Archive for May, 2009

IK Multimedia Announces Software Partnership with SAE Institute Campuses in USA

IK MultimediaIK Multimedia is pleased to announce a new strategic software alliance with SAE Institute in the U.S.  Now SAE audio school students who begin the Audio Diploma course in July 2009 at any SAE Institute campus in the US will receive IK Multimedia’s Total Studio 2 Bundle as part of the Laptop Production Package at no additional cost to their regular package price.

The 12 included software programs in IK’s Total Studio Bundle 2 will greatly enhance the production and processing ability of the current SAE recording, sequencing and mixing bundle. SAE’s students now have access to IK’s award winning virtual instrument and FX plug-ins, including award-winning T-RackS Mastering and Mixing software, and most of IK’s “Powered by SampleTank and “Powered by AmpliTube� products. more

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SENIORS SING-A-LONG WITH SENNHEISER

florence1.JPGSAN JOSE, CALIFORNIA – MAY 2009: Every Friday afternoon at 2:00 pm, the residents at Willow Glen Convalescent Hospital in San Jose, California pack the lounge for “Florence and Friends Sing-Along.” It’s a mixed crowd, with some folks literally dancing in the aisles and other who might, at first glance, appear to be oblivious to the merriment swirling around them. But participants at both extremes, and everyone in-between, benefit from the simple joy of singing and remembering the songs of their youth. Technology has also helped, with high-quality Neumann and Sennheiser wired and wireless microphones encouraging participation from those who might have otherwise remained silent.

Ninety-nine year-old pianist Florence Bobbitt and 72-year-old singer Beverly Kohler both enjoyed successful musical careers in the springtime of their youth, Bobbitt playing private events throughout New England and Kohler traveling the nightclub circuit up and down the California coast. They met in 1970, when Bobbitt was volunteering with her itinerant troupe “Florence and Friends” at the hospital and Kohler was awaiting medical treatment. The two became fast friends and continued to volunteer their time every Friday afternoon at Silicon Valley hospitals and nursing homes, including Willow Glen.

florence_profile.JPGNevertheless, over the ensuing decades, the two lost touch. So, it was thus a tremendous surprise when they both independently found their way to Willow Glen in 2001 and 2002, as residents. Despite the fact that Florence had arthritis, she immediately took to Willow Glen’s electric piano and gave it a whirl. It was like she was twenty again, with no need for sheet music and the ability to transpose a vast catalog of songs in her head effortlessly. And while Beverly has MS, the disease had not affected her wonderful singing voice, and so the two reestablished “Florence and Friends,” for their fellow residents. Inspired, a pair of retired nurses, Helen Chase and California Kim, joined the troupe.

Things went on that way for several years before San Francisco lawyer Neil Williams read a story about “Florence and Friends” in the San Jose Mercury News. Banking on a hunch that they would be singing the songs that his mother had taught him 55 years earlier, Williams asked if he could visit. “I was enthralled by their graciousness and talent,” he said. “I sang with them that day and was invited to come back. I’ve been back almost every Friday since!”

When he arrived, Williams found “Florence and Friends” set up with a Suzuki electric piano containing line inputs and a self-contained speaker system, along with a poor-quality wired microphone on a phono plug. “Many of the residents who came every week didn’t say much,” he explained. “But when they heard the music, they would try to sing-a-long! But with their existing microphone system, there was no way to capture or move around the room to inspire participation.”

Williams set out to improve the situation. After doing a little bit of research, he bought a Mackie 802-VLZ3 mixer and replaced the existing wired microphone with a vastly higher-fidelity Neumann KMS 104 live vocal condenser microphone. Then he added a Sennheiser ew 135 G2 wireless handheld microphone. The new equipment took “Florence and Friends” to a wonderful new level of interactivity.

Recently, Kohler took a break from “Florence and Friends” and Williams was delighted to discover that Florence could sing, in addition to play the piano. However, Florence is also set in her ways. She didn’t like the large handheld mic. She didn’t like a Sennheiser shotgun that Williams had for other applications. What could Williams do? A lavalier would capture too much of the piano. It took some brainstorming, but he finally guessed that a diminutive lectern mic might do the trick. He purchased a Sennheiser ME 35 super-cardioid capsule for a Sennheiser MZH 3040 gooseneck. “It stays out of her way, but is directional enough to capture her voice without the piano,” he said.

