Peavey® Commercial Audio proudly announces the immediate availability of the Impulse® 261, a high-output, two-way permanent installation loudspeaker system designed for commercial and residential applications.

The Impulse 261 is the latest versatile installation loudspeaker from the renowned Peavey Architectural Acoustics® product line. The Impulse 261 delivers exceptional, controlled coverage with a hi-fi character through its two 6.5-inch woofers and 1-inch neodymium-loaded, titanium dome tweeter mounted on a waveguide. The Impulse 261 loudspeaker system is protected from overload by independent overload protection for the woofer and the tweeter, while its advanced-design crossover network provides clear sound reproduction with excellent reliability. more

Metropolis Studios in London has added to its already extensive Prism Sound inventory by invested in four more ADA – 8XR A/D D/A multichannel converters.

The new units have been installed in studios A and B, where they have increased the number of available inputs from 24 to 40.

Chris Allen, sales executive and support engineer for Prism Sound, says: “Metropolis has always utilized the best available equipment which sets it apart from most other facilities. Our relationship with the studio is very well established so we were delighted when Sam Wheat, chief engineer at Metropolis, approached us with an order for more ADA-8XR converters. As well as offering exceptionally high sound quality, the units also mean that Metropolis is not restricted by limited analogue and digital options because these interfaces allow staff to switch between Pro Tools HD, AES, FireWire and even DSD on a per-session basis.”

Unbeatable sound quality has always been an integral part of the sound and services offered by Metropolis. Sam Wheat says that Metropolis customers like seeing Prism Sound equipment in the studio’s machine room because its name is synonymous with quality – and that inspires confidence.

“Prism Sound have always offered their customers unbeatable customer support which is a huge benefit for professional and commercial studios where we use their equipment day-in and day-out to make our living,” Sam adds. “We simply cannot afford equipment to fail on us just before or during a tracking, mixing or mastering session and if it does we expect immediate support and response which Prism Sound can offer without hesitation.”

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Note To Editors
The name Prism is widely used in different markets and by many different companies worldwide. The Cambridge-based UK manufacturer of audio interfaces, test and measurement equipment and logging systems, to whom this press release refers, seeks to avoid commercial confusion with these other markets and companies by always using its full name, Prism Sound, in its commercial communications. To avoid further action by these companies, Prism Sound respectfully ask that this convention be followed in print and on-line media which refer to their company and products. Thank you.

About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

Following the most successful year in its 15 year history, White Mark Ltd is expanding its business to encompass India and the Middle East where it has appointed Jeffrey Marcedo and Dylan Hilton as its new agents. The appointments will enable White Mark to offer its high quality acoustic and design services to music, broadcast and film dubbing clients.

David Bell, managing director of White Mark, says: “Jeffrey and Dylan are experienced audio professionals with high level contacts in India and the Middle East. We are now focusing our attention on these areas as we believe the market is ripe for expansion, particularly among film industry clients who are looking to build high-end dubbing suites. White Mark has extensive experience in this area, with film dubbing and post production facility projects completed or currently running for many European customers including Savalas, Hackenbacker, Real World, Molinaire and Spool, together with numerous others in Russia, Africa, the Far East and the Americas, both North and South. We feel the time is right to improve our direct communication with India and the Middle East and that having associated personnel in place who can deal directly with clients locally will result in a more effective service, particularly in the early stages of projects.”

Jeffrey Marcedo has over 15 years’ experience as an engineer and producer in the audio industry. He started his career at Magikraft Studio in Mumbai and has worked with many music directors from India’s Hindi film industry, including Ranjit Barot, Vishal-Shekar, Anu Malik and Ismail Darbar. He has also undertaken sound design work for advertising agencies such as Lintas, Ogilvy & Mather, Rediffusion and Trikaya Grey, and spent four years as Production Manager and Sound Designer at Big FM’s national studios in India.

Marcedo has been involved in a number of high profile audio installations. These include being part of the Big FM National Programming (core) team, which was responsible for the technical set up and programming launch of 45 stations across India. More recently he set up international radio stations for Nile FM and Nogoom FM in Cairo, a project where he worked closely with White Mark, which was responsible for the acoustic and studio design.

