Peavey® set the standard for affordable, feature-packed powered P.A. solutions more than forty years ago. The new Peavey PVi™ 8500 and PVi 6500 powered mixers bring together decades of R&D and design experience to create the best portable, all-in-one audio solutions for musicians and audio professionals.

The Peavey PVi 8500 and PVi 6500 are 400-watt powered mixers that combine exclusive Peavey innovations, the Peavey legacy of quality and reliability, and modern amenities such as an input dock for iPhone® and iPod®. Eight combination XLR and 1/4″ inputs (six on the PVi 6500) based on Peavey high-quality, low-noise Silencer® mic preamps provide versatility and clear audio reproduction, while Peavey’s proprietary Mid-Morph® EQ control improves the tone and clarity of vocals and complements the low and high EQ bands by boosting high-mids or cutting low-mids.

Both models feature a nine-band graphic EQ that is assignable to the main or monitor output and features Peavey’s patented FLS® Feedback Locating System, which makes accurate feedback elimination simple and intuitive. Exclusive Peavey Kosmos®-C technology provides spectrum enhancement to both the low and high end of the frequency range, while the footswitchable 24-bit digital effects section includes multiple varieties of rich, highly detailed reverb and delay.

Dual power amplifiers provide 400 watts total, with independent level control and parallel (main and monitor outputs) or stereo (both amps on main output) operation. Users can connect virtually any audio device to this versatile mixer via the onboard 1/4″, RCA and 1/8″ mini jacks.

The Peavey PVi 8500 and PVi 6500 will be available in Q3 2012 from authorized Peavey retailers. Please visit www.peavey.com/dealerlocator to find a dealer near you.

PVi 8500 and PVi 6500
400 watts (dual 200W power sections, assignable with independent control)
Eight input channels (PVi 8500) or six input channels (PVi 6500)
Patented FLS® Feedback Locating System
Exclusive Mid-Morph® EQ
Onboard 24-bit digital effects
Combination XLR and 1/4″ input jacks
Selectable 9-Band Graphic EQ for Mains or Monitors
Patented Kosmos®-C low frequency and spectrum enhancement system
Master Mute
Phantom Power
Footswitchable effects defeat and Master Mute
Input dock for iPod® and iPhone® devices
RCA and 1/8″ media input
RCA record output
LED Meter bridge
Power amp subsonic filtering
25 lbs. (11 kg) for both models
U.S. MSRP $399.99 (PVi 8500); $329.99 (PVi 6500)

Features, specifications and pricing are subject to change without notice. iPad®, iPhone® and iPod® are registered trademarks of Apple Inc.

About Peavey Electronics®
Founded in 1965, Peavey® is one of the world’s largest manufacturers and suppliers of musical instruments and professional sound equipment. Peavey has earned more than 180 patents and distributes to more than 130 countries. Peavey and its MediaMatrix®, Architectural Acoustics®, Crest Audio®, Composite Acoustics® and Trace Elliot® brands and affiliates can be found on concert stages and in more than 10,000 airports, stadiums, theme parks and other venues around the world. To find out more, visit http://www.peavey.com.

When Brixton Academy was built in art deco style during the cinema boom of the late 1920s, it never expected to be hosting high-octane rock bands like Chickenfoot (led by former Van Halen legend Sammy Hagar).

Ghosts of Brixton’s cinema past remain within this Grade II-listed building, and the bulging balcony facade has proved the downfall of many a sound system, returning the firepower off the stage and bouncing the sound waves back at the band.

But Martin Audio was able to pull off a rare feat when their Multi-cellular Loudspeaker Array (MLA) made its debut there (via Capital Sound).

To the amazement of FOH engineer Michael ‘Ace’ Baker, Martin Audio‘s R&D Director Jason Baird and system tech Mark Edwards simply notched out this chunk of the coverage pattern in the dedicated optimization software.

“Chickenfoot is one of the loudest bands that have played through the system, so we stood onstage and switched the MLA’s DSP from a setting that didn’t notch it out to one that did, using the tablet PC over the WiFi link,” explained Baird. The difference was plain to hear, with an obvious reduction in reflections off that deep balcony front.

