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Venues and Performers Prefer EV! Electro-Voice Colonizes SXSW Again — Performers include The Black Keys, Vampire Weekend, X, Evan Dando, The Von Bondies, Daniel Lanois, R.E.M., Carbon/Silicon and over 1500 other performers!

Electro-Voice recently proved its #1 pro audio brand status in Austin, Texas, the self-proclaimed “Live Music Capital of the World”. Found onstage at the most talked about SXSW venues and showcases, the EV brand rubbed elbows (and lips) with the likes of rock god Lemmy (Motorhead), critic darlings Vampire Weekend, Sons & Daughters, as well as uber-cool-kids, The Black Keys. And that‘s just for starters…

From March 7 - 16th Austin was inundated with the hippest of the hip, including producer Daniel Lanois, festival keynote speaker Pete Townshend, Billy Bob Thornton, and culinary celebrity Rachel Rae, the latter of whom hosted her own rock showcase. More than 13,000 music enthusiasts attended the official SXSW conference and over 2,000 bands performed throughout the city‘s labyrinth of music venues. From cult legend Jandek to Athens, Georgia‘s favorite sons, R.E.M., performers poured in from all corners of the globe to see and be seen, to play, and carve a niche in the ever-changing music industry landscape. According to the Austin Convention and Visitors Bureau, the 2008 conference had a $110 million dollar economic impact on the city of Austin.

The logistics that go into SXSW are mind-numbing. There are parking issues, hotels are booked full months in advance, restaurants operate round-the-clock, police staffing is increased, amongst other contingencies put in effect to successfully manage over 50,000 non-natives who converge on the city. Given that over 200 clubs and stages must operate simultaneously, it‘s a great time of year for Austin-based and neighboring Texan sound companies. For one week in March every sound engineer is busy 24 hours a day, having been hired sometimes as far as a year in advance. The same goes for the rental business; try to find a mobile P.A. in Austin during SXSW. Rental company warehouses are empty, often with 100% of their stock out on jobs. Sub-rentals skyrocket.

With so many venues operating simultaneously and a proliferation of talented acts from around the world performing, the quality of a venue‘s sound system becomes paramount. If a patron doesn‘t like the quality of sound they‘ll simply walk next door. And venue owners can‘t afford that; if they lose bodies to bad sound, they don‘t sell alcohol, which negatively affects their bottom line.

That being the case, Austin venue owners and operators are very particular about the quality of sound. Thus, it‘s only fitting that Austin is an Electro-Voice town, and has become steadily more so from year to year.

Although following a bit behind the cultural zeitgeist noticed by countless other industries, in 2004 Electro-Voice recognized the indisputable SXSW cultural phenomenon and took an active role in making sure that Electro-Voice became the premiere pro audio brand in Austin, Texas. Offering limited sponsorships to a handful of clubs, in 2004 Electro-Voice began its campaign to make the EV logo ubiquitous in Austin. Now, in 2008, Electro-Voice marks its fifth year of activity at SXSW - and with it the addition of Monte Wise to the coordination and implementation of all things EV in Austin.

Monte Wise, Director of Special Projects, Electro-Voice, who now lives and works in Austin, was involved in the sale and installation of two very high profile systems in Austin: ME TV‘s soundstage (used for ME live tapings) and the legendary club Antone‘s. Wise remarks: “I see these installations as just the beginning of developing an even higher profile EV presence in Austin and at SXSW.”

Susan Antone (of Antone‘s) points out: “Having EV at Antone’s is like a whole new world! The quality and reliability of our Electro-Voice sound system has had great acclaim from bands and music fans alike, especially during SXSW 08. Everyone from Billy Bob Thornton to Vampire Weekend raved about our sound. Antone’s is so excited and proud to have EV in our venue.”

Wise comments: “Austin is such a great music city and it has been exciting to be involved with the artists and club owners in my first year here in Texas. I know that EV will continue to gain ground and increase its already growing presence in Austin and at SXSW.”

Wise was also involved as a participant in the “Live Sound Quickie Session” at SXSW 2008, interacting with over fifty attendees. Wise remarks: “I met some great people, from musicians to lawyers, all of whom had passion for music and wanted to learn all they could. I received numerous emails from attendees thanking me for helping demystify live sound. I look forward to participating in future SXSW events.”

