Los Angeles, CA, May 16, 2012 — When Angel Mendoza, Music Supervisor at AV Squad, needed a powerful, emotionally moving track for the trailer promoting the film “Bully,” he called The Hit House, a premier, custom music and sound design company. NOTE: That trailer just received a 2012 Golden Trailer Award nomination for “Best Documentary Film Trailer.”

“I knew The Hit House would bring the right emotional quality to the trailer,” said Angel. “Their remarkable track record was only part of it. I also knew that Scott (Scott Miller, Creative Director at The Hit House) would be inspired by the subject matter, and would deliver a track that truly captured the poignancy of this important project.”

“The moment I saw the ‘Bully’ footage, I knew what needed to be written,” said Scott Miller. “It isn’t often that you get a chance to compose music for a cause you’re passionate about. And it’s even less often that you get a chance to work on a project that has the power to make a real difference in peoples’ lives.”

The Weinstein Company’s acclaimed film “Bully,” written and directed by Lee Hirsch, which was released in theatres March 30, follows five kids and families over the course of a school year. Stories from the film include two families who have lost children to suicide, and a mother awaiting the fate of her 14-year-old daughter, who has been incarcerated after bringing a gun on her school bus.

With an intimate glimpse into homes, classrooms, cafeterias and principals’ offices, “Bully” offers insight into the often cruel world of the lives of bullied children. As teachers, administrators, kids and parents struggle to find answers, the dire consequences of bullying — through the testimony of strong and courageous youth — is examined in the documentary. Through the power of these stories, the film aims to be a catalyst for change in the way we all deal with bullying as parents, teachers, children, and society as a whole. See:

http://thebullyproject.com/

About The Hit House:

The Hit House is a premier, custom music and sound design company in Los Angeles that specializes in trailer and commercial music. Their recent work has been used in national and global television campaigns for clients such as Lexus, Dish Network, and the motion picture campaign for the film “What to Expect When You’re Expecting.”

Hear more at thehithouse.com

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*** Joe Cocker on stage. ***

Professional sound company Marti Audio headed the sound set-up at Rosario’s sold out Salón Metropolitano. Company director Ariel Marti and his team of sound technicians once again placed their confidence in D.A.S. Aero Series 2 line array systems to bring top-of-the-line sound to an event of this size.

The team from Marti Audio deployed 24 sets of large format D.A.S. Aero 50 line arrays, dividing these three-way systems into two linear set ups of 12 units each flown on either side of the stage. Eighteen high performance D.A.S. LX-218 subwoofers were used as back up for the low frequency band.

Side fill was taken care of by nine self-powered Aero 12A line array systems, set up in two lateral groups of four units each, with the added boost of a D.A.S. Compact 218A subwoofer on each side. Eight D.A.S. Aero 12A line arrays were set up for front fill, and two LX-218 systems covered the drum fill. The crucial job of stage monitoring was handled by six of the recently launched D.A.S. Road series, specifically the Road 12A model, which covered the needs of Cocker and his band during the concert.

Cocker and his band performed hits from his “Hard Knock” album as well as some of his classic songs at the concert, masterfully skipping from rock and soul to romantic ballads and rewarding his fans with an unforgettable performance of the legendary hit “You Can Leave Your Hat On.”

Ariel Marti had only good things to say about the performance of the D.A.S. Audio systems after the concert was over. “We’re pleased with the way the sound turned out tonight. The artist and his musicians were very comfortable during the concert, and you could see how that was reflected in how much the audience enjoyed the music.”

About D.A.S. Audio
Headquartered in Valencia, Spain, D.A.S. Audio is one of the world’s leading manufacturers of loudspeaker systems, power amplification, signal processing, and related components. For over 40 years, D.A.S. Audio products have been found on tour with the world’s greatest performing artists and installed in many of the most prestigious facilities. For additional information about the company, visit them online at www.dasaudio.com.

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Musician and producer Billy Mohler uses the Dangerous D-Box

Mohler says, “I’ve been using the D-Box for about 3 months, and it’s incredible, I love it. I work mainly in-the-box, so it’s nice to have for bouncing out mixes or songwriting sessions. Everything sounds wider, a little more transparent, more punch. It kind of bridges the gap for me,” he explains. “You can drive it hard so you can give it a nice analog crunch. It adds that next level of glue that I wasn’t getting from my in-the-box mixes. Mixes have a clear separation between the instruments and being able to sum the bass on it’s own output, I notice a smooth consistent bass response that I wasn’t getting from my in-the-box mixes. There’s just more definition in each instrument, more character and punch.”

