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Westlake Pro Hosts Mixing Master Class with Andrew Scheps

First videos in series now available on YouTube

Los Angeles, CA – Westlake Pro, a leading retailer of professional audio, video, broadcast equipment, recording, and live sound equipment, technical services and musical instruments, recently hosted a Mixing Master Class with legendary audio engineer Andrew Scheps. The seminar, which took place at The Village Studios in Los Angeles, was filmed and edited into a video series, with the first of 13 now available for viewing on Westlake Pro’s YouTube channel.

Known for his distinctive mixing style and ability to bring the emotion out of songs, Scheps has engineered and mixed for some of the biggest rock bands in music: Metallica, Red Hot Chili Peppers, Weezer, Audioslave, Linkin Park, Green Day and U2. He’s also worked with icons such as Johnny Cash, Neil Diamond and Iggy Pop, as well as many independent artists.

Having successfully mixed with computers and software, or “in the box”, and on large format analog consoles, Scheps brings a unique perspective to mixing workflow, which he demonstrates by deconstructing some of his current work using Avid Pro Tools and S6 Control Surface.

The Mixing Master Class video series is divided into 13 videos of five to eight minutes in length and cover a wide variety of mixing topics as well as a Q&A session with the audience of around 150 people, most of which are working audio professionals. New videos in the series will be posted on Westlake Pro’s YouTube channel over the next several weeks. Please visit https://www.youtube.com/user/WestlakePro1.

About Westlake Pro
Based I Los Angeles, Westlake Pro specializes in business-to-business and retail sales of professional audio and video equipment, broadcast equipment, video editing software, recording software, computers, musical instruments and live sound application products. The company also provides technical services from complete studio design to live sound system design. Westlake Pro serves the Post Production, Broadcast, Music Production, Educational, House of Worship and Government markets.
For more information, visit www.westlakepro.com.

Solid State Logic Releases Updated Feature Set for SSL ‘MADI-Bridge’ at IBC 2014

New features include SRC and innovative Split Mode Operation

AMSTERDAM – Solid State Logic, the world’s leading provider of tools for creative audio professionals, is proud to announce the release of new features for MADI-Bridge, the company’s MADI to Dante IP Audio Network interface at IBC 2014 (Hall 8, D83). Part of SSL’s new ‘Network I/O’ Range, MADI-Bridge is the industry’s first fully broadcast-ready interface between MADI and Dante. The new features for the MADI-Bridge include bi-directional Sample Rate Conversion and a unique and powerful new ‘Split Mode.’

‘MADI-Bridge’ provides an interface between a Dante IP Audio Network and MADI. With 64 channels per Bridge @ 48kHz, or 32 channels at 96kHz, redundant MADI, IP Network ports and PSU, the Bridge is built for uninterrupted fully-redundant operation. In addition to the built-in clock redundancy in Dante controller, the MADI-Bridge includes a pair of sync inputs for use as a self-redundant Dante Grand Master clock. The unit can synchronise to Video sync, tri-level or black and burst, Word clock, MADI or PTP Network sync. MADI-Bridge also features a front panel headphone socket (with rotary level control) and built-in headphone monitor routing, to truly replace traditional patch bay routing and fault-finding functionality with equivalents in the IP Audio domain. GPIO connections allow for transfer of tally info and switching functions across the network with the audio.

MADI-Bridge will be shown for the first time at IBC 2014 featuring bi-directional 44.1kHAz/48kHz/88.2kHz/96kHz Sample Rate Conversion functionality and an innovative new ‘Split Mode’ feature. Split Mode allows the pair of MADI connectors to be used independently (rather than in their usual redundant mode) for bi-directional split/combine operation. This can be employed in a number of ways, for example, two 32 channel 96kHz MADI feeds can be combined to form one 64 channel 48kHz Dante stream or an asynchronous, but same sample rate stage can be connected to multiple OB vehicles. Other new features include a new LOCK mode whereby an admin user can lock all functionality of the unit except the front panel confidence monitoring and a neat new feature which, in Monitor Mode, enables the user to toggle the screen between showing the Monitor Matrix view and the Channel Name of the device currently being monitored.