Ace Baker had wanted to pilot the MLA since hearing it in demo Las Vegas last summer. Knowing that his monitor engineer Jim Jorgensen was about to join Martin Audio he applied pressure; so that by the time production arrived in Brixton, there were nine MLA elements and an MLD Downfill ready to be rigged each side, with six MLX’s ground stacked on either flank.

“I had been hugely impressed with MLA and could see the math behind it, but there’s only so much you can learn under demonstration conditions. I had to get the system out there,” declared Ace.

“Some people were doubting whether this was a true rock ‘n’ roll box––but this is one of the most rocking boxes I have ever mixed through. In fact it is a true concert arena PA, capable of producing a ‘big’ PA sound rather than just pumping out pure volume. I noticed it particularly around the kick drums and toms and yet I’m barely tickling it, there’s just so much headroom.”

He was also amazed that despite the consistency of coverage in the house, none of it was blowing back at the band onstage. “That’s what got me so excited. Initially, all that computer stuff looked like something I wouldn’t be able to handle, but then Mark showed me how simple it was––all you need to be able to do is measure correctly and you are done.”

Baker says that MLA has given him the freedom to exploit “extra places where it can go, the incredible spatial and panning effects that I was running through.”

The engineer started working with rock legend Sammy Hagar four years ago––who in this configuration was fronting a top line-up comprising Joe Satriani (guitars), Michael Anthony (bass, vocals) and drummer Kenny Aronoff (filling in for Chad Smith, who was off with the Red Hot Chili Peppers).

At Brixton, he was able to mix the sound flat on a Yamaha PM5D and that, according to Mark Edwards, is because MLA sets itself up to produce a neutral, balanced sound. “Because the system is so responsive to system EQ, if there’s a bit too much sub in the room it is easy to notch a tiny bit out.”

Edwards also commended Martin Audio’s Display predictive software. “The Drag & Drop approach to loading the optimization is as transparent as it could possibly be and at Brixton I was surprised how little room interaction there was. Overall, I was extremely pleased with the sound.”

As was ‘Ace’ Baker who has now publicly stated that MLA has become his ‘go to’ PA.

“There are a lot of good systems out there but only a few have been truly groundbreaking;” Baker concludes. “Right now, this is the one that has everyone talking about it.

“There will be a lot of touring ahead this year and MLA is the system I want to use from now on.”

For more about Martin Audio, please click to www.martin-audio.com.

About MLA™ (Multi-cellular Loudspeaker Array)
The result of many years of intensive R&D, MLA’s methodology replaces trial-and-error array design with intelligent numerical optimization of the array’s output based on a highly accurate acoustic model. The multi-cellular format has six individual cells in each enclosure, each with its own DSP and amplification.

With up to 24 enclosures, each MLA array has up to 144 cells — too great a number to optimize manually, or by ear. Instead, Martin Audio’s proprietary Display2™ system design software automatically calculates FIR DSP filters for each cell and a redundant-ring audio network (U-NET™) downloads the settings into each array enclosure. Martin Audio’s VU-NET™ software provides real-time control and monitoring of the system.

MLA delivers a frequency response and SPL consistency never before achievable; a very high system output (140dB peak, per cabinet @1m); Automatic optimization of the array, both physically (splay angles) and electronically (DSP); Computer control and monitoring of the entire system, and total control of sound system balance for engineers and sound technicians.

MLA is fully integrated, with Class D amplification, DSP and U-NET digital audio network built into each enclosure. MLA complete systems are ready-to-use, with MLA, MLD and MLX enclosures, flying hardware, software, cabling and training all supplied. Everything needed is included. All ancillary items — from tablet PC and Merlin™ controller to network interconnects and mains distro — are also included in the complete system package. This ensures full compatibility worldwide, down to cabling and accessories.

Additional features include 90° x 7.5° dispersion; a compact size (1136mm wide x 372mm high x 675mm deep), one-box-fits-all (festivals to theaters) application range and a global voltage, power factor corrected power supply.

MLA’s compact size and very high output allows it to be shipped using smaller trucks, offering considerable savings and reduced carbon footprint. The system also includes the MLX powered, flyable subwoofer capable of an unprecedented measured peak output of 150dB @ 1m; MLD downfill cabinet, and Merlin 4-in/10-out system controller and network hub. Audio input is via analog, AES3 or U-NET.