The success with his own mixing on the D-Box is illuminating, as Mohler describes, “I’ll do a mix in-the-box, and then I’ll do a summed mix with the D-Box. And every time I’ve sent them to bands – and I don’t tell them which mix is which – every time they pick the D-Box summed mix. So I started realizing, ‘OK, I’m not going to do the in-the-box mix anymore’ – nobody’s picking the in-the-box mix, and I don’t even like it. It’s obvious.”

Mohler discovered Dangerous Music on a gig for a Kelly Clarkson record where he played bass, and worked with producer and engineer David Kahne – who has a very large Dangerous Music setup. ” I got to hang out a lot with David [Kahne] at his studio and we started a friendship. Once I began really getting into recording, I had heard everybody was raving about the Dangerous gear, so I jumped in and got the D-Box.”

One of his latest projects due out in June 2012 is The Drowning Men (Borstal Beat Record), where Mohler produced, engineered, and co-wrote the record and Ryan Williams (Thirty Seconds to Mars, I’m A Robot, Deftones) and Todd Burke (Ben Harper, Trevor Menear) mixed the album. “I found The Drowning Men through a great friend of mine who thought we’d hit it off and we did! Over the past year the band and I wrote a bunch of music, I produced some demos, and then they got their deal. I just finished their record, it took three months and I couldn’t be happier with it! The Drowning Men have toured with Alkaline Trio, Airborn Toxic Event, Flogging Molly, and Lucero to name a few. I’m so excited for the record release!”

“The D-Box is great for somebody like me who has a project studio,” he adds. “I’m doing a lot of Indie bands, and I have a very basic setup. The D-Box kind of levels the playing field for me without having a great console or having a lot of outboard gear – it really warms up my mixes.”

“The fact that I can have independent monitor control for two headphones is perfect,” says Mohler about the D-Box in tracking sessions. “It’s mostly a vocalist and myself, or an acoustic guitar and myself in my studio. And the monitoring sounds incredible in the headphones, it blows away all the other monitor controllers that I’ve used, it sounds flat, but has a great punch to it, it sounds true to what I’m recording.”

With the D-Box’s 8-channels of summing, Mohler has a carefully thought out process to get the most out of mixing with his track output assignments, “I do all the drums on 1 and 2, 3 and 4 is guitars and keyboards, 5 and 6 is the bass and anything else that’s low, like an 808 kick, and vocals go through 7 and 8. The cool thing is I can play with those groups’ faders like I’m mixing off of stems at that point.”

“When I’m working in the digital format I’m usually minus 6dB or minus 10dB on my master fader,” he explains further. “I don’t want to ever go into the red. There’s no point in pushing it into the red – it’s not a pleasant sound in the digital format. But with the D-Box I push my tracks into the red and they sound amazing. They sound crunchy, they get this cool harmonic distortion going on – for some mixes – for others I’ll keep it out of the red. But if you push it, it’s an analog circuit and it reacts in a completely different way. You can drive your mixes without plug-ins. You can get something similar with a plug-in on the master fader, but it’s not the same, it’s just a half-assed version of what the D-Box does.”

Describing how he started doing ‘artist development’ Mohler remembers, “I fell into it a few years back. I didn’t really realize it was artist development, I thought it was production. I kind of realized it after a couple songwriting sessions, I would write a song with the artist and then produce a track with the way I heard it after knowing the artist and getting to know their vibe. I’d really try to hone the track into what I thought their style was – but I didn’t realize that was more than just songwriting.”

In his studio Mohler uses both Pro Tools and Apple Logic software, his interface is the Apogee Rosetta 800 with a Big Ben clock, and some mic pres and compressors, “It’s a very basic setup, my studio is an overdub suite – I’ll go record drums at a friend’s studio and bring the files back to my studio. I can live at my studio for a month or two with a band, and take my time, it’s a cozy spot to work.”

“I got into mixing out of necessity,” he continues. “And for me the D-Box is so simple, that’s really the great thing about it. There’s a lot of fancy gear out there that can do a million things, I’m not into that kind of stuff. I don’t work like that, I like to have very simple gear, a very simple layout, that’s why the D-Box is so appealing, it’s got the 2 headphone outputs, the analog summing, you can plug your iPod into it. It’s an all-in-one box, it’s simple, but it does what I needed – that why I picked it up.”