Like Monte Wise, EV artist endorser/street team organizer Dave Wolfe was instrumental in making EV‘s presence known at this year‘s SXSW. Since moving to Austin in late 2003 to pursue his own career as musician and luthier, Dave Wolfe has flown the EV flag throughout town, turning musicians and engineers on to EV products. This year Wolfe placed banners, demo‘d mics for engineers and performers (incl. showing them how clean microphone ball screens, yuck), and cruised the city on his custom chopper and documented the real world use of the company‘s products “in the trenches” with the likes of Lemmy (Motorhead), X, Lonesome Spurs, and countless others. Without doubt, Dave is the Truman Capote of Austin, Texas. But Dave does more than take photos and take quotes - and hob knob with celebs. EV endorser Dave plays over 150 shows a year as a highly sought after upright bassist and guitarist in Midwest Monster, The Vibro Champs, Reverse Cowgirl, and half a dozen other pick-up ensembles.

What follows is a glimpse into the world of SXSW rock ‘n‘ roll venues. Without a doubt, the EV brand is pervasive!

Emo‘s

Located just off 6th Street on Red River, on any given night you will find some of the best bands and the most colorful staff and patrons in all of Austin at this bar.

Emo’s sports two stages, one inside and one outside, as well as a beer garden. Both stages feature either EV T Series or Zx Series speakers as well as all EV microphones. More than just about any club in Austin, for one week in March Emo‘s becomes home to the coolest record label parties during SXSW: Kill Rock Stars, 4AD, Yep Roc 1, and Daptone. Names like Doyle Bramhall, Jim Lauderdale, John Doe, Los Straightjackets, Jello Biafra, Mojo Nixon, Meat Puppets, The Walkmen, The Gossip, Youth Brigade, and the Buzzcocks have all played through the EV system here. In 2007 vocalist/guitarist Pete Shelley of the Buzzcocks was so impressed with the EV N/D967 vocal microphone that he signed an artist endorsement, something the band has historically been quite opposed to.

Bill Corsello, manager of Emo‘s remarks: “We work on the fly and the EV N/D468 is the perfect tom mic for quick placement and it delivers optimal frequency response. The 868 works great on bass cabs… It captures heaping shitloads of thumping lows and icepick stabbing transients. Really, no matter what the application EV‘s N/DYM microphone series has a mic that is road worthy and sounds great.”

Headhunters

Headhunters, a Tiki/Polynesian-themed rock club, kept crowds partying like fiends into the wee hours with a total EV/Dynacord sound system. Comprised of (2) EV Zx5 loudspeakers, Eliminator kW sub, Sx100+ powered monitors, a Dynacord PowerMate 1000 mixer, EV N/D967, Cobalt, and EV Raven mics, the relatively small system was more than accurate in terms of coverage and intelligibility. From EV endorsers Lonesome Spurs to the Hillbilly Hellcats and a Eugene Records and Rockabilly Magazine/Pabst Blue Ribbon showcase, Headhunters featured a number of no-holds-barred bands throughout the week. A favorite of celebrities including Quentin Tarrantino, the bar has also become “Home to the Texas Roller Derby”. At any point of the day - from noon to 3 a.m. - lines formed in front of both the front room and patio entrance, as the club was consistently packed to capacity. The bar‘s FOH engineer Billy Milano (also leadsinger of S.O.D. and M.O.D.) remarks: “The EV and Dynacord stuff sounds really great. And the mics take a real beating. It‘s the perfect gear for our stages; there‘s nothing better.”

Continental Club

Another infamous music venue in Austin, The Continental Club, rated “Critic‘s Choice” for “Best Bars in America” by Playboy in 2000, once again relied on EV products during SXSW 2008. From N/D967 vocal mics, EV RE510 vocal mics, as well as N/D468s, N/D478s, N/D868s, and assorted other EV mics on drums, guitar, and bass, the Continental Club rocked hard with EV. Of course, Electro-Voice Cobalt mics were also a huge hit! From Detroit‘s Gore Gore Girls to southern troubadour Scott H. Biram to guitar-slinger Ian Moore, there was much to talk about at the Continental during SXSW. Note: The album art for Junior Brown‘s new The Austin Experience: Live at the Continental Club was photographed at the Continental. If features Junior singing into an EV N/D967. The N/D967 was also used as the primary mic for the main vocals on the recording!