Dylan Hilton is a sound engineer, with over 10 years’ experience. He started his career at Ava Audio Labs studio in Mumbai, where he engineered music and film sound projects for many leading Indian musicians. He has also handled sales and technical support for pro speaker brand Turbosound in Mumbai and set up a sound rental company.

Hilton currently runs a sound installation and consultancy company for various clubs, restaurant, lounges, auditoria and theatres. Working with brands such as Martin Audio, Kling and Freitag, JBL, Lab Gruppen and Powersoft, he has recently completed projects for a variety of Mumbai nightclubs and restaurants including Bonobo, Out of the Blue, Oak & Barley, Woodside Inn, Rude Lounge, Indulge, Cult and Della Adventures.

Commenting on the new relationship with White Mark, Jeffrey Marcedo says: “India and the Middle East have great potential and this is the right time to be a part of it. In India, particularly, the audio industry has grown and evolved over recent years but there are very few local companies that specialise in the high end acoustic design services offered by companies such as White Mark. Clients and industry professionals are now realising the importance of acoustics and are keen to access the knowledge and expertise that White Mark can bring to their projects.”

Hilton adds: “We are looking at all potential avenues where a professional acoustic setup is required. This obviously includes radio stations, recording studios, post production facilities and film dubbing suites, but we also feel there is scope for White Mark to expand into clubs, auditoria and theatres.”

For more information about White Mark’s services in India and the Middle East please contact Jeffrey Marcedo on Tel: +91 7666946264 or Dylan Hilton on Tel: +91 9820568671.

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About White Mark:

Established in 1997 by David Bell, John Dunnill, Derek Buckingham and Alan Cundell, White Mark Ltd specialises in production facilities for music recording and the film and television industries. Over the last fifteen years it has designed and supervised the construction of over 500 production suites worldwide. The company’s impressive client list encompasses some of the world’s most famous music recording facilities including Peter Gabriel’s Real World Studios in the UK, Germano Studios in New York, Hit Factory/Criteria Recording Studios in Miami, Strongroom in London and private studios for producers and musicians such as William Orbit and Damon Albarn. In the area of audio post production, White Mark has completed over 140 audio studios and many broadcast and video editing facilities for more than 60 companies in Soho alone. The list of clients includes Grand Central, Hackenbacker, Envy, De Lane Lea, Scramble, Lipsync, Molinare, DeLuxe, 750mph, NBC/Universal, Wave, Unit and Boom. Advertising agency clients include worldwide facilities for Hogarth International and AMV/BBDO on four continents. www.whitemark.com

Indianapolis, Indiana – March 8, 2012: In the fractured and multifarious landscape of modern media, the Super Bowl stands as a monolith, gathering the nation together before its television sets to partake of common experience. Indeed, this year’s game between the New York Giants and the New England Patriots was the most-watched program in television history, earning 111.3 million viewers. Of course, the modern Super Bowl experience includes much more than football. In addition to the multi-million dollar commercials, many are drawn to watch the celebrities and celebrity performances. This year, Country Music’s first couple, Miranda Lambert and Blake Shelton, kicked things off with a rousing duet. Shelton was later featured in his judge’s chair on the season premier of NBC’s hit, The Voice. At halftime, Madonna starred in a richly choreographed medley of her chart-toppers (to the tune of 114 million viewers – more than the game itself!). Rock-solid Sennheiser RF equipment gave everyone involved as much peace of mind as one dare hope at this, the most critical of all mission-critical events.

With a stirring rendition of “God Bless America,” Lambert and Shelton gave the Super Bowl a patriotic commencement. Lambert sang into a new custom-made pink Sennheiser SKM 2000-XP handheld mic with an MMD 935-1 capsule that was created for this event. Shelton sang into a Sennheiser SKM 5200-II handheld mic with an MD 5235 capsule. “On such a high-pressure show with so many top-of-their-field experts managing such a massive logistical undertaking, one has to be adamant to get the mics you want,” observed Brad Baisley, the duo’s monitor engineer. ”Of course, Miranda used her new pink Sennheiser microphone, and Blake the Sennheiser SKM 5200. The top end is always superb, the sound is natural, and Miranda and Blake know how to work those capsules. Of course, Sennheiser’s RF has always been rock-solid for us, and that was proved once again at the Super Bowl. In addition to their great products, the assistance from Sennheiser’s Tim Moore was fantastic. He was extremely helpful in ensuring we had the equipment we needed in the appropriate frequency ranges.”