MADI-Bridge is the most powerful, feature-rich, specialised for Broadcast, MADI to Dante Interface available. Also available in the SSL Network I/O range is ‘SDI,’ which provides bidirectional bridging between embedded SDI Audio and a Dante IP Audio Network (eight 3G-SDI Embedders and eight SDI De-Embedders provide up to 256 channels of SDI connectivity). SSL will showcase the Network I/O Range at IBC with a forward thinking practical demonstration of how SSL consoles and a wide range of devices from third party manufacturers can be combined today to form dynamic and extremely powerful IP audio Networks.

SSL Network I/O: SDI and MADI-Bridge are available now.

The new MADI-Bridge features are available to existing owners as a free firmware upgrade.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

Cher Tour Dressed To The Nines With DiGiCo SD7s

Cher FOH engineer Dave Bracey at the house console

BERLIN, Germany — Cher recently completed the first North American leg of her Dressed to Kill (D2K) tour, which is scheduled to resume in Albany, NY in mid-September and run through early November, encompassing a grand total of 74 shows. The tour features three DiGiCo SD7 consoles supplied by Black Box Music of Berlin, Germany, the live sound production provider for the entire tour, which are operated by Dave Bracey at front of house with Jon Lewis mixing monitors for Cher and Horst Hartmann supplying monitor mixes to the seven-piece band, dancers and technical crew.

Cher is the only artist to reach number one on the Billboard singles chart in each of the past six decades, and has sold over 100 million solo albums worldwide, plus more than 40 million records with husband-and-wife pop duo Sonny & Cher. The D2K tour, Cher’s eighth solo venture, reunites the three engineers, as well as system tech Ulf Oeckl, other crew members and some of the musicians, who all worked together on P!NK’s 140-plus-date The Truth About Love tour, which wrapped in early 2014.

Band monitor engineer Horst Hartmann at one of the two monitor desks

Bracey, who made the transition from DiGiCo’s D5 to the SD7 for Massive Attack’s 2008 European tour, and whose resume includes extensive touring with The Cure, Robbie Williams and Björk, reports that he typically does a lot of programming in the console. With Cher going through nearly a dozen costumes during the 18-song show, the D2K tour features numerous film and video montages while the star is offstage changing. As Bracey reports, some of the audio for the archival footage is less than pristine: “You have to process it in a way that makes it intelligible in the room,” he says. “So every interlude between every song needs its own snapshot. Some of the archival movie clips have such disparate audio signatures that only some well-adjusted multi-band comp and a channel of dynamic EQ would make the whole segment intelligible. The SD7 offers so much that I am yet to use a plug-in.”

The programmable features of the SD7 are part of the reason that Bracey has used the console exclusively for the past six years. “It’s infinitely controllable, but it never controls you or gets you into a situation where you’re too scared to call up the next snapshot. It makes life easy.” Like the D5 before it, he says, the SD7 allows the operator to update a single snapshot or apply changes across every snapshot, on the fly. “No other desk does it as well – that’s the reason I still use it. I see no reason to mix on any other console,” he says.

With Cher making so many costume changes it makes sense to have one mixer focusing solely on her needs, according to Jon Lewis, who has worked with AC/DC, David Gilmore, Paul McCartney and many others. “DiGiCo is my go-to board,” says Lewis, not least “for the support that you get from the guys, especially initially setting it up.”

The three SD7s are on an optical loop that allows the three engineers to share anything on the network, including video and communications. “That gives us the ability to throw something to each other at the click of a button, as opposed to having to go and find some XLR cables and patch it,” says Lewis. “If Dave suddenly needs her talkback mic, he can get it. If I need Dave’s effects returns, they’re there. It’s very quick and easy. And the ability to send video feeds around the system is great as well.”

“Even simple things like text chatting during the show,” Bracey chimes in. “If there’s something that’s not worth disturbing someone over, you just send them a message and they can answer in their own good time.”