Kevin Lemoine at the Continental Club (Main sound engineer with Green Day, Black Crowes, Revererd Horton Heat, Sum 41, Warped Tour, etc.) is duly impressed with EV microphones, finding the Co9/Co7 easier to handle, for some vocal applications than the N/D967. Kevin remarks: “I‘m from the old school of less is more. The less a microphone is colored, the more you can work with it from a drive position. If you have a female vocal of someone with a deep voice like Red Volkart, it highlights both styles equally. Good mics.” The Continental Club uses the N/D967 exclusively for vocals when Kevin is not at the helm. When Kevin is at FOH, suffice to say that he‘s got his EV Cobalts out!

Bobby Ed, sound engineer for the Continental Club and guitar player for one of Austin‘s biggest bands, Honky, has a love affair with EV mics. “They‘re electric VIAGRA® for the ladies”. Again, EV mics have become this engineer‘s favorite.

Beerland

When talking Austin clubs, who doesn‘t think of the great American roadhouse home of the austere star-in-oval logo reminiscent of Lone Star Beer and Jerry Jeff Walker - and trademark defenders Lukenbach? That‘s right, we‘re talking the legendary watering hole Beerland, one of Austin‘s most renowned clubs. Also featuring a complete selection of EV microphones, Beerland kept crowds happy with great EV sound, lots of cold suds, and performers like Deerhoof, Harlan T. Bobo and the Goodnight Loving.

Randall Stockton, owner of Beerland remarks: “EV microphones provide the performance and durability that Beerland requires. The Cobalt mics stand up to the abuse punk bands dish out better than any of their competitors, even the more expensive ones. And they sound great. Thanks EV!”

Billy Hankey, soundman for Beerland: “The mics really withstand the punishment of a punk rock venue. When the Reatrards played at Beerland, the singer proceeded to throw the mic stand with mic still attached against a brick wall on the back of the stage and to tell the truth, EV mics withstand that kind of treatment. He then picked up the same mic, put it in his mouth and sang. These mic really hold up to the test of punk rock insanity. My mics get thrown against the brick wall, wood wall, and concrete floors on a continual basis and they continue to work. Way to go EV! You have created a durable mic that doesn‘t sound like you‘re running everything through a megaphone. Now, if only you could install an anti-suck switch on my console, my life would be that much easier! “

We give our shout out to all-around-good-guys, music lovers, and civil disobedients Randall Stockton and Billy Hankey! Keep the EV freak flag flying!

RedGorilla Music Fest: Chuggin‘ Monkey, Darwin‘s Pub and Touche

The Chuggin‘ Monkey was created by three guys (two brothers and one friend) united by their love of the “good life”. After extensive research in the Virgin Islands, many different entertainments districts, and countless New Year’s Eve and Mardi Gras celebrations, the three came up with the Chuggin‘ Monkey.

As the headquarters for this year‘s RedGorilla Music Fest during SXSW, Chuggin‘ Monkey relies heavily on its audio quality to retain customers. Comprised of a mezzanine, a two-level courtyard in the back, and booths in the front, the club is designed to make the most of its premium location for walk-in traffic. The club‘s sound system is definitely at the top of the pack for all the systems on 6th street. The system comprises a Dynacord COBRA 2 system (3 tops, 2 subs, and an Xa4000 amp), (4) Px1122M Electro-Voice Phoenix monitors, and (2) Electro-Voice CP4000 power amplifiers. Electro-Voice microphones are employed top-to-bottom on the stage and Klark Teknik DN100 DI boxes handle all direct stage inputs. During SXSW 2008 RedGorilla‘s Kevin Sinclair ran FOH.

Likewise, next door at Darwin‘s Pub, also home to the RedGorilla music fest, a similar system is employed. The Darwin‘s Pub system features all Electro-Voice Phoenix full-range and subwoofer speakers: (2) Px1122 monitors, (1) Px2152, (2) Px2122, and (2) Px2182. Electro-Voice CP Series power amplifiers provide more than enough headroom as (4) CP4000 and (1) CP2200 amps are put to task. Electro-Voice microphones and Klark Teknik DI‘s handle all instrumentation and vocals. A Midas Venice 320 and Klark Teknik Square One Graphics and Dynamics are employed for all FOH duties.