With Artist development, Mohler has had great success. “That’s what my career is really focused on now. It’s really an affirmation and a lot of fun. I was nominated for a Grammy this past year for an artist I developed, Gustavo Galindo. He was in a band, a Latin artist in an English Indie Rock band, but I felt he had something special. I developed him, I co-wrote 6 or 7 of the songs on the record, then he signed with Universal, and got nominated for a Grammy in 2012. It was another affirmation: This is working,” concludes Mohler.

Mohler has been very busy lately working with Awolnation (Red Bull Records), their first single ‘Sail’ was recently Certified Platinum in the US, he was a writer and electric bass player on the album. He co-wrote and played bass on Samantha Ronson’s new record Chasing the Reds and also played bass on The Bright Side the new album by Meiko. Mohler is Currently producing and writing with some local artists in Los Angeles: Last American Buffalo, Shane Alexander, and Trevor Menear.

Find out more and contact Billy Mohler at: http://billymohler.com

About Dangerous Music
Dangerous Music, Inc. designs and builds products that are indispensable to any DAW-based recording environment. Dangerous Music electronics designer Chris Muth has spent over 20 years working in and designing custom equipment for top recording and mastering studios. Muth and company founder Bob Muller pioneered the concept of the dedicated analog summing buss for digital audio workstations with the Dangerous 2-Bus in 2001. Today the company offers a wide range of products for recording, mastering, mixing and post-production facilities, all designed and built with mastering-quality standards and a practical aesthetic. Key products include the Dangerous 2-Bus and 2-Bus LT, Dangerous Monitor ST-SR and its Additional Switching System expansion units, Dangerous D-Box, Dangerous Master, Dangerous Liaison, Dangerous Monitor and Dangerous Bax EQ.

For more information on Dangerous Music visit http://www.dangerousmusic.com phone 607-965-8011 or email: info@dangerousmusic.com

All trademarks are the property of their respective holders. Description and specifications are subject to change without notice.

AudioTools Server from Minnetonka Audio

MINNETONKA, MN – Minnetonka Audio Software, Inc., a leader in production software for motion picture, broadcast surround sound and consumer electronics applications, reported today that their installed base for the AudioTools Server automated audio processor line has outstripped all projections for FY 2011 and sales are setting records for the first half of FY 2012.

AudioTools Server is an enterprise software system for file-based workflows. Though loudness control and quality control automation are the two most sought after configurations, AudioTools Server is designed to automate most audio processing tasks. A complete, turnkey solution for managing and processing linear PCM, Dolby E, Dolby Digital, and Dolby Digital Plus content, as well as the audio essence in MXF and QuickTime(r) files, AudioTools Server extracts audio essence, processes the data in a wide variety of ways, and reconfigures channel assignments as required prior to repackaging.

John Schur, President of Minnetonka Audio, credits the company’s combined knowledge and experience for the success of their AudioTools Server platform. “Over 25 years of award winning OEM and retail audio development, combined with our close collaborations with system integrators and broadcasters, has given us a deep understanding of file-based workflows,” Schur said. “This has resulted in our ATS platform, the ultimate vehicle for file-based audio post processing. AudioTools Server represents decades of expertise encapsulated in a flexible, focused package of audio specialization with a low cost of entry. Some of the largest broadcasters worldwide have acknowledged that leadership.”

The focused audio expertise embodied in the AudioTools Server product line has been recognized by global broadcasters and post houses as they address recommended practices for loudness control in the face of changing requirements. ARTE, Canal +, Ericsson, France Télévisions, RTL Group, SBS Broadcasting, SKY, Visual Data and WDR Westdeutscher Rundfunk have all purchased AudioTools Server configurations to maximize throughput while maintaining quality and compliance.
Markus Hintz, Director of Global Sales and Business Development, observes that strong sales are a result of AudioTools Loudness Control Server becoming the de facto standard for file-based loudness control. “In the European Union, where governmental efforts to control subjective loudness have been underway for several years, we provide a welcome problem solver that’s scalable and easily integrated into existing production environments.”

AudioTools Server is available now through Minnetonka Audio’s international network of resellers and system integrators. For in-depth information on the AudioTools Server line and all of Minnetonka Audio’s products, visit minnetonkaaudio dot com on the web or call Minnetonka Audio at 1-952-449-6481 or 49-2162-1062622.

About Minnetonka Audio Software
An award winning solutions provider for motion picture, video, broadcast, game, and optical disc production, Minnetonka Audio Software creates essential technology for top media professionals around the world. Their SurCode, discWelder and revolutionary AudioTools Server product lines broadly support the CD, DVD, BD and international DTV standards, and represent the definitive leader in OEM audio codec solutions as well as file-based QC and loudness control. Based in Minnetonka, Minnesota and spanning over two decades of operation, Minnetonka Audio Software, Inc. has a subsidiary in Germany in addition to an international network of distributors and channel partners who share their commitment to quality and service.