Hartmann, whose credits include Kraftwerk, Scorpions and Sade, generates 12 stereo and 12 mono sends from his SD7. He manages all of the wireless equipment and crew communications while also feeding mixes to the musicians, who are all on in-ear monitors, several of them with separate ButtKicker low frequency effects feeds, and the dancers, via floor wedges and flown sidefills. “Every musician has a talkback mic, every crew member has a talkback mic,” says Hartmann, noting that all of the technicians are either under the stage or off to the sides. “There’s a lot of communication going on.” Since their sightlines are obscured, Hartmann and Lewis are able to follow the on-stage action on their consoles’ video screens.

At front of house, Bracey multitracks the entire show at 96 kHz to a laptop using DiGiGrid MGB coaxial MADI interfaces, both as an archive and as an aid to perfecting his mixes. “Two little boxes, a couple of Ethernet cables into an Ethernet bridge and into the computer – how easy is that? Most days I feel the need to listen back to it,” says Bracey. “It’s always very revealing.”

For more information on Black Box Music and Cher’s D2K tour, visit: www.black-box-music.de/en

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The Audio Engineering Society Offers Events and Resources for Audio Professionals All Year Long

— AES, known for its benchmark annual conventions and conferences, runs additional educational events throughout the rest of the year covering such key topics as audio for video games; the shifting audio landscape of cinema, television and the Internet; and more —

New York, NY, August 5, 2014 — Audio professionals are eagerly awaiting the 137th Audio Engineering Society Convention, which will take place Thursday, October 9, through Sunday, October 12, 2014, at the Los Angeles Convention Center in Los Angeles, California. Many know, however, that this annual U.S. conference and exposition is part of a complex web of a number of other educational and social events sponsored by the AES throughout the year. These events take place all over the world and focus on specific areas of interest to audio professionals. They serve to create a forum amongst professionals in those fields, and through these gatherings and the publication of their proceedings, contribute to the advance of international science and technology.

This year, in addition to the upcoming 137th AES Convention, those working with or interested in spatial audio can attend the 55th International Conference, scheduled to take place August 27-29, 2014, in Helsinki, Finland. This AES Conference will bring together researchers and practitioners in all fields of spatial audio, including recording and reproduction of spatial sound, perception of spatial sound, transmission and coding.

For those working in the complex arena of video games, the 56th International Conference, which takes place February 11-13, 2015 in London, UK, will cover the latest challenges and changes that the industry has faced in recent years. The conference aims to reflect the needs and interests of all professionals working in or around the area of game audio, to further the dialog between existing industry experts, to create a forum for sharing techniques and technology and to help advance game audio on current and future platforms.

A broader perspective will be addressed at 57th International Conference (subtitled The Future of Audio Entertainment Technology – Cinema, Television and the Internet), which will convene March 6-8, 2015, in Hollywood, CA. There, issues important to these verticals, including loudness monitoring, dialog intelligibility and next-generation immersive audio for cinema and home, will be discussed by leaders in these areas of knowledge.

AES also creates events aimed at specific global regions, focused on topics that are relevant to those working in these areas. This year, they include the Central European Student Summit 2014, September 12-14, 2014, in Moscow, dedicated to the state-of-the-art acoustical recording, and the 15th International Symposium on New Trends in Audio and Video, held on September 25-27, 2014, in Wroc?aw, Poland, organized by the Chair of Acoustics and Multimedia, Wroc?aw University of Technology, under auspices of the Polish Section of the Audio Engineering Society. These and other conferences, symposia and summits provide an ongoing set of resources for audio professionals all over the world.

AES Executive Director Bob Moses stated, “The depth and breadth of the field of professional audio is incredibly huge and endlessly fascinating. While our flagship annual events are on everyone’s agenda, it’s important to remember that the AES is always using a range of other events to make sure as much knowledge as possible is available to as many people as possible. We like to say, ‘If It’s About Audio, It’s At AES,’ and by that we mean that AES is everywhere, all the time.”