By adopting these principles and system components MLA is optimized for every member of the audience — from a 2,000 capacity theater, to a 20,000-seat arena, to a 100,000-person festival site. It will deliver the engineer’s exact mix to every seat (up to over 150 meters) with precision, exceptional power and clarity.

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

DK-Technologies’ new DK Meter is now even easier to use thanks to the addition of new software (V.2011-12-06), which enhances the user experience and significantly improves the meter’s performance.

The company has also released a new user guide that reflects this change and advises all DK Meter distributors, dealers and customers to visit www.dk-technologies.com where they can download both the new guide and the latest version of the software.

The DK Meter has received a fantastic response from the industry following its launch at NAB 20122, where it won a Broadcast Engineering Pick Hit Award for the technical and financial improvements it can bring to a facility’s operation.

At just $1295.00 in the US and €995.00 in Europe, this highly portable Compact Audio Loudness Meter (CALM) is no bigger than a smart phone and comes in two versions – the stereo DK1 and the 5.1 surround sound DK2. Both versions are easy to use, easy to install and can be powered from a computer USB port, making them ideal for location recording. They accept digital audio inputs and are supplied with all known loudness measurement recommendations as well as the standard DK-Technologies meter scales. As they use the same software as DK’s existing products, there are no technical issues when switching between a DK Meter and one of the larger meters in the company’s range which provides facilities for loudness logging.

Richard Kelley, Sales and Marketing Director for DK, says: “The new DK Meter is exactly what the industry has been waiting for – an affordable audio metering solution that not only delivers conventional metering but also ITU, EBU R128 and ATSC-compliant loudness metering at the same time, on the same display and in a single box.”

For more information about the DK Meter, please visit www.dk-technologies.com

-ends-

About DK-Technologies
DK-Technologies develops and produces audio meters, video sync and test signal generators, as well as video waveform monitors and colour analysers both for LCD and CRT monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA.

Panels Designed to Help Improve Common Acoustical Issues Including Excessive Reverberation and Flutter Echo in Small- to Medium-Sized Areas

ANAHEIM, CA, JANUARY 23, 2012 — Auralex Acoustics, Inc., the industry leader in innovative sound control solutions, highlights its new SonoFlat Grid panels at the 2012 NAMM Show (Hall A, Booth 6798).

A new take on its popular SonoFlat product, each Auralex SonoFlat Grid measures 2ft. x 2ft. x 2in. and is composed of nine 8in. x 8in. beveled squares. Made from Auralex’s proprietary Studiofoam, these panels offer the impressive mid- and high-frequency absorption that the original SonoFlat panels are known for, as well as the elegant look that makes them a great addition to any studio or home theater.

“The SonoFlat Grid was developed out of our clients’ desires to have a price-conscious foam solution with a completely unique, modern appeal aesthetically,” says Mike Buratto, acoustical engineer at Auralex Acoustics. “We were able to achieve this with improved low-frequency performance over our more classic Studiofoam cuts.”

The new SonoFlat Grid Panels’ unique design makes them appropriate for both studio and home theater applications. The panels are available in charcoal coloring and are made from Auralex’s melamine-free formula, which won’t crumble with age.

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

Auralex Acoustics has become the industry leader in innovative sound control solutions and continues to enjoy rapid growth through an international network of authorized dealers. Visit the Auralex Web site at www.auralex.com. Auralex can be reached via email at auralexinfo@auralex.com or by calling 1-800-959-3343.

ANAHEIM, CA, JANUARY 20, 2012 — DPA Microphones, the manufacturer of high level reference and headset microphones, is pleased to introduce an enhanced, dual-ear headset for its popular DPA d:fine directional and omnidirectional headset microphones at The 2012 NAMM Show (Booth 6996). Designed to meet the needs of active live theatre, music video production, concert sound, etc., the d:fine series dual-ear headset mic is now ready to take on the most rigorous and energetic performance applications, while delivering the world-class sound quality expected of a DPA microphone. The new dual-ear headset is available in three sizes.