ABOUT SENNHEISER Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Connecticut. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

For more information, please visit www.sennheiserusa.com

PHOTO CAPTION Ninety-nine year old Florence Bobbitt plays and sings using a Sennheiser ME 35 super-cardioid capsule on a MZH 3040 gooseneck to keep the good times rolling for seniors at Willow Glen Convalescent Hospital in San Jose, California.

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CLEARLY A LUCID DIAMOND

bernie_becker.JPGMOUNTLAKE TERRACE, WASHINGTON – MAY 2009: Few of music’s legendary performers can claim as enduring a career as Neil Diamond. His earliest recordings for Columbia Records date back to 1963, and he produced such a trove of now-classic albums in the 1970s and 1980s that any less driven artist would have shifted contentedly and deservedly into retirement two decades ago. But rather than sip martinis in obscurity, Diamond continued to draw millions of fans to his hugely successful tours throughout the 1990s and early 2000s. A testament to his enduring spark, 2008′s release “Home Before Dark” hit both the Billboard Hot 200 and the U.K. album chart at number one, and his 2008 tour was more successful than any he had launched in the previous forty years.

Bernie Becker began working with Diamond in the early 1990s as a recording engineer. Because of his affable nature and obvious gift for homing in on “the sound,” Diamond and Stan Miller, Neil’s longtime sound designer, asked Becker to join them on tour. The studio engineer brought a unique perspective to live sound, including a felt need to regulate all of their digital gear with a master clock. “Live sound engineers shy away from word clock because it’s one more box to haul around and necessitates a lot of cable interconnects,” said Becker. “They’re always looking for ways to set up faster and more reliably. They see word clock as moving in the wrong direction.” However, Becker argues persuasively that obvious improvements in fidelity and “solidness” make the extra setup time more than worthwhile.

For Diamond’s 2008 tour, Becker and his peers traveled with ten Yamaha eight-channel AD8HR digital mic pres on stage, two Yamaha PM5D digital consoles, additional processing by Yamaha, Dolby-Lake, Aviom, Crown amplifiers, and JBL VerTec line arrays. To keep all of that digital signal in synch, they used two Lucid GENx192 ultra-low jitter studio master clocks. The mic preamps, the console, miscellaneous outboard digital effects, and the digital loudspeaker manager all received word clock from the GENx192s.

Part of Becker’s duties, and some might say part of his obsession, involves “proving” all of the tour’s equipment in his Pasadena mastering studio. “You can really hear the nuances that add up to big qualitative differences, and we’ve proven everything from mic pres to cabling,” he explained. “It’s difficult to express in words, but different word clocks have different ‘sounds.’ I don’t think anyone would characterize the sound of the higher-end clocks, including the Lucid, as necessarily good or bad… just different, akin to the qualitative differences you might hear among high-end mic pres.”

Nevertheless, two factors contributed to the tour’s long-standing reliance on the Lucid GENx192s. First, the Lucid has, in Becker’s estimation, a “generic-ness” that’s missing from other clocks. “I won’t pretend to explain why,” he says, “and the engineers would probably tell me it’s impossible, but the GENx192 seems to work nicely with gear from any other manufacturer. Everything improves by locking to it. With other clocks, some gear seems to improve and some doesn’t.” Second, the Lucid GENx192 has proven itself road-worthy. “We shook a lot of other clocks apart, literally,” Becker laughed. “The GENx192 is rock-solid and has worked without fail night after night after night.”

Despite Becker’s insistence, many of the sound professionals who either traveled with the tour or helped set it up thought the clock was just dead weight. “A lot of those guys just said, ‘Bernie’s crazy,’ which I am, especially about sound,” he admitted. “But there’s nothing like a true A/B test to settle matters. Without doing a true A/B, it’s easy to fool yourself into thinking things that aren’t true. Points of reference change.”

So Becker took his naysayers head-on. They had a recording of every mic and the capacity to play back a “virtual” show. He switched back-and-forth between simply slaving each piece of gear to their AES input signal and using the Lucid GENx192 word clock. “It’s one thing to hear a difference in a quiet control room, but to hear it in a big, noisy arena, that’s something else,” Becker said. “It was obvious to everyone present that in a blind A/B, the clocked audio had less digital harshness, greater imaging, and greater depth of field. It was not subtle. It was no longer up for debate.”