About the Audio Engineering Society
The Audio Engineering Society was formed in 1948 and now counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. Currently, its members are affiliated with more than 75 AES professional sections and more than 95 AES student sections around the world. Section activities may include guest speakers, technical tours, demonstrations and social functions. Through local AES section events, members experience valuable opportunities for professional networking and personal growth. For additional information visit http://www.aes.org.

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Bose® RoomMatch® System Installed at First Wayne Street United Methodist Church in Fort Wayne, Indiana

Traditional architecture and building materials led to a common problem, one that the RoomMatch® system effectively and efficiently addressed with its highly specific dispersion patterns

Framingham, Massachusetts, August 4, 2014 – The First Wayne Street United Methodist Church in Ft. Wayne, Indiana, has a very traditional building with a very common problem: Terrazzo floors, brick walls, and drywall ceiling add up to a long reverb time and challenging speech intelligibility. At the same time, those same characteristics are what give choral music and the church’s pipe organ a special kind of warmth. In fact, they are what help draw crowds to the several organ and classical music events that the church hosts each year. It can be difficult to keep the church’s message clear and articulate without affecting the acoustical properties that are a key part of this kind of traditional ecclesiastical architecture. A RoomMatch® system from Bose® Professional Systems provided the answer. As it has done for scores of houses of worship with similar challenges, the RoomMatch system was able to precisely address the space’s exact acoustical characteristics and keep sonic energy off of reflective walls and floors, and direct the sound to the seating areas where it needs to go with enhanced clarity.

For this installation, the Mitchell Design Group, with offices in Kokomo and Carmel, Indiana, installed a center array design consisting of an RM7010 module atop an RM9010 module and two RM12020 modules, all powered by a Bose PowerMatch® PM8500N networked amplifier.

“The challenge is that they are a very traditional church with a pipe organ in the balcony, and they didn’t want to compromise the acoustical environment that they believe is advantageous to that, but at the same time they weren’t getting good speech articulation,” explains Phil Mitchell, Owner of the Mitchell Design Group. “The RoomMatch system allowed us to give them both the live acoustical environment and good speech reproduction.”

Working closely with Bose personnel, the Mitchell Design Group were able to specify the RoomMatch modules needed for the project based on drawings and field measurements. Mitchell’s crew had to first dismantle the church’s original custom sound system — a huge woofer box enclosed in 1.25-inch plywood that literally had to be cut out of its perch above the front of the sanctuary in order for hang points for the new Bose system to be established. Once that was accomplished, the RoomMatch system suited the space perfectly. “They are thrilled,” Mitchell says of the resulting sound clarity.

Supporting that, Barclay Hall, the Sound Team Leader at the church, adds, “I am loving the new system! I think Bose and Mitchell Design Group have done a great job in getting us the right system for our church, helping us make an almost seamless transition to the new system.”

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Phonophobia Adds HARMAN’s Soundcraft Vi3000 Digital Console to Expanding Hire Fleet

KENT, United Kingdom – After recently investing heavily in HARMAN’s Soundcraft Vi platform, Mark Chant’s Kent-based Phonophobia has now added a next-generation Soundcraft Vi3000 digital console to its inventory. The console was sold through Sound Technology Ltd., HARMAN’s UK and ROI distributor.

“Having MADI and Dante built into this desk gives Soundcraft a massive advantage as does the additional functionality, with the local ins and outs on the board,” Chant observed.

The Vi3000’s first high-profile appearance was at a University of Kent Summer Ball in Canterbury, attended by around 4,000 students and headlining Ella Eyre, supported by several DJs. Phonophobia’s Vi1 was down at the stage and the company also brought its Vi rack, running 60 inputs over 30 outputs.

“Visiting engineers patched in through Dante or MADI, and since we have a lot of riders now showing Vi1 or Vi6, most seemed excited to be using the new desk,” Chant added. “They turned up with their show files and used the Universal Audio plugins.

“Although it was a stressful gig, none of my headaches came from the console—we could leave it and just walk away from it,” Chant said.