Over the years, some of the hottest up-and-coming acts in the world have been showcased by RedGorilla Music Fest. As a result, RedGorilla Music Fest has received international media attention and a reputation for being the showcase for new music. Showcasing acts have included: Family Force 5 (Maverick), Dropping Daylight (Octone), Luna Halo (American), Bang Bang Bang (Warner Bros.), The Colour (EMI/Rethink), The Silent Years (No Alternative), Ligion (Maple Jam/ICON), Red Monroe (3 Concentric), The Muckrakers (Label X/Toucan Cove/Universal), FLOREZ, The Parlour Boys, Year Long Disaster, Radiant, Absent Star, The Hero Factor, The Gaskets and many more…

Also on 6th Street, Touche is a bit more glamorous than the clubs that immediately surround it. Known for their flair bartenders and the kind of histrionics made popular by Tom Cruise in Cocktail, audio plays a special part in an experience steeped in glitz, fashion, attitude, and bling.

The Touche system comprises (2) Electro-Voice Force i full-range loudspeakers, (2) Force i subs, (2) Force i 25, (3) Force i monitors, a Midas Venice 320 and Klark Teknik Square One Graphics and Dynamics. Electro-Voice microphones, as usual, are employed throughout.

Viper Room

As sister venue of the world-famous Viper Room in Los Angeles, Austin‘s Viper Room is no less impressive. Like the L.A. venue, Austin‘s Viper Room is EV top-to-bottom. FOH and monitors are Electro-Voice QRx loudspeakers and the venerable Midas Venice 320 can be found at FOH. Patrons are rarely surprised to find such musical celebrities as Tom Petty and the Heartbreakers, Lenny Kravitz, Pearl Jam, Iggy Pop, Sheryl Crow, as well as an array of other internationally established artists and the cult favorites of America’s underground at the venue.

For video footage of EV products being used by bands like Sons & Daughters, The Donnas, and others at 2008 SXSW venues like Emo‘s, please visit the following You Tube links:

http://www.youtube.com/v/6RVoEvcxpzY&hl=en

http://www.youtube.com/v/0H6F8EEymCU&hl=en

http://www.youtube.com/v/yNgjTvMp_uw&hl=en

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www.electrovoice.com

EV Caught in an Abbalanche with Australia‘s #1 Tribute Show!Swedish pop superstars ABBA were huge in Australia during the 70‘s and 80‘s, with record sales massively out of proportion to the population ABBA¦ And that national love affair with ABBA continues unabated to this day, with tribute bands active in all Australia‘s major cities.

However, none come as close to reproducing the ABBA sound as Australia‘s number one tribute show “Abbalanche”, who have had great success touring the country with such classic disco-era acts as KC and the Sunshine Band and Boney M. Abbalanche works overtime to provide an authentic ABBA experience, complete with extensive stage dressing, costumes, and fake Swedish accents. The highlight of the show, of course, is the crowning of a Dancing Queen from the audience…

A recent run through a number of top Sydney venues saw the band hook up with Sydney club engineer Phill Webb, who added some real “bling” to their show with his new Electro-Voice REV wireless system, complete with custom chrome-finished handheld transmitters (with N/D967 capsules). “ABBA sang into silver microphones back in the seventies,” Webb says, “so, aside from the REV‘s stellar sound quality, it made the show look even more authentic to have the girls singing into silver wireless transmitters!”

The REV wireless systems were complemented by an EV RE-1 system with N/D967 handheld, as well as wired N/D967‘s on keyboard and bass vocals. A Raven handled the guitar amp with finesse; a full set of EV microphones ensured the drum kit sounded superb–N/D868 (kick); N/D168 & N/D468s (snare/toms); RE200 & Cardinals (cymbals/overheads).

“I love working with these guys; they sound great, look great, and always draw a big crowd,” adds Webb, “and adding EV equipment to the mix makes the whole presentation even better.”