Becker summarized, “Our Lucid GENx192s are absolutely road-worthy and make Neil’s live sound qualitatively better. For just a few more cable interconnects, the musicians can tell the difference. Many don’t necessarily claim that it sounds better, but rather that it feels more solid, like they’re more connected to their instruments. For just a few more cable interconnects, the audience gets a better show.” And of course, the engineer gets to feel more pride for a job well done!

ABOUT SYMETRIX For over three decades, sound system designers, broadcasters and sound engineers have relied upon the performance, value and reliability of the Symetrix suite of audio routing and processing products.

Symetrix continues to set the benchmark in sound quality, and user-friendly control interfaces, while providing legendary reliability hand in hand with our commitment to non-stop innovation.

You’ll love the ease of doing business with our incredible team of audio and business professionals, who excel in their commitment to serve our customers at the highest level from start to finish, again and again.

Innovative Audio Routing and Processing Solutions – Engineered by Symetrix

For more information on professional audio products from Symetrix, SymNet, Lucid and AirTools please call (425) 778-7728 or refer to websites, www.SymetrixAudio.com, www.SymetrixAudio.com, www.SymNetAudio.com, www.SymNetAudio.com, www.AirToolsAudio.com, www.AirToolsAudio.com and www.LucidAudio.com.

The following terms are trademarks ™ of Symetrix Inc., Symetrix(tm), AirTools(tm), SymNet(tm), Lucid(tm), all rights to these trademarks reserved.

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SENNHEISER e 935s A SMASH WITH TINTED WINDOWS

tinted_windows.JPGOLD LYME, CONNECTICUT – MAY 2009: Way back in 1997, a circus rolled through town, and a seer charged $4.00 for accurate predictions of the future. You felt ripped off when she told you that twelve years hence, members of four disparate bands, Cheap Trick, Hanson, Smashing Pumpkins, and Fountains of Wayne, would form a “super-group” to deliver unambiguous power-pop in a genre that was in danger of losing its way. It was preposterous. What would those bands ever have to do with each other? As you left the tent in a huff, she repeated the words, “Tinted Windows,” over and over again in a quivering voice, which you chalked up to the ravings of a madwoman.

It was thus a tremendous shock to learn that Tinted Windows, its composition as predicted, would headline three sets at South by Southwest 2009, in addition to a whirlwind promotional tour. As Tinted Windows racked up rave reviews for their debut, self-titled album (S-Curve Records), the depth of the seer’s prediction sank in: Tinted Window’s brand of power-pop was indeed something special, a beacon of pure energy, raw emotion, and irrefutable hooks on an otherwise choppy power-pop sea.

Mike Fanuele (Dashboard Confessional, Fountains of Wayne) commanded the band’s sound (production manager, tour manager, FOH and monitors!) for their SXSW gigs and the subsequent two-week tour that hit New York, Chicago, and Los Angeles, two television dates with Jimmy Fallon (NBC) and David Letterman (CBS), and the Bamboozle Festival in New Jersey. For fidelity and consistency from gig to gig, he assigned a Sennheiser e 935 cardioid vocal mic – the best live mic he could find – to every member of the group: Bun E. Carlos (drums, Cheap Trick), Taylor Hanson (vocals, Hanson), James Iha (guitar, Smashing Pumpkins), and Adam Schlesinger (bass, Fountains of Wayne). He also gave touring rhythm guitarist Josh Lattanzi an e 935.

The Sennheiser e 935 recommended itself on both sides of the wedges that the band self-consciously opted for over ear monitors. “The e 935 has a great sonic quality so that Taylor, and everyone else for that matter, can hear some nice hi-fi in the monitors,” said Fanuele. “Importantly, its tight pattern control gives me more gain before feedback then I’d get with most other live vocal mics. So we have nice, loud, clear vocals in the monitors, which fuels the energetic performance that these guys deliver.”

“It is of course equally important,” he continued, “that the mic sounds great for me out front. It has a smooth midrange with a bit of a presence peak that helps the vocals cut through without being annoying or harsh. Taylor’s vocal style is very dynamic, and when he moves on and off mic, the e 935′s frequency response changes very little. So with just a little compression, it’s easy to get a solid vocal that sits nicely in the mix no matter what’s happening on stage.” After a pause he added, “the e 935 looks cool on TV, too!”