Summing up, Chant said, “This feels like a Vi desk—but is vastly superior, and the Vi3000 will be out constantly. Since we have advertised it on our website, we have received a steady flow of inquiries and the interest has been incredible.”

For more information on Phonophobia, please visit www.phonophobia.online.co.uk

For more information on Sound Technology, please visit www.soundtech.co.uk

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

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HOLLAND’S NEWEST RISING STAR VOCALIST CHOOSES LECTROSONICS

** Photo: Barbara Straathof. **

Amsterdam – August, 2014… Singer Barbara Straathof is enjoying unexpected success after her exposure in season 3 of the TV show ‘The Voice Of Holland’. It was the third season of the Dutch reality singing competition, created by media tycoon John de Mol, and the first sophomore season ever of the show’s format. After rising demand for her appearances following her participation on the show, Straathof’s first professional decision was to choose a microphone system for her rapidly building live schedule. more

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API’s BOX FILLS IN THE “MISSING PIECE” AT THE CASINO IN NASHVILLE

NASHVILLE, TENNESSEE – AUGUST 2014: The BOX has settled into a new home in a Nashville studio – The Casino. Owned and operated by Eric Masse, The Casino records LPs and EPs for signed artists and bands within the city. Masse consulted Chad Evans at Vintage King while he upgraded his studio, and now admits that the “feels like the missing piece” to his former setup.

“I had been craving the next step up for my sixteen I/O studio for a while,” said Masse. “When I heard about the BOX last year, I started gearing up for it.” The Casino, which also houses two lunchboxes®, six 512c mic pres, a 5500 dual equalizer, and a 2500 stereo compressor, stayed in the API family when looking to gain control over pans and add inserts.

“Enter stage right – the BOX,” jokes Masse, who is amazed by the capabilities The Casino is now able to fulfill. “I can hardly contain my head from exploding from all the options. It’s the center of my studio. I can route things in the mix like never before, and parallel compress things all analog. I can add outboard effects post-conversion to individual tracks, and I don’t have to use my converters to feed the hear-back headphone hub. I can instead build a mix with the sends, and use the inserts for direct ‘more me’s’ and use all sixteen converters for audio. I’m digging it.”

Apart from the functions, the customizable 500 Series inputs allow The Casino to create its own unique sound. “I like that I can utilize the 500 Series slots on the program bus, while still using the input channels. So far, to be honest, I like everything about it.”

Since installing the BOX, Masse has put the final touches on singer/songwriter Rayland Baxter’s second album, and is currently mixing alternative artist Mikky Ekko’s record. He is also ready to record the second country music album Charlie Worsham. The versatility of the BOX helps meet the needs for each unique artist, and allows Masse to utilize the space he needs to record and grow. “I like that it’s a console, and not a console.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 45 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series, 1608 and the BOX recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

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Symetrix Jumps Into Space-Age Sound and Control at Manhattan’s Intrepid Sea, Air & Space Museum

NEW YORK, NEW YORK – AUGUST 2014: Space Shuttle Enterprise was the first reusable spacecraft ever built in the United States, and the extensive prototyping and experiments that it underwent led directly to the construction of space shuttle Columbia and the rest of NASA’s fleet. After the retirement of the space shuttle program, NASA awarded Space Shuttle Enterprise to Manhattan’s Intrepid Sea, Air & Space Museum, where it was installed after a much-publicized NYC flyby and Hudson River barge ride. Leo Garrison, senior integration specialist at Metro Sound Pros, designed and installed a flexible sound reinforcement system for the museum’s purpose-built Space Shuttle Pavilion using the cost-effective Symetrix Jupiter 8 DSP with smartphone-based control provided by Symetrix ARC-WEB. Unfortunately, Hurricane Sandy badly damaged the pavilion a few short months after it had opened to the public, but the Intrepid Museum rebuilt the exhibit with several improvements, including a second Symetrix Jupiter 8 DSP for expanded functionality.