To put the magnitude of the Super Bowl in perspective, Madonna’s 2008-2009 Sticky & Sweet tour – the highest grossing tour by a solo artist and the fourth highest grossing tour of all time – played to 3.5 million people in just over a year’s time. If you crunch the numbers, Madonna would have to play over thirty such tours back-to-back to match her one-time TV-land attendance at the Super Bowl! “Once the show starts, there’s not a lot you can do if something goes wrong,” said Matt Napier, Madonna’s longtime monitor engineer. “The best – and really the only – thing you can do in a situation like that is to have the best equipment available and to prepare thoroughly. I trust Sennheiser in Madonna’s high-stakes concerts, and that trust was rewarded with a perfect performance at the Super Bowl.”

“On tour, we have our own dedicated RF tech,” said Napier. “But as a general rule, we keep things simple and reliable by using Sennheiser wireless exclusively and their Wireless Systems Manager software, which is an effective tool for managing our frequencies.” Madonna used the Sennheiser HSP 4headset at the start of the medley and then switched to a Sennheiser SKM 5200-II handheld Blake and Mirandatransmitter with an ME 5005 capsule for the remainder. All of Madonna’s guests (Nicki Minaj, MIA, LMFAO) used Sennheiser SKM 5200-II handheld transmitters with Neumann KK 104 capsules. Cee Lo Green’s mic used the MD 5235 capsule. Sennheiser EM 3732 receivers captured the on-stage magic for the wired world beyond. Finally, Sennheiser 2000 Series wireless personal monitors rounded out the equipment list for Madonna at her request.

“No matter where we’re playing, the combination of the Sennheiser SKM 5200-II transmitter, ME 5005 capsule, and EM 3732 receiver delivers fantastic audio quality and reliable, flexible RF performance,” said Napier. “Together with Sennheiser’s 2000 Series wireless personal monitors, we’re high fidelity start to finish, with rock-solid reliability and easy frequency coordination. In addition, having the full support of Sennheiser affords me peace of mind. We needed a gold-plated SKM 5200-II transmitter for Madonna and a chrome SKM 5200-II for Cee Lo. With no time to spare, Kristy Jo Winkler and Tim Hunten, Sennheiser, and Jason Bellamy at Soundtronics arranged the delivery of these transmitters. The mics were on their way the same day. That kind of service means a lot in this industry. A big thanks goes out to the Sennheiser team!”

D5s in Use for Live Performance

San Diego, California March, 2012 …. Equator Audio Research, recognized globally as a leading manufacturer of highly accurate studio reference monitors for mission critical recording applications has found their reference monitors being used to enhance live performance mixes. Most recently the new Equator D5s have been used during the sold out Eric Church “Blood, Sweat, and Beers” tour.

FOH mix engineer for the tour, Brent Sparks commented: “I’ve never used near fields mixing live, but am currently using Equator D5′s. I have to say the D5′s have been amazing for zeroing in on the ultimate live mix, helping to tune up my ears and consequently the PA tuning as well.”

“I originally bought the D5′s for critical listening at home, but used them in rehearsal and found them highly beneficial.” Brent continued. As ticket sales have exceeded expectations, so have the db levels of the system and the audience. At a certain point Brent intends to move up to Q Series monitors for his reference but for now the D5s are firmly planted on his console.

The new D5 (Direct 5) studio monitors are geared for the recording professional in need of a small (9.75″ x 7″ x 8.5″), affordable, accurate, well-voiced, reference studio monitor solution. It features a coaxially designed 5.25” woofer and center mounted 1” silk tweeter in an all wood cabinet. The newly designed digital amplifier boasts extremely low distortion specs and delivers 2 x 50w RMS. SPL is rated at 103 dB combined @ 1m. Frequency response is 53Hz–20 kHz.