“When we first introduced the d:fine headset microphones series to the live sound market, it was embraced by the industry as a condenser headset that could provide exceptional sound quality in the most challenging acoustic environments with a wonderfully simple and secure single-ear mount,” says Jarrod Renaud, Sales & Marketing for DPA Microphones, Inc. “With our new dual-ear headset, which is available in three sizes to fit everyone from a 10-year old performer to an adult musician, users can rely on d:fine to stay in place, bringing uninterrupted performance excitement to the audience for live sound and video projects that might include extreme dance and hip hop segments, for example.”

In a world that is increasingly video-oriented, from live action reality TV and theatre presentations to sporting events and bands producing videos for YouTube (and everything in between) the dual-ear headset for the d:fine headset microphone provides worry-free performance in the most exacting situations. While the d:fine capsule delivers the sound, through a frequency range of 20 Hz to 20kHz ± 2dB and a maximum peak handling capacity of 144 dB before clipping, the dual-ear headset delivers confidence that the mics will stay in place. Additionally, as the microphone isn’t hard-wired into the headset, the cable can be replaced easily and inexpensively. All d:fine models come in beige, brown, black and a fancy lime color and are slim line for a low visibility profile.

“With the advent of the d:fine headset microphone, the serious band or performing group can now have an ultra-professional headworn microphone within reach to bring their performance to the next level,” continues Renaud. “With the new dual-ear headset option, the same performers can reliably add increased athletics and dance moves, assured the show or presentation will run smoothly.”

About DPA:
DPA Microphones A/S is a leading manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

ANAHEIM, CA, JANUARY 20, 2012 — Building on the success of its flagship 4000 Series Reference Standard Microphones, DPA Microphones, the manufacturer of high level reference and headset microphones, is showcasing the new 2000 Series MMC2006 Omni and MMC2011 Cardioid microphone capsules at The 2012 NAMM Show (Booth 6996). Designed to bring the exceptional performance of the 4000 Series to a wider audience, the new 2000 Series incorporates the same capsule technology found in the company’s entire line of miniature microphones, but pairs it with the 4000 Series microphone bodies. The new modular series is offered at an attractive price point, allowing studios, sound companies and live performing groups the opportunity to own a high-level DPA product.

“We have taken our pioneer miniature condenser capsules and engineered them into two new capsules for our modular microphone system,” says Jarrod Renaud, Sales & Marketing for DPA Microphones, Inc. “These capsules offer outstanding performance and bring DPA’s sonic integrity within reach of every serious engineer, artist or studio owner. The MMC2006 and MMC2011 Twin Diaphragm capsules are interchangeable with our standard 4000 series capsules and microphone preamps, so a 2000 Series user can upgrade to the higher level 4000 Series capsules at a later date, if desired.”

Both the MMC2006 and MMC2011 encapsulate two opposite-facing 4060 omnidirectional miniature diaphragms to form a single-capsule, twin-diaphragm design, which reduces noise while enhancing sensitivity. The MMC2011 benefits from DPA’s interference tube design experience gained through its pioneering DPA 5100 Mobile 5.1 Surround Microphone. The interference tube technology ensures the integrity of the MMC2011 cardioid pattern.

The omnidirectional MMC2006 offers a frequency range of 20 Hz to 20 kHz with a soft roll-off below 50 Hz and typical 3 dB soft boost at 14 kHz, ± 2 dB. The cardioid MMC2011 capsule is a pressure gradient type with interference tube, offering an exceptionally flat frequency range of 20 Hz to 20 kHz with a 3 dB soft boost at 12 kHz, ± 2 dB, at 30 cm. Both capsules can be used with DPA’s MMP-A Preamplifier, MMP-B Preamp with low cut and high boost functions and the MMP-C Compact Preamp.

About DPA:
DPA Microphones A/S is a leading manufacturer of high quality condenser microphones and microphone solutions for professional applications in studio, broadcast, theatre, video/film and sound reinforcement environments. All DPA microphones and components are manufactured at the company’s purpose-built factory in Denmark.

For more information on DPA Microphones, please visit www.dpamicrophones.com.

Anaheim, Calif. – January 19, 2012 – Audio specialist Sennheiser is launching its brand new XS Wireless Series at the 2012 NAMM Show. Designed for users who want to easily go wireless, this entry-level series offers complete sets with sturdy units, simple operation and high quality sound. The transmitters have a battery life of up to 10 hours, while a switching bandwidth of up to 24 MHz allows for flexibility in the choice of frequencies. The series is comprised of two vocal sets, an instrument system and presentation sets with clip-on microphone or a headmic.