Garrison used the Symetrix Jupiter 8 hardware, which has eight inputs and eight outputs, together with the Priority Zone Mixer #1 App, which automatically configured the Jupiter hardware for routing and processing needs of such a system. “The Symetrix Jupiter DSP delivered a lot of processing power at an affordable price,” said Garrison. “The budget was very tight, and the client selected powered loudspeakers that required a lot of the Jupiter’s processing capabilities in order to sound properly tuned.” The museum’s AVP of technology opted to rely on Symetrix’ robust ARC-WEB Internet-based control, with one Symetrix ARC-2e wall panel remote for backup. Garrison custom designed the ARC-WEB interface just as he would a hardware ARC interface and gave the museum the ability to select different input sources in the Pavilion’s entryway and in the Pavilion itself.

The original Symetrix Jupiter 8 hardware survived Hurricane Sandy, which collapsed the inflatable dome due to loss of power. Because the museum had to start over again, they had the opportunity – unwelcomed as it was – to redesign the exhibit with knowledge of what worked and what could have worked better,” said Garrison. The second Symetrix Jupiter 8 was added to the system and also uses the Priority Zone Mixer #1 App. One analog output was dedicated to feed into the first unit’s priority input 1. That allows single source material from the second Jupiter to feed the entire exhibit, when desired. Together, the two units possess sixteen outputs, with roughly half feeding audio induction loops for assisting the hearing impaired. For day-to-day use, different zones loop zone-specific audio, such as recordings of radio transmissions between NASA ground control and Enterprise during test flights or educational movie content.

ABOUT SYMETRIX Symetrix is dedicated to making life sound better. As a world leader in the development and manufacturing of digital audio signal processing (DSP) systems and accessories, Symetrix provides best in class audio management solutions to businesses, schools, non-profits and government organizations.

For more information on Symetrix products visit www.symetrix.co

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SSE Audio Group Adds HARMAN Soundcraft Vi3000 to Extensive Inventory

Chris Courtney mixing monitors for Travis at the Isle of Wight Festival with SSE’s new Soundcraft Vi3000.

POTTERS BAR, United Kingdom – HARMAN Professional has announced that SSE Audio Group has been appointed a Soundcraft Vi Select Dealer, and immediately purchased one of the first Soundcraft Vi3000 digital consoles off the production line, sold through HARMAN’s UK distributor Sound Technology.

SSE Sales Director, Alex Penn, confirmed, “We have a long history with Soundcraft’s Vi Series. We saw the Vi3000 for the first time at Frankfurt Prolight & Sound; it sits neatly between the Vi1 and Vi4 and offers many new features, which will secure the longevity of this series, which has always been popular with engineers.”

Marking a massive technological upgrade to the groundbreaking Vi Series, the Vi3000 offers many advantages, including the much-requested access to Universal Audio’s plug-ins via Soundcraft’s Realtime Rack plug-in engine—both points picked up on by Penn.

“The Realtime Rack can also be used with our existing Vi6 inventory,” Penn continued. “We have a pool of sound engineers who are existing Vi users and it will be useful to let these guys know about the new facilities on offer with Realtime Rack.”

“We also see a lot of potential in SSE sales and installations for the Vi3000, with its very competitive price point and new facilities,” Penn added. “This is the first time a large-format Vi control surface has been available to the market at this level and the Vi3000 will integrate very neatly and cost-effectively into venues with existing analogue infrastructure via the I/O on the back of the surface. Onboard MADI and Dante interfaces as standard are also a huge bonus as well as upgraded DSP and new graphics.”

SSE’s Vi3000 had had its first major outing at the recent Isle of Wight Festival where it was used by SSE regular Chris Courtney to mix monitors for Travis. Courtney had previously used a Vi6 for the band, but for this festival run, the reduced size and lack of rack requirements made the Vi3000 a more attractive proposition.

For more information on SSE, please visit www.sseaudiogroup.com

For more information on Sound Technology, please visit www.soundtech.co.uk

HARMAN designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With 15 leading brands, including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a global workforce of 15,200 people and reported sales of $5.1 billion for the last 12 months ended March 31, 2014.

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