To achieve extensive mid-range detail the D5 shares much of the acclaimed Equator Q Series technology. Like all Equator 2-way active monitoring systems, the D5 employs a Zero-Point Reference™ coaxial design with internal DSP handling numerous tasks, including matching the Digitally-Controlled Transducer’s™ output and the ability to apply pin-point accurate voicing.

The D5s are available for $299 per pair directly from the Equator online store.

About Equator Audio Research
Equator Audio Research is committed to delivering studio reference monitor solutions that overcome the myriad of challenges faced in today’s production environment. From our phase and time accurate coaxial designs to our matched transducer manufacturing to our sophisticated Q Series Room Analysis and compensation software; our products meticulously provide solutions to existing sonic obstacles. Equator products are used daily in mission-critical applications at many of the world’s finest recording studios. For additional information on all Equator Audio products, visit the company online at www.equatoraudio.com.

Boston, March 7, 2012– The Boston Opera House is a striking example of the finest theatre architecture set in opulent French and Italian styles. Originally constructed in the late 1800s but extensively renovated in 2002, the 2,677-capacity theatre has been the sole performance venue of Boston Ballet since fall 2009 and was originally constructed as a tribute to vaudeville’s greatest impresario: Benjamin Franklin Keith. As a credit to both the original design its recent painstaking renovation, the Opera House is nothing short of stunning, featuring outstanding acoustics and superb craftsmanship throughout.

Recently, this landmark performance facility took its breathtaking natural acoustics one step further by installing a discrete and ultra-compact K-array sound reinforcement system for the Boston Ballet, customized and painstakingly finished to match the luxurious décor of its interior. The system, designed and installed by Talamas Broadcast Equipment, includes Sennheiser distributed K-array KK100 and KH15 speaker arrays plus KL18 and KS4 subwoofers, together with KA10 and KA40 Class D power amplifiers — all of which have been installed to maintain the visual and sonic integrity of the original space.

Nick Jabour of Talamas Broadcast Equipment, a Boston-based company serving the audio and video needs of New England’s film, television and broadcast production industries, worked with Boston Ballet’s Ben Phillips, production manager and technical director, and Benjamin Young, sound designer, on the design of the system. “There are three KK100 vertical arrays on each side of the proscenium arch,” explains Jabour. “Those are primarily for the orchestra level and the first few rows of the balcony.”

To allow shading of the coverage patterns of the KK100s, two arrays are driven from each channel of a KA10 amp. The KK100 is an ultra-slim vertical line array comprised of multiple two-inch neodymium transducers in a stainless steel chassis. Two KL18 subs, which each feature an 800W, 18-inch driver, are positioned below the left and right main arrays to provide low frequency reinforcement.

Flown systems provide additional coverage of the orchestra and balcony seating sections of the 2,500-capacity theatre. “There are two KH15 arrays and a KS4 sub array on a truss that’s flown above the downstage lip of the stage,” says Jabour. “The KH15s mostly cover the balcony. There’s another KH15 positioned behind the KS4 pointing straight down at the orchestra level to complete the stereo image.”

The self-powered KH15 is an ultra-compact two-way line array that provides consistent 120-degree horizontal coverage. The self-powered, ultra-compact KS4 subwoofer offers a unique dipole figure-8 coverage pattern capable of delivering very high SPLs.

Talamas worked closely with power distribution specialists Motion Labs and Sennheiser, exclusive distributor of K-array products in the U.S. and Mexico, on the unusual A.C. power set up for the system. “KA10s and a KA40 amplifier power the KK100s and the KL18s,” Jabour elaborates. “The KA10 and the KA40 amps are being run at 120 volts, but so that we could use a more standard style cable for the power run to the truss we run those speakers, which are self-powered, at 230 volts.”

The theatre’s acoustics were originally designed to deliver the spoken word to every seat in the house in an age before microphones and amplifiers. “So Boston Ballet wanted something that they could use very, very subtly,” comments Jabour. “But they have a choreographer who, for one of his pieces, requires the theatre to get very loud. So we had to be able to cover both extremes.”