But there’s much more to successful touring with high-profile artists than simply delivering hi-fi sound. Fanuele put things in perspective, “These guys are waking up at 7:00 am every day and heading down to the radio stations to do interviews. After that, they do phone interviews for a few hours. After a short lunch, it’s off to do more publicity, a photo shoot or public appearance. At the end of a long day, they show up for soundcheck and then deliver an hour-long, high-energy performance. They’re exhausting themselves eighteen hours a day.”

Fanuele also used Sennheiser mics on Bun E. Carlos’ drums, including an e 902 on bass and e 904s on toms and bottom snare, at Tinted Windows’ very first public performance – an unannounced warm-up show at a small club near their rehearsal space in Tulsa, Oklahoma. Perhaps someone was after their sound, because the next day, while Fanuele and the band were milling around their hotel lobby in Austin, a quick-handed thief made off with the bag containing all the Sennheiser mics – including the e 935 vocal mics!

“Sennheiser has always been there for me. Their global support – their support in general – is peerless,” said Fanuele. “At this point I have, on several occasions, contacted Sennheiser with a request, and the very next day someone shows up at the studio or the hotel lobby with the product. At some point you start to question it, ‘what did I do to deserve this royal treatment?’ Anyway, this circumstance was no exception. Sennheiser was right there with new mics so that the tour – including a number of television appearances – could go on as planned.”

ABOUT SENNHEISER Sennheiser is a world-leading manufacturer of microphones, headphones and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Connecticut. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

For more information, please visit www.sennheiserusa.com

PHOTO CAPTION Four top names from famous 90s bands team up to create “Tinted Windows” – a new super-group where all members are using Sennheiser evolution e 935 wired microphones. From left to right: James Iha (Smashing Pumpkins), Taylor Hanson (vocals, Hanson), Bun E. Carlos (drums, Cheap Trick), and Adam Schlesinger (bass, Fountains of Wayne). PHOTO CREDIT (c) 2009 AP Photo

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INNOVATION CHOOSES MARTIN AUDIO FOR TOURIST TROPHY RACES

innovation.jpgInnovation Productions have embraced line array technology for the first time, giving prominence in their rental fleet to a new Martin Audio W8LC system and control.

Managing director Andrew Pygott purchased 16 of the mid-high enclosures, along with eight WS218X subs and a pair of DX2 processors, based on recommendation. Innovation has also configured the drive racks to accommodate six new Martin Audio MA5.2K amplifiers, with an MA12K driving the bottom end.

These recently introduced power amplifiers provide an exceptional amount of power in one rack space making for extremely compact racks; as a result, Innovation will only need one per side rather than the traditional two or three for a system of this power.

According to Pygott, the system was purchased as soon as his company knew they had the contract to supply sound reinforcement for this year’s Isle of Man TT Motorcycle Races in early June. Each night a concert will be staged in the Villa Marina Gardens in Douglas with Whitesnake, the main headliner during the weeklong Festival, providing the W8LCs with their first serious test.

While Innovation will rig their entire complement of loudspeakers for the occasion (in two hangs of eight), the purchase also allows different configurations to be fielded for conferences and awards dinners, depending on the size of the event.

In addition to the versatility of the W8LCs, Pygott confirms the fast rig/derig attributes of the system, the ease of use and versatility of DISPLAY™, Martin Audio’s proprietary optimization software, and AudioCore™ remote PC control software also aided the decision.

“We are delighted with the purchase because it gives us so many different options,� he concludes.

For more about Martin Audio, please call 519.747.5853, email infona@martinaudio.com, or click to www.martin-audio.com.

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DIGICO GOES LENNY’S WAY WITH SOUND IMAGE

Touring Europe in support of the 20th anniversary deluxe reissue of his debut album Let Love Rule, guitarist and vocalist Lenny Kravitz demands nothing but the best audio quality for his fans, his fellow musicians and himself. Having already used DiGiCo consoles for several years, the current tour sees rental company Sound Image invest in a pair of DiGiCo’s flagship SD7s, which are now established at the monitor and front of house positions.

Monitor engineer Kevin Glendinning has worked with Kravitz since the beginning of 2008, inheriting the job from previous incumbent Brian Henry.