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LD Systems Takes Sound Reinforcement to a New Level at Houston Livestock Show and RodeoLD Systems delivers massive sound reinforcement with precision, performance, and control at the Houston Livestock Show and Rodeo, held annually at Reliant Park, Houston.

Running for three weeks in February and March every year, and celebrating its 76th year in 2008, Rodeo Houston is both the world’s largest livestock exhibition and the world’s largest rodeo event. And, every night after the rodeo competition winds down, the Rodeo rolls out big name entertainment to match.

Everyone from Elvis to Beyonce has performed under the Rodeo Houston banner. With nightly attendances at Reliant Stadium often reaching 73,000–this year both Hannah Montana and Brad Paisley hit the mark–the Rodeo continues to be among the highest attended live concert series in the world.

An essential element of Rodeo Houston‘s huge success is its consistently excellent sound quality. For 15 years, Houston-based LD Systems has designed and deployed sound reinforcement and lighting on a suitably massive scale for the Rodeo, upping the ante every year. Long time Electro-Voice users, the LD Systems team oversee what is probably the largest temporary installation of EV equipment in the world for the three week run.

For the past five years, LD has used a main stadium rig based around 108 EV X-Line boxes powered by an equal number of EV P3000RL remote control DSP amplifiers running IRIS-Net control and supervision software. 54 P3000RL amps a side sit racked on two catwalks over 200ft above the ground, powering 12 eight and ten-box hangs of X-Line Xvls and Xvlt, with each array alternating left and right channel output for a full coverage stereo image around the room. Where else but Texas would you expect to hear what has got to be the loudest stereo in the world?!

Working closely with the EV tech support team, LD‘s commitment to continuous improvement is clearly demonstrated by this huge deployment. Employing the latest digital control, supervision, and distribution technologies from EV–this year saw LD incorporate 14 NetMax N8000 controllers–the rig gets more streamlined, precisely controlled, and sonically impressive every year, as Robert Ausmus, Director of Production Services, LD Systems explains:

“For the last five years, LD Systems has been working very closely with Electro-Voice, trying to raise the bar not only in terms of our capabilities, but also with regard to developing a strategic R&D relationship that raises the bar for audio in general. This relationship has proven extremely positive; working with everyone at EV is like working with our Texas counterparts from the north: no nonsense, hands-on, and thinking big. The EV team loves audio like we love audio; we‘re committed to providing the absolute best that there can be, and as a result, we can up the ante every year here at the Rodeo.”

“This is a very large X-Line system” Ausmus adds, “with a total of 108 cabinets powered by 108 RL amplifiers distributed over a 12-array zone coverage configuration. This system has rewarded us with the absolute best results yet in our 15 years handling sound for the Rodeo. We started out in the Astrodome in the early ‘90s, and moved to Reliant Stadium five years ago, where the acoustical challenges are even more complex. It‘s mind-boggling how much more presence and performance we get out of the EV system than from our former products.”

“This year we integrated the NetMax N8000 processors, which have reduced our cabling significantly while providing far better speaker management and control,” Ausmus continues. “We only have one vantage point, in the middle of two arrays, from the mix position. The other ten arrays are off the radar, as it were, so they need continuous monitoring to ensure they‘re providing the same quality audio as the two facing us. The IRIS-Net control and supervision software (supervised by LD‘s Mike “Monk” Shear) affords us that capability via a single screen, along with a very high level of control over the whole show from a technical standpoint.”

“Using the EV equipment with CobraNet and the Ethernet control software backbone has also improved the sonic quality–the impact, as I call it. It‘s on a whole new level this year, as opposed to running standard crossovers. We‘ve really enjoyed the results, and are eager to get back to work with the technical team at EV after this run, to give them good solid feedback to make sure we continue to raise the bar. We know they will work with us with open ears through the course of us integrating NetMax into our other systems.”

www.ldsystems.com

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Producer Dave Cooley and Engineer Tony Hoffer in Studio D

Pictured in Studio D at Ocean Way (L-R, Standing) are Will Canzoneri, keyboards; Rob Barbato, vocals, bass; Tim Presley, vocals, guitar; Jared Everett, guitar; Dave Cooley, producer. Foreground (L-R) Wesley Seidman, assistant engineer; Tony Hoffer, engineer/mixer. Photo by David Goggin.