“The K-array system helped us accomplish everything we set out to achieve,” says Benjamin Young. “The subtle reinforcement of a gentle orchestra is undetectable, and the intricacies of more modern electronic orchestrations are clear as can be, while powerful at the same time. I am certain that the majority of the patrons don’t even realize that they are there; they are the ninjas of speakers!”

“The key point in our original directive was that the speakers could not interrupt the aesthetic of the stage — and Talamas and Sennheiser worked with us to achieve that goal,” he adds. “All in all the system has turned out to be a huge success for us.”

The newly installed K-array system made its debut on March 1 with the opening of “Play With Fire.” The production features “Rooster,” choreographed by Christopher Bruce to the music of the Rolling Stones.

Convention Gains Momentum with Clear Communications from Tempest Wireless Intercom

WASHINGTON, DC MARCH 7, 2012 ? Clear-Com, a global leader in critical voice communication systems, is pleased to announce that CMI Communications, a premier convention and meeting company delivering full production services and technologies, utilized Clear-Com’s reliable wireless intercom for the event production of the 2012 Conservative Political Action Conference (CPAC). Clear-Com’s Tempest2400 2.4 GHz wireless system proved to be an intercom solution above reproach, offering immaculate coverage and superb clarity in the RF hostile conference environment.

The Tempest2400 operated flawlessly to enable backstage communications for the production team at the CPAC venue. The four-channeled Tempest wireless beltpacks were employed by the show lead, technical director, and A2 to coordinate the smooth procession of high-level political figures and important speakers from the green rooms, the areas where they prepared for their presentation, to the large ballroom, where the speeches were given. Despite the RF saturated site, dense walls, and plethora of equipment, Tempest consistently provided a clear signal for the crew between the green rooms and main show floor.

“When it comes to wireless frequencies, the spectrum in Washington D.C is very crowded. With the number of television crews coming to the CPAC event with their own wireless systems, it would have been practically impossible for us to use a UHF communications system,” says Nathan Pocock, Audio Engineer, CMI Communications. “We were only considering a 2.4 GHz intercom and yet, several that we initially tried did not function well because of interference. However, because of the Tempest’s advanced RF technology, we had complete audio clarity and full wireless coverage in all our workspaces, even within that frequency band.”

2.4 GHz was an already congested band in the CPAC site with the huge number of consumer devices, wireless routers, and equipment from the hotel and broadcast crews that were operating in that range. Nonetheless, the Tempest2400, designed with Frequency Hopping Spread Spectrum technology, utilizes a narrow band signal that is continually changing frequencies to powerfully burn through RF noise and interference, optimizing sound quality for CMI Communications. In addition, the 2xTX technology of the Tempest sends all voice communications data twice, one from each antenna, to further assure uninterrupted, high quality audio communications.

“There doesn’t seem to be another product like the Tempest2400 in the 2.4 GHz spectrum. The system is loaded with value-added features,” adds Pocock. “With most other products, the channels on the wireless beltpacks share a linked volume. Each channel on the Tempest2400 beltpacks, however, had its own independent volume so that you can control the levels for the talk and listen. Each beltpack was also customizable and the auto-nulling got rid of extraneous noise on the communication system. The Tempest is definitely a system I would use again in future productions.”

The 39th annual Conservative Political Action Conference, a project of the American Conservative Union, was held February 9th-11th, 2012. CPAC brought together thousands of grassroots conservatives and conservative leaders together for blockbuster speeches, policy discussions and networking opportunities to strengthen the conservative movement. CMI Communications coordinated the entire production for the 2012 CPAC, including lighting, video, audio, staging, design, along with communications, and has been doing so for nearly a decade.

About Clear-Com
Clear-Com, an HME company, is a global provider of professional voice communications systems since 1968. We develop and market proven intercom technologies such as Analog & Digital Partyline, Digital Matrix, Wireless and Intercom-over-IP systems for critical communication applications in broadcast, performance venues, military, government and enterprise markets. Recognized for our legacy of intercom innovations, production teams around the world have come to depend on Clear-Com for clear, reliable and scalable communications solutions. For more information, please visit www.clearcom.com.