“With the XS Wireless Series, Sennheiser offers reliability and quality sound at an entry-level price,” explained Martin Fischer, Product Manager for Sennheiser’s wireless systems. “It offers good value for money and will benefit small event and conference venues, houses of worship as well as bands, vocalists and musicians.”

Wireless without fuss
The designers have focused on ease of use: the systems are operated via intuitive menus, they automatically search for free frequencies, and transmitters are synchronized with their receivers via a wireless link. “We wanted to make sure that users can fully concentrate on their performance, their speech, etc. without having to worry too much about the set-up and technology,” Fischer said.

Extras for bands…
XS Wireless includes two systems for vocalists and one instrument set for guitarists. Vocalists can choose between a handheld with a super-cardioid condenser capsule and one that includes a genuine dynamic e 835 capsule. “The XSW 35 system takes the assertive sound of the cardioid e 835 to new user groups,” Fischer added.

… and speakers
For installed sound applications and presentations, users can choose between systems with a handheld transmitter or a bodypack transmitter with either a head-worn mic or an unobtrusive clip-on microphone. Mute buttons on the handheld and the bodypack ensure that speakers are in control of the transmission.

Ruggedness and flexibility
To withstand the rigors of daily use, the true-diversity receiver is housed in a sturdy metal case. In the transmitters, one set of batteries will last for up to 10 hours—not only good for energetic stage shows, but also for long events and conferences. The systems feature freely tunable frequencies within a switching bandwidth of 24 MHz (13 MHz for the E frequency range). This allows up to 12 wireless links to be operated simultaneously, ensuring trouble-free operation even at somewhat larger events.

Visit Sennheiser at NAMM, Hall A, Booth # 6579.

ANAHEIM, CA – KRK Systems, part of the new Gibson Pro Audio division and a leading provider of professional monitors, subwoofers, headphones and control room solutions, is pleased to announce that its innovative powered subwoofers, the KRK 12sHO and KRK 12s, are now shipping worldwide and are available for demonstration at the 2012 NAMM show (NAMM Meeting Room 5963).

The KRK 12sHO is the ultimate expression of a subwoofer, delivering the intense, focused bass response necessary for demanding high-level applications, while the KRK 12s, designed to be a workhorse subwoofer for music production, is ideal when the precise representation of the bass frequency spectrum is necessary.

The KRK 12sHO powered subwoofer easily can handle the sonic rigors of surround sound, making it an ideal match for KRK’s Expose E8B or VXT 8 monitors driven to high sound pressure levels. It gives the engineer, artist and producer the opportunity to experience accurate bass reproduction down to 29Hz. While subsonic frequencies are heavily implemented in some musical genres, all studios will benefit from the use of a sub to monitor this low frequency content. The KRK 12sHO brings big system performance to any studio environment where ultra-accurate bass extension and maximum sound levels are required.

The KRK 12sHO already has garnered fans among industry heavy-hitters, among them, legendary Grammy Award winning producer Rodney “Darkchild” Jerkins. “When I’m in the studio, I need to know what’s happening at the core of my mix,” says Jerkins. “I need to know what’s happening with that low frequency range, otherwise it won’t translate across other systems. The KRK 12sHO subwoofer gets me that accuracy. It gives me that punch, that super-tightness that I can’t get from another sub.”

Jerkins added, “We recently used it to mix Mary J. Blige’s cover of ‘Ain’t Nobody.’ Mixing for the best means we mix with the best gear. The KRK 12sHO was a huge asset, allowing us to deliver a new take on a classic, four-on-the-floor beat – and it allows me to really go full-force. I can mix at the loudness level I need without taking it up to the mains.”