Popular indie band Darker My Love, explorers of the 60s-style psychedelic rock frontier, have mixed their sophomore album, “2″, in the Neve 88R equipped Studio D at Ocean Way. Producer Dave Cooley helmed the project with Tony Hoffer at the mixing desk.

Darker My Love’s self-titled debut album was released in 2006, reinforcing the powerful reputation their live show had garnered. Taking a cue from the greats who inspired them, My Bloody Valentine, The Velvet Underground, plus stimulus from their peers: The Dandy Warhols, Brian Jonestown Massacre, and Black Rebel Motorcycle Club, Darker My Love established themselves as a vital component in the psychrock scene.

Darker My Love’s much anticipated follow-up “2″ will be released on August 5, 2008 on Dangerbird Records. For more info about the band, visit: http://www.myspace.com/darkermylove



For info about Ocean Way, visit: http://www.oceanwayrecording.com

First to bring adaptive noise reduction hardware to broadcast market

NAB - Las Vegas, Booth N9107 (April 14, 2008) - iZotope, Inc., a leading innovator in audio signal processing technology, today unveils the ANR-B™ Adaptive Realtime Noise Reduction Unit at NAB, bringing the company‘s renowned audio algorithm for adaptive noise reduction to a dedicated hardware unit for use in real-time broadcast applications.

ANR-B uses iZotope‘s advanced noise reduction technology to intelligently identify and suppress environmental broadband noise, hum, phone line artifacts and more, dramatically increasing the quality of audio broadcasts involving radio call-in programs and on-location broadcasting. Unlike other noise reduction solutions, iZotope‘s ANR-B actually detects noise in real-time and adapts to changing noise over time, allowing for automatic operation with little to no input required from the user.

“Broadcasters face realtime noise challenges ranging from cell phone call-ins to noisy air conditioners and bad wiring,” says Mark Ethier, CEO of iZotope, Inc. “ANR-B automates the process of high-quality noise reduction in realtime so noise issues no longer make or break a segment.”

Designed to suit a wide range of broadcast applications, the two-channel ANR-B features broadcast connections including analog and digital I/O, LAN for advanced parameter control, and remote automation capability. Presets are available for common applications while simple controls and clear meters help to quickly customize settings for unique situations. While ANR-B is designed to automatically determine a noise print, a manual learn function enables the unit to reduce noise of a specific trained profile, adding to the unit‘s flexibility.

WGBH Boston, America‘s preeminent public broadcasting producer, has been employing a prototype of the ANR-B in its state of the art facility to produce the renowned radio program “The World,” a co-production of Public Radio International and the BBC.

“At WGBH Radio our reporters and guests are often interviewed in war zones and some of the most remote locations on Earth,” says Ray Fallon, Engineer at WGBH. “These places are only accessible by phone line, ISDN and satellite phone, leading to audio quality that is far below the standard for our award winning news radio programs. iZotope‘s ANR-B reliably and quickly removes ambient and path noise automatically, allowing us to focus on getting the interview completed instead of fiddling with controls to get usable audio.”

Key Features

• Automatically removes noise from audio in real-time

• Two channels can work independently or as a stereo pair

• Includes presets for specific scenarios

• Residual Noise switch lets user quickly preview the noise being removed

• Single knob controls noise suppression on each channel for intuitive, fast operation

• Learn button allows for manual operation by capturing a noise profile

• PC/Mac interface for managing presets and designing advanced programs

• Remote control capability

Specifications

• Power - 110/220 VAC, 50/60 Hz

• LAN - (PC/Mac host connection)

• Analog Audio - Balanced XLR, Conversion: up to 24-bit, 96KHz, Output +4 dBu

• Digital Audio - AES-EBU, Impedance: 110 ohms, Interface: Balanced, transformer coupled

• Sync - DARS, AES-EBU

Pricing and Availability

ANR-B will be available in Summer of 2008 for $4995 MSRP.

For more information and to pre-order ANR-B, visit www.izotope.com/broadcast.

About iZotope, Inc.

iZotope is a research-driven audio signal processing company based in Boston, Massachusetts. Its hardware products, software products, and audio technology are used by millions of people in over 50 countries, from hobbyist musicians to GRAMMY® Award winners. iZotope focuses on developing innovative audio technology for professional and consumer applications. This core technology is presented to customers in its award-winning product line and through its extensive licensing program.