About HM Electronics, Inc. (HME)
A privately held company founded in 1971, HME has continued to be a leading provider of innovative technology focused on enhancing productivity and customer service for multiple markets including pro audio, sports, and restaurants. HME developed the first wireless intercom system for pro audio and continues to introduce exciting, cutting-edge wireless intercoms that enhance communications, increase productivity and facilitate creativity for virtually any application. For more information, please visit www.hme.com.

AUSTIN – March 06, 2012: Audio specialist Sennheiser announced that it has partnered with music retailer UniqueSquared to bring a 45-foot mobile recording studio bus to Austin during its world-famous music week between March 14th and 16th. The UniqueSquared Mobile Studio, which will make stops at various locations in downtown Austin during its music festival, is being co-sponsored by Sennheiser and features a control room, isolated vocal booth / tracking room, a listening lounge and plenty of gear from Sennheiser and Neumann. Music fans are encouraged to attend and admission is free.

The UniqueSquared Mobile Studio will feature an assortment of world-class microphones from Sennheiser and Neumann and several dedicated listening stations equipped with a selection of the latest headphones from Sennheiser — including the HD 800, which many audiophiles consider to be the best-sounding headphone in the world. Following is a selection of the audio equipment that the mobile recording studio will have on hand for musicians and fans to demo:

– Sennheiser e 906, e 914 and MK 4 instrument / vocal microphones
– Sennheiser e 835 and e 935 dynamic vocal microphones
– Neumann TLM 103 condenser microphone
– Sennheiser Amperior, HD 25, HD 205, HD 280, HD 650,HD 800 headphones and others
– TRUE Systems P2 Analog preamplifier (distributed by Sennheiser)

“We are happy to co-sponsor the UniqueSquared Mobile Studio this year in Austin,” commented Tim Moore, artist relations manager, Sennheiser. “It is exciting to interact with so many diverse music fans in one place, and the Mobile Studio enables them to try out a wide range of Sennheiser and Neumann products in a professional environment before making a purchasing decision.”

The UniqueSquared Mobile Studio, which will also have products for sale, is being presented in conjunction with the Sennheiser / Paste party at The Stages on Sixth — where 33 artists will perform over the course of three days.

Over the course of the showcase event, one pair of Sennheiser HD 800 headphones will be given away each day to three lucky registered showcase attendees and hundreds of cards will be given away featuring free music downloads of Sennheiser artists. A dedicated, interactive listening station will be provided for the duration of the event so music fans can experience Sennheiser’s latest products including the Amperior DJ-style headphones, which were recently unveiled at CES 2012.

MB2 XBD & AML2 Speakers Provide Critical Listening Facilities At The ©Oscars®

PMC speakers, distributed in the USA by Prism Media Products Inc, provided critical reference monitoring facilities for broadcast and film mixing engineer Tommy Vicari at two key stages during the 84th ©Academy Awards® — the ©Oscars® to most of us — at the end of February.

Vicari, who has worked on a huge range of Hollywood movies from The Help to Finding Nemo, used a pair of MB2 XBD speakers supplied by Prism Media Products Inc during rehearsals and pre-recording sessions at Capitol Studios, Hollywood, in the days running up to the awards ceremony. On the night itself, the broadcast truck for the event used PMC’s compact full-range AML2s to monitor all of the live and pre-recorded musical cues and themes created by this year’s Musical Director, composer Hans Zimmer.

The broadcast mix from the truck was also overseen by Tommy Vicari, for whom it was the 13th year mixing the music for the Oscars, but his first using PMCs.

“I’ve been a PMC user for 11 years,” he comments, “and can’t say enough about how I love them. There are no surprises — whatever I mix on the PMCs comes out ready for the soundstage. This year, Hans Zimmer was trying something novel and ambitious with the music, so I wanted to reproduce my movie mixing rig for the pre-recording sessions to help make him feel more comfortable. And for the last three years, my movie mixing setup has been an array of PMC MB2 XBDs with Bryston amps. Maurice Patist, of Prism Media Products Inc, brought down a duplicate set to Capitol and tuned them personally, with really great results.

