sound better.”

“During the show,” he continues, “I‘d occasionally introduce a small amount of channel EQ to the dialog mics. I‘ve never heard a sound reinforcement system respond to these small touch-ups like this one did. CONEQ is the most effective system alignment tool I‘ve ever used.”

The Survivor system included five CONEQ APEQ Acoustic Power Equalizers (ten channels), left and right dV-Dosc main arrays, two arrays of Meyer M1Ds for down-fill, a row of d&b C-6s for delay fill, and 72 Apogee SSMs plus 64 Apogee SAT-3s for front fill and under-seat fill. Two Yamaha M7-CLs were used for house, while a PM1D and a PM-4000 handled monitor duties.

“CONEQ has changed my way of working,” Daly stated emphatically. “In the past, I‘ve always set the PA at a comfortable level for the air mixers, and then I use my cue speakers at the console to mix the show. That was the only way I could catch the nuances I needed to hear, in order to make fractional EQ and level decisions.

“With CONEQ it‘s a new ball game. I‘m mixing entirely from what I hear out of the PA, which is the way it ought to be. I use the cue speakers just to preview channels before bringing them up in the house,” he concludes.

CONEQ is the development of Real Sound Lab, Riga, Latvia (www.realsoundlab.com).

Indianapolis, IN - December 20, 2007 — With a reputation as the industry leader in innovative sound control solutions, Auralex Acoustics, Inc. recently detailed several of the Music Garage‘s rehearsal spaces at its Chicago facility with state-of-the-art acoustical treatments. The Music Garage is a high-tech studio where artists can rehearse, record, upload, download and manage all aspects of their careers.

The Music Garage houses over 100 rehearsal rooms including its elite Pro Suite, reserved for established musicians, as well as three recording studios. The space caters to both upcoming and veteran artists as well as a wide range of musical genres. Many of the rooms at the Music Garage have Auralex‘s 2” Studiofoam Wedges, an affordable solution that knocks the reverb out of a room, and LENRD Bass Traps in the corners, which smooth out low frequency room nodes.

Essentially, the Music Garage purchases Auralex‘s products and passes them along to its clients to use in the studio at no extra charge. This allows each artist to customize their rented rehearsal/recording space. Several movable Auralex ProPanels are also on site so the studio can cater to its customers‘ distinctive sounds. As an added convenience for its musicians, the Music Garage is a reseller of Auralex products, offering customers a way of ordering Auralex acoustical treatments on site.

“We may have a rock band in one day and a folk band in the next - each requiring its own acoustical retrofitting,” said Jon Pope, co-founder of the Music Garage. “Through our relationship with Auralex, we are able to acoustically cater each room to meet the needs of our diverse client-base. We are so pleased with the outcome and the positive client response, that we are currently looking to retrofit our New York location with Auralex products.”

The Music Garage‘s Pro Suite is a private and segregated area of the facility for more established artists who are looking for complete isolation and luxury. The Pro Suite is divided into a tuned live room with adjoining control room, both treated with Auralex‘s 4” Studiofoam diamond wedges, MegaLENRD Bass Traps, LENRD Bass Traps, Venus Bass Traps, T‘Fusor Diffusors and pArtScience AudioTiles. The live room also features Auralex‘s pArtScience SpaceCouplers, while the control room features diffusion panels on its back wall and absorption panels above the windows.

“At the Music Garage, we offer our artists the full-package,” continued Pope. “We also host a no-cost lecture every month, ranging from recording techniques and tips to the industry as a whole. This gives us an opportunity to recognize the great artistic minds that have come through the facility while educating the newcomers.”

About The Music Garage

The Music Garage is a state of the art, high tech, rehearsal studio, built to professional standards. We offer competitive prices, high security, quality construction, soundproofing and acoustics, state of the art electrical systems, hard wired Internet connections in every room, an onsite supply and repair shop, and outstanding customer service. At the Music Garage artists can rehearse, record, upload, download and manage all aspects of their career in a supportive and professional environment. To tour the facilities in New York, call Tom at 718-218-9127, in Chicago call Jon at 917-613-9472. Visit The Music Garage online at www.musicgarage.com.

About Auralex Acoustics, Inc.

Located in Indianapolis, Auralex Acoustics was founded in 1977 with a mission to provide top-performing acoustical treatment products at the best value. Since then, thousands of satisfied Auralex customers have experienced improved acoustics, expert advice and exceptional customer service. Auralex products enjoy widespread use among prominent artists, producers, engineers, corporations, celebrities and government agencies.

Auralex Acoustics has become the industry leader in innovative sound control solutions and continues to enjoy rapid growth through an international network of authorized dealers. Visit the Auralex web page at www.auralex.com. Auralex can be reached via email at auralexinfo@auralex.com or by calling 1.800.959.3343.

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