AudioTools Server, AudioTools Loudness Control Server and the Minnetonka Audio Software logo are trademarks of Minnetonka Audio Software, Inc. All other company and product names are trademarks of their respective owners.
Minnetonka Audio Software Inc.

MIAMI, MAY 15, 2012—Professional Wireless Systems (PWS), a Masque Sound Company and experts in supplying and supporting wireless systems for live and broadcast events, has been providing wireless solutions and gear onsite at the Billboard Latin Music Awards for the past 13 years. This year, during the Billboard Latin Music Awards at the BankUnited Center in Miami, the PWS team, including Brooks Schroeder and James Stoffo, created a custom wireless communications package for the show, with the company’s frequency coordination team working backstage to ensure all wireless operations went off without a hitch.

“This year’s package included all of the wireless microphones, in-ear monitors and IFBs for the technical production and musical elements, as well as the wireless communication for the production crew for both the main show and pre-awards red carpet show,” says Brooks Schroeder, project manager, PWS.

The Billboard Latin Music Awards grew out of the Billboard Music Awards program from Billboard magazine, an industry publication charting the sales and radio airplay success of musical recordings. Since 1999, the awards ceremony has been broadcast on the Telemundo television network, where it has become the network’s highest-rated music special.

For the main show, PWS used the new Shure Axient wireless microphone system along with the Shure PSM1000 personal monitor system. “The Axient Wireless microphone system provides us with an innovative and fail-safe system,” adds Schroeder. “Features like the advanced planning, setup and control capabilities of the Axient make it an extremely reliable product, especially in the very populated Miami television environment.”

The PSM 1000 brings personal monitoring to its most advanced level yet. The PSM1000’s diversity bodypack receiver is ideally suited for large awards shows and other special events with a high noise floor from LED walls and the other wireless systems. According to Schroeder, “We chose to use the PSM 1000s because it outperforms the other equipment on the market and comes loaded with operational features that no other equipment has. This is critical for live broadcast because you want to hedge your bets as much as you can by using the most reliable equipment available. This equipment allowed us to focus on all of the other things we needed to do.”

Additionally, for the pre-show red carpet activities, PWS’ John Garrido utilized Shure UHF-R wireless microphones and BTR 800 intercoms. In addition to the equipment provided, frequency coordination was another large part of the service PWS performed for the show. During the festivities, PWS’ team of experts was busy monitoring the RF spectrum to ensure there were no issues with the large amount of media covering the event.

“Trying to manage the local and international press that are in attendance and make sure they do not interrupt the frequencies used for the shows is a big challenge,” concludes Schroeder. “Our goal is to have a perfect, interference-free show every time and we do whatever it takes to accomplish that. By using customized gear and bringing in our filtered products, RF monitors and antennas, we are able to pull off these large shows. This year’s Billboard Latin Music Awards was another successful event for us.”

For more information about Professional Wireless Systems, visit http://www.professionalwireless.com.

About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in live concert, television broadcast, corporate, industrial, theatrical, house of worship and sports events. Celebrating more than 75 years in the industry, the company is lead by Geoff Shearing, the firm’s 3rd generation owner, and General Manager Stephanie Hansen. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including “Phantom of the Opera,” “Mama Mia,” “Jersey Boys,” “Memphis,” “The Book of Mormon,” “Newsies,” and “Once” to yearly Super Bowl broadcasts and installations of varying sizes, including New York’s New Victory Theater, historic St. Bartholomew’s Church and NYU’s James L. Dolan Recording Studio. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com.

*** Scott Tokar with his Countryman E6 Omni Earset Microphone ***

Tokar is not only a magician; he is the founder of Corporate-Fx, a firm dedicated to maximizing a company’s tradeshow visibility by attracting prospective customers through the use of magic. The ability to communicate clearly and effectively while pitching a company’s products or services is paramount to Tokar’s business, as is the freedom to use both hands. After trying a variety of microphone types, Tokar quickly realized the lightweight, robust performance of the Countryman E6 microphone made it the right tool for the job.

“I’ve been using the E6 for several years,” Tokar reports. “The firm actually owns two units so that other magicians working under the Corporate-Fx brand can also use them. The sound quality of this microphone is terrific and I know I can count on the E6 to help me communicate clearly to my audience. I never worry about not being able to be understood while speaking.”