“Brian was nice enough to loan me his DiGiCo D5,� says Kevin. “It was my first time on the desk, I adapted to it very well and I enjoyed it. The feel of it is analogue and you can drive the console without really worrying about any limitations of digital audio.

“We did an entire year on the D5 and, while Lenny was off the road, FOH engineer Laurie Quigley and I discussed going with the SD7. We’d both heard great things about it and I was completely sold on the DiGiCo sound. “Once I saw the SD7 I thought they had really nailed it and made a board – an entire system actually – that was a lot more conducive to monitor mixing.â€?

Kravitz is touring with a seven-piece band and has a large monitor rig, so the SD7’s high channel count on both in and outputs has proved very important.

“We have pretty much everything – lots of side fills, lots of wedges, lots of in-ears – so it’s nice to have a large amount of inputs and outputs. I’m constantly making up new channels that are pertinent to just ears, just side fills or just wedges,â€? says Kevin, who is also making good use of the SD7’s Alt Input, a function common on broadcast consoles, but not often seen in the live market.

“I have four channels set aside just for Lenny’s vocal: one has extreme compression measures that he insists on hearing in his ears; another very flat and unaltered that feeds effects; one that is sent to band’s and tech’s ears; and another for all wedges and fills.

“Instead of making eight out of that, I use the Alt Input function so I can keep his effects and vocal channels within one bank. If we need to go to a spare microphone, or we lose a line, instead of burning out more channels, we use Alt Input and the spare channel will instantly do everything that original channel was doing before I lost it – all the EQ and the compression that’s sent to everyone’s ears, wedges and sidefills is the same. I’m just effectively picking a new line. That’s been a tremendous benefit.â€?
Another advantage for Kevin is the way the output equalisation is formatted, allowing him to spend as much time watching the artist as possible, without having to be looking at the control surface.

“They’ve even put the ability to ‘feel’ where zero is without looking in the graphic EQs,� he says. “It’s really nice because I can keep my eyes on Lenny but still have my hands at the desk and know exactly what I’m moving. That is a huge benefit.
“The dynamic EQs are also really happening. If I ever go back to analogue I’m going to have a lot more racks, now that I know how great the DiGiCo dynamic EQs sound on pretty much everything!�
FOH engineer Laurie Quigley has worked with Kravitz for around six years. “We started using D5s on the 2005 tour,� he says. “I’d used them for years with Aerosmith, Kiss and other bands I’d worked for. I brought them over to Lenny Kravitz because of the simplicity, the sound of the board and the amount of channels we use. We’re running up to 112 channels now.�
Indeed, Laurie felt that the SD7’s advances over a console he was already more than happy with made it more than worthwhile to make the switch.
“I see the SD7 as basically an upgrade of the D5, which was an incredible sounding board with a good stable format,� he says. “But for me the SD7’s banks of 12 are better, the screens are obviously bigger and better, the speed of the board is better, the dynamic EQ is really good.
“I find the frequency dependent limiters are incredibly useful for certain things like vocals and acoustic guitars for getting rid of stuff you really don’t want.
“On top of everything else, I’m very impressed with the audio quality of the SD7. I’ve tried all the other digital boards on the market and, as far as I’m concerned this one is leaps and bounds ahead. If it doesn’t sound good then Lenny wouldn’t have it on his tour and I wouldn’t have it out here either!�
“I would recommend this board to just about everybody,â€? adds Kevin. “It’s produced some of the best sounding work I’ve done. I have a lot of engineering friends and colleagues who are bored or disappointed with the shortcomings of some of the other desks out there. I’ve really put my name on the line with this one and have got some very stubborn people to have a look, listen and are now really getting into the SD7.”
“I get pretty upset that sometimes monitors is regarded as an afterthought, but DiGiCo have really thought about the monitor engineer with the SD7 and I think that’s been long overdue. I can’t say enough great things about both the board and the support we get from the guys at DiGiCo. Webby [David Webster, marketing director], Taidus [Vallandi from DiGiCo’s US distributor, Group One], Tony [Crockett, technical support manager] and Pete [Johnston, technical support] have been great; it’s a real anytime anywhere sort of outfit!
“DiGiCo really has something here. I’m really enjoying using the SD7 and I look forward to continuing to use it!�
[ENDS]Lenny Kravitz at Parc Des Expos De Reims

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UMBRELLA MEDIA INC GETS CLARITY WITH LAUTEN AUDIO

Industry veteran Andy Waterman chose Clarions after months of research and product demos

Andy Waterman at Umbrella Media IncLos Angeles, CA (May 28, 2009) – Industry veteran Andy Waterman recently acquired a pair of Lauten Audio Clarion microphones for Umbrella Media Inc studios. After an extensive search for the right pair of microphones to meet his niche requirements within the Production and Recording studio industry, Waterman chose the Clarions for their unique characteristics.