Elixir® Strings, pioneer of long-life strings, is giving loyal acoustic fans a chance to plug in with electric strings. During its Electric Strings Trial promotion, players will receive one complimentary electric set with the purchase of two acoustic sets. No coupon or mail-in rebate is necessary for taking advantage of this promotion, as the three-set multi-packs are prepackaged and available in participating stores. more

Gepco International, an industry leader in the manufacturing of professional audio and video cables, is setting a new standard for multi-channel video connectors with its introduction of the V-CON Connector System. Designed to withstand the harsh environments posed by outdoor broadcast, mobile production and staging applications, the V-CON system provides the bandwidth and electrical performance for multi-channel HD interconnects in a durable, all-weather design. The connector system will be on display at NAB 2008 (Booth C6918). more

Innovative New Microphone Suspension Products To Be Demonstrated In Las Vegas

Stroud, UK, April 2008: Rycote, worldwide market leaders in the manufacture of microphone windshields and suspension systems, will be exhibiting and demonstrating a variety of new products at this year‘s NAB show, running from April 14th-17th in Las Vegas. The Rycote team will be situated at Stand N8511 throughout the show.

Rycote‘s major launch for NAB 2008 is the complete range of InVision microphone suspensions, which dispense with the elasticated cradles traditionally used to reduce microphone handling noise. Instead, the eight-strong InVision range is based around flexible but virtually unbreakable W-shaped clips, known as Lyres and available in several different sizes, which provide a more efficient isolation from unwanted vibrations than traditional suspensions. Lyres of varying diameters are then combined in the eight different models in the InVision range to provide suspension systems suitable for a wide range of microphones of different diameters and from different manufacturers. Models INV-1 to INV-3 are designed for smaller-bodied microphones in static use, while models INV 4-8 are designed for static and boom-mounted applications, and fit microphones ranging from 8 mm to 30 mm in diameter. A full list of microphones compatible with InVision can be found at www.rycote.com/products/invision.

Live demonstrations of the InVision suspensions on boom poles and desk stands will be taking place throughout NAB on the Rycote stand, featuring InVision models INV-1 and INV-7, one of the most versatile models in the range. INV-7 is designed for shockmounting both fixed and boom pole-mounted microphones, and can be used with a variety of microphones from 19 to 25 mm in diameter, including the Schoeps CMIT-5U, Audio-Technica AT4073a, Sennheiser ME66/K6, Neumann KMR81i, DPA 4017, and Beyer Dynamic MCE86. The INV-1 demonstration system will be set up using two Schoeps CCM41 mics, to enable a comparison to be made between the new InVision mount and a standard desk clamp. Visitors are invited to listen to the improved isolation of the InVision.

The W-shaped Lyre webs at the heart of the InVision suspension system are also being added to an existing Rycote product, the Mono Extended Ball Gag system for the Sennheiser MKH 8000 series and other compact capsule mics. This suspension formerly supported the microphone by means of a four-point elastic suspension ring fitted to a bar, but the new version, which is being previewed at NAB, employs the more efficient Lyre webs from the InVision system for better reduction of handling noise.

To find out more about these new products, go to www.rycote.com, or visit the Rycote team in person at stand N8511 during NAB. A frequency response curve showing the efficacy of the InVision suspensions may be downloaded at homepage.mac.com/girth.tydfil/.Public/InVisionResponse.zip.

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New Longer, Lightweight Telescopic Production Pole Launched At NAB

Stroud, UK, April 2008: Lightwave Audio Systems, the manufacturer of microphone booms and support poles for the radio and TV and broadcast industry, is launching a new telescopic production pole at this year‘s NAB show.

The G5-4M is, as its name suggests, a four-metre long version of the existing 2.5-metre G5 pole, with the same patented, easily serviceable triple-cam locking system. Weighing a mere 21.8 ounces (618g) and just one metre long when collapsed, the carbon-fibre G5-4M is the perfect lightweight solution for small newsgathering or location recording teams. It is scheduled to begin shipping in May this year.

For more information about the G5-4M, go to www.lightwavesystems.com, or come to Stand N8511 at NAB.

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