“The musical cues for the Oscars are always pre-recorded as a safety measure before the show; they need recordings as backup in case anything should go wrong technically on the night. For the past few years, the pre-recording sessions have also served as a practice session for the musicians to get to know the music. This year, there was all kinds: rock, orchestral, world, hip-hop… we went through over a hundred cues in two days. The speakers sounded great, and as I’d hoped, Hans really loved them.”

For the live broadcast, Vicari felt that the MB2 XBDs were too large for Remote Recording Services’ broadcast truck. However, Maurice Patist had a further card up his sleeve — the smaller AML2s, which are designed to provide the same dispersion, balance and resolution in a more compact package. “I’d not used these before, but Maurice suggested I try them, and I was really impressed, as was everyone else in the truck. Despite their size, they were really powerful in the bass range — I didn’t need a subwoofer. They also stayed very clean-sounding, with a crisp and clear top end.”

Vicari looks forward to auditioning the AML2s in his own studio. For now, he is delighted with how the live broadcast went. “We always try to give the audience at the Oscars an elegant experience. This year, what can I say? I worked with some very talented people… and the speakers sounded great!”

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NOTES
‘Oscars’ and ‘Academy Awards’ are a trademark of the Academy of Motion Picture Arts & Sciences.

MB2 XBD
The MB2 XBD is a development of the successful MB2S with increased dynamics and LF performance. The addition of the XBD cabinet containing a second precision 12-inch Radial™ driver increases the LF headroom by 3dB below 380Hz, and allows a larger room to be driven to greater effect. In a surround configuration, the added headroom of the XBD allows the ‘point one’ surround effects channel to be handled with ease, avoiding the need to install further sub units. The 32-element, 4th-order passive crossovers are housed in external enclosures which can be mounted to the rear of the XBD cabinets for improved fidelity. This is an ideal monitor for music recording, mastering and post-production in either stereo or surround configurations. For more information, see the dedicated MB2S product page on-line at:
www.pmc-speakers.com/product.php?mode=view&pid=23.

AML2
The new AML2 further extends the design of the internationally acclaimed AML1, with newly introduced micro-engineered EQ tilt circuitry, enhanced power supply layouts, a revised cabinet structure with additional damping, and subtly revised cosmetics. This uncompromising design offers performance unmatched by any other speaker of a similar size and volume; for example, the unique driver arrangement, with a crossover point of only 1.4kHz, enables the AML to deliver an amazingly accurate portrayal of music or speech. For more information, see the dedicated AML2 product page on-line at:
www.pmc-speakers.com/product.php?mode=view&pid=41.

About PMC
PMC is a UK based, world-leading manufacturer of professional monitor and audiophile speaker systems.

PMC designs feature its uniquely engineered Advanced Transmission Line (ATL™) technology, which provides a near-identical, high-resolution, wide-bandwidth signal response across the complete product range. Proprietary drive units, electronics and cabinet engineering provide unrivalled tonal accuracy, clarity and dynamic range throughout a range of designs, extending from the world’s smallest ATL™ design, the DB1+, to large-scale active control room monitoring systems such as the flagship BB5-XBD-A.

PMC monitor systems are in service with most of the world’s premier music and film sound recording studios, broadcast companies, post production and audio mastering facilities. For further information and an extensive list of clients, visit www.pmc-speakers.com.

About Prism Media Products Inc
Prism Media Products Inc. is the US distributor for Prism Sound, SADiE, Maselec, PMC and Imerge.
For more information: http://pmpi.prismsound.com

Burbank, CA … Royer Labs, recognized globally for its high quality ribbon microphones used by leading studio professionals, is pleased to announce the appointment of Kevin Parker to the newly created position of Director of Sales. With a background that encompasses sales management, marketing, strategic market development, artist relations, and retail aspects of professional audio and MI, Parker’s experience makes him an ideal choice for his new position with the company. He is stationed at Royer’s corporate headquarters in Burbank and commenced work in January 2012. more