“I have been a working music producer, mixer, recording engineer and musician for over 30 years. I feel like I’ve used literally every microphone ever made at some time or another in studios all over the world,â€? says Waterman, owner of Umbrella Media Inc. Waterman spent several months auditioning and demoing various microphones in search of the perfect addition to his multi-room facility. “Of course, I have immense respect for the masters of microphone technology of earlier eras, but Lauten Audio’s products are perfecting this legacy and refining the art form in significant ways.”

Lauten Audio began shipping the Clarions in October of 2008. “When we first started the sound design on the Clarion I felt it was our biggest challenge. We wanted to create a unique sounding microphone that went against the current trend of FET large diaphragm condenser microphones,â€? says Brian Loudenslager, founder of Lauten Audio. “The Clarion features unique characteristics like a +10dB gain switch in addition to a -10dB Pad, a uniquely tuned frequency response and even its own custom-designed windscreen that can be used in place of a pop-filter.”

“We specialize in music production and scoring including acoustic music, jazz, orchestral recording and vocal ensembles,� says Waterman. Waterman described how he recently used the mics on a very quiet ethnic music scoring session where the Clarion’s unique +10 gain option really brought a collection of Southeast Asian wooden percussion instruments to life.

“There is nothing out there that sounds like a Clarion, and it’s really rewarding to hear feedback from professionals like Andy Waterman who truly understand what we are doing,� says Loudenslager. “Andy and Umbrella Media have carved a niche within the industry, and Lauten Audio is doing the same. We are both offering something unique that no one else can touch.�

“The Clarion is clear and spectrally balanced with nice hi-end sheen and has spectacular low self noise. One additional attribute I really appreciate is the mic does not add sibilance to women singers which is really important in my work. Lauten is a brand that will win many converts in the future,� adds Waterman.

For more information on Umbrella Media, Inc. visit www.UmbrellaMedia.biz

For more information on Lauten Audio please visit www.LautenAudio.com

AVIOM DIGITAL SNAKE RECORDS THE AUDIENCE FOR REALITY TV SHOW HOWIE DO IT

TORONTO, ONTARIO, MAY 28, 2009—No one is safe from the pranks pulled on the hit NBC reality show Howie Do It, which puts a new spin on TV’s ever-popular high jinks format. From Executive Producer Howie Mandel, Howie Do It turns the cameras on unsuspecting “actors” who believe they are part of, or auditioning for, a new television show. What they don’t know is that they’re really the stars of a TV prank program being screened by a studio audience whose every snicker is being captured through numerous mics connected to and controlled by an Aviom 6416m Mic Input Module. aviom_howie-do-it.jpg more

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WIREWORKS FEATURES NEW TacCat NETWORK CABLE ASSEMBLIES AT INFOCOMM

~Tactical CAT5e Assemblies Available in Single and Multichannel Versions ~

TacCat CordORLANDO, FL ― Wireworks, the leading innovator of audio/video cabling systems and custom panels, is introducing its new super tough TacCat Network Cords and Multi-TacCat Assemblies at InfoComm 2009 (Booth 5221). The TacCat, which provides tactical CAT5e Ethernet interconnection in a heavy-duty construction for on-the-road Ethernet and digital audio applications, is available in single channel cords and multichannel assemblies. more

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NEUTRIK USA INTEGRATED INTO COLTON HIGH SCHOOL’S NEW VERSATILE SOUND SYSTEM

Colton High SchoolCOLTON, OR – With the wide range of events taking place in Colton High School’s auditorium and gymnasium, a connectivity solution that was flexible and accessible to both rooms was essential. Thanks to a donation by Neutrik USA of several of its A Series Combo receptacles as well as its NYS-SPP-L1 Patch Panel, Colton High School was able to create a universal sound system that can be used in the parallel event spaces. more

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