The KRK 12sHO cabinet features a 12-inch high, excursion-woven Kevlar driver cone set in a curved baffle front plate designed to virtually eliminate diffraction distortion. A specially designed front-firing quad-concentric port provides low-frequency extension while reducing boundary coupling and port turbulence. The integrated power amplifier delivers 400W RMS performance, yielding a sound pressure level of 113-dB music and 123-dB peak with a signal to noise ratio of 92dB. The KRK 12sHO can be integrated into an existing monitoring system by directly connecting dedicated subwoofer outputs from the source (mixing console, audio interface or monitor controller), or by using the built-in high pass filter and using the stereo outputs to pass the upper part of the spectrum to the main monitors. This allows the KRK 12sHO to be connected easily in a simple environment, while also offering the ability to be interfaced with a range of comprehensive hardware. The KRK 12sHO also features a dedicated LFE input, for integration into surround production requiring this signal. The subwoofer low-pass filter control is variable from 60Hz to 160Hz, giving the KRK 12sHO a generous frequency range of 29 to 160Hz to complement the sonic signature of any control room. The cabinet features combi-jack balanced inputs, thermal and overload/clip protection, LFE input gain, XLR outputs, a special subwoofer/line bypass footswitch connection, a ground lift option, phase reverse switch and variable phase adjust capabilities.

The KRK 12s powered subwoofer enhances any professional and project studio monitor system by delivering accurate reproduction of the bass frequencies down to 32Hz. For decades, KRK subwoofers have been the choice for high definition low-frequency monitoring, including some of the most prestigious studios around the world. Now the KRK 12s provides a larger low-frequency driver for enhanced performance that is within the budget of even the most modest home or project studio but packs the performance that leaders in the industry, including Martin Harrington, writer and producer for such artists as Celine Dion, Stevie Wonder, Kylie Minogue and Natalie Imbruglia, can appreciate. “I’ve always loved having a sub to wow record companies or artists when playing back a song or mix,” says Harrington. “The truth is, most subs are only good for that purpose and are not accurate enough to work with when making a record. The KRK 12s changed that. It’s very accurate and actually makes my Expose monitors sound even better!”

The KRK 12s features a specially designed curved baffle front plate that virtually eliminates diffraction distortion, enhancing pure bass reproduction down to 32Hz from the 12-inch, Kevlar woven high excursion driver cone. The internal power amplifier yields a 240W RMS power rating that delivers 110dB music and 119.5dB peak sound pressure levels with a signal to noise ratio of 102dB. The KRK 12s can be integrated into an existing monitoring system in the same way as the KRK 12sHO. The low-pass filter is variable from 55Hz to 170Hz, giving a frequency range of 32Hz to 170Hz which makes the KRK 12s the ideal choice for most existing monitoring systems. The cabinet features XLR, 1/4-inch TRS balanced and RCA unbalanced inputs and outputs, a system volume control with a range of -30dB to +6dB, subwoofer/line out bypass, phase reverse switch and ground lift switch.

Click on links to download images:
http://www.krksys.com/images/high_rez/krk12sho_angle.jpg
http://www.krksys.com/images/high_rez/krk12s_angle.jpg

About KRK Systems
KRK Systems, part of the new Gibson Pro Audio division, is a leading provider of accurate and reliable monitors and control room solutions. Founded in 1986, KRK has remained true to its mission of providing and developing products that meet the needs of its customers. During that time, KRK’s studio monitors, subwoofers, headphones and accessories have become synonymous with quality design and unparalleled performance. With a wide range of monitoring systems, available in multiple sizes and configurations, KRK offers products that meet the diverse needs of professionals and audio enthusiasts across the globe. For additional information on all KRK Systems products, please visit us online at www.krksys.com.

About Gibson Guitar Corp.
Gibson Guitar Corp. is known worldwide for producing classic models in every major style of fretted instrument, including acoustic and electric guitars, mandolins, and banjos. The Gibson Les Paul Guitar is the bestselling guitar of all time and is a tribute to the late, famed musician of the same name. Collectively, the Gibson Robot Guitar, Gibson Dark Fire, Gibson Dusk Tiger and the Gibson Firebird X represent the biggest advances in electric guitar design in more than 75 years. Through the Gibson Foundation, Gibson Guitar Corp. has become equally known for its philanthropic efforts on behalf of music, education, health and human services. Founded in 1894 in Kalamazoo, MI, and headquartered in Nashville, TN, since 1984, Gibson Guitar Corp.’s family of brands includes Epiphone, Dobro, Kramer, Steinberger, Tobias, Echoplex, Electar, Flatiron, Slingerland, Valley Arts, Maestro, Oberheim, Baldwin, Sunshine Piano, Take Anywhere Technology, J&C Fischer, Chickering, Hamilton, Wurlitzer and Gibson Pro Audio. Visit Gibson’s website at www.gibson.com. Follow Gibson Guitar at www.twitter.com/gibsonguitar and www.facebook.com/gibsonguitar.

ANAHEIM, CA – Stanton, part of the new Gibson Pro Audio division and an industry leader in the design and manufacture of professional audio products for DJs, is pleased to announce at the 2012 NAMM show (NAMM Meeting Room 5963) that its SCS.3 System Touch Controllers now can directly integrate with Atomix’s Virtual DJ LE software. Going forward, the SCS.3 complete controller pack will ship with Virtual DJ LE software, providing users a complete turnkey digital DJ solution.

“With the direct integration of the Atomix Virtual DJ, users can experience the full power of the compact touch controls of the SCS.3 system,” says Timothy Dorwart, General Manager of Gibson Pro Audio. “For those wanting to grow with their SCS.3 system, users also are provided a specially priced upgrade path to Virtual DJ Pro, which offers them the ability to add more effects, remap controls to their needs and realize greatly increased video mixing functionality, such as the ability to add new FX and skins from the Virtual DJ website. For video DJs looking to expand their capabilities or those looking to get into video DJing, this is a great tool.”

Stanton’s SC systems represent the world’s first truly professional DJ control systems, designed to fully empower laptop DJs and desktop producers. The integration of the SCS.3 system with the Virtual DJ software looks to expand upon this reputation. When the SCS.3 system is used with Virtual DJ, it is driverless, so users can be up and running within minutes, without a complicated setup procedure. Users now are offered even more capabilities, including four-deck control, FX, loops and full-screen video output for a club-ready video DJ setup.

For users of other popular DJ applications, Stanton also provides a comprehensive set of MIDI presets to be used in DaRouter, Stanton’s MIDI preset manager. Using DaRouter, users can integrate the SCS.3 with their favorite DJ systems.

Click on link to download images:

http://www.stantondj.com/media-downloads/scs/sys3_angle.jpg

About Stanton
Stanton, part of the new Gibson Pro Audio division, is an industry leader in the design and manufacture of professional audio products for DJs. Founded in 1946 by Walter O. Stanton, the inventor of an easily replaceable phonograph stylus, Stanton has grown from being one of the first American companies to make and sell magnetic cartridges to offering a complete line of DJ products, which include turntables, high-performance cartridges, CD players, DJ mixers, accessories and digital controllers. With over 50 years of innovation, Stanton is the name DJs trust. For additional information, visit the company online at www.stantondj.com.

About Gibson Guitar Corp.
Gibson Guitar Corp. is known worldwide for producing classic models in every major style of fretted instrument, including acoustic and electric guitars, mandolins, and banjos. The Gibson Les Paul Guitar is the bestselling guitar of all time and is a tribute to the late, famed musician of the same name. Collectively, the Gibson Robot Guitar, Gibson Dark Fire, Gibson Dusk Tiger and the Gibson Firebird X represent the biggest advances in electric guitar design in more than 75 years. Through the Gibson Foundation, Gibson Guitar Corp. has become equally known for its philanthropic efforts on behalf of music, education, health and human services. Founded in 1894 in Kalamazoo, MI, and headquartered in Nashville, TN, since 1984, Gibson Guitar Corp.’s family of brands includes Epiphone, Dobro, Kramer, Steinberger, Tobias, Echoplex, Electar, Flatiron, Slingerland, Valley Arts, Maestro, Oberheim, Baldwin, Sunshine Piano, Take Anywhere Technology, J&C Fischer, Chickering, Hamilton, Wurlitzer and Gibson Pro Audio. Visit Gibson’s website at www.gibson.com.Follow Gibson Guitar at www.twitter.com/gibsonguitar and www.facebook.com/gibsonguitar.

Pro16 Personal Mixing Systems Include All Necessary Components, Offer the Expandability of Any Aviom System for Users

ANAHEIM, CA, JANUARY 19, 2012—Aviom has been the industry leader in providing personal monitor mixing systems since 2001 when it created the category and introduced its A-Net® protocol for digital audio distribution. Today, the company is pleased to announce a series of Pro16® Personal Mixing Systems, debuting at the 2012 NAMM Show, Booth 6720, Hall A. more