“I also find the microphone’s rugged, reliable build quality to be first rate,” he continued. “I regularly wear this mic eight hours a day and I frequently remove it from my ear and place it in my shirt pocket between demonstrations. I know I can count on the E6 to retain its shape so that I don’t have to constantly adjust it to fit my face. I have the mic set the way I like it positioned and each time I put it back on, it goes right to the position I want. I never worry about the mic shifting position and audio quality remains consistent the entire time I’m working. My E6 is never distracting and, as a magician who needs to use both hands, it enables me to focus on communicating with my audience.”

Because his E6 is constantly being taken off, placed in a pocket, and later placed back on his face, the cable encounters a lot of pulling and tugging. “I use the thicker, 2 mm cable with my system,” Tokar explained. “I find this cable is extremely robust for my type of working conditions. For me, this is one of the E6’s most important features.”

Because the E6 uses replaceable cables to interface with a variety of wireless systems, Tokar knows he can use his microphone just about anywhere. “I normally use my E6 with a Sennheiser ew 100 wireless system,” he says, “but I also have several cables for use with other manufacturer’s wireless equipment. I never worry about working a site where I go through the house system because the interchangeable cables enable me to easily adapt the microphone to a variety of wireless makes and models. This capability has saved me a lot of headache over the years.”

In addition to the E6’s solid performance attributes, Tokar is equally enthusiastic about Countryman Associates’ customer service. “I once got a bit careless with the mic and someone actually stepped on it and crushed the mic element,” he recalls. “I contacted Countryman customer service and they replaced the mic element very quickly. I was extremely impressed with the turnaround speed and professionalism of the company’s customer service group. They were a pleasure to deal with.”

Before directing his attention to an upcoming appearance, Tokar summarized his experience with his Countryman E6, “I use this mic as a regular part of my work. To me, it’s as personal as a toothbrush or anything else that you use daily. I somewhat feel as though I’m not fully dressed if I go out on stage without my E6. It is a very trusted business tool.”

To learn more about Scott Tokar and Corporate-Fx, visit the firm online at www.corporatefx.com.

About Countryman Associates
For more than 30 years, Countryman has focused on developing microphones and accessories that deliver maximum gain before feedback, with the highest possible rejection of wind, vibration, interference, and other unwanted sounds. The result is warm, clear vocals in speaking and singing applications, delivering natural audio reinforcement that requires almost no attention from the sound engineer or the performer. For additional information about Countryman Associates, visit the company online at www.countryman.com.

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WASHINGTON, D.C., MAY 15, 2012 – Outline Grand Touring Outline (GTO) Line Array Speakers were used exclusively by Special Event Services (SES) to supply front-of-house sound for the recent Joel Osteen Ministries America’s Night of Hope 2012 event. The program, featuring musical presentations and inspirational speeches, took place at Nationals Park in Washington, D.C., home to the Washington Nationals baseball team, and featured 12 stacks of six GTO speakers each, mounted on specially designed mobile speaker carts for easy “wheel-in” setup. Sound for the event was completely run from the ground level, with the sonic accuracy, clarity and punch delivered by the GTO cabinets. This allowed attendees to enjoy crystal-clear, loud, full-range sound from any vantage point in the stadium.

“For this event, we were asked to shoot all the audio up from the ground,” says Jason Farah, owner of SES. “The stadium seats 41,487, with the elevation of the top seats at 115 feet in the air and 250 feet back from the GTO speaker stack—that’s almost a football field away—and the sound was simply incredible. The band sounded full, rich, beautiful and clear. You could hear and feel every note. But when Pastor Osteen came out to deliver one of his messages, people in the farthest corner of the stadium, in the back row of the third seating deck behind the foul-line pole, were responding as enthusiastically as the audience behind home plate. GTO presented an amazing sonic experience.”

Reed Hall, senior director, audio and technical production for Lakewood Church Joel Osteen Ministries, was also impressed with the GTO setup. “During our event in Washington D.C.’s Nationals Park, I had the opportunity to walk the entire stadium during sound check and the actual event,” he says. “The frequency response and clarity were incredible. At extreme edges of the park, the top rows are almost 300 feet from the speaker carts, yet the sound was clear, concise and had an impressive amount of low-end, considering the distance. For the past year I have had the pleasure of using this Outline rig in venues across the country and have been very impressed from day one. They just sound great out of the box, with no tuning and no subs. When Jason Farah from SES hands the Outline PA over in the afternoons, an 18,000-seat arena sounds like a 3,500-seat auditorium. SES has a little secret called GTO that puts them way ahead of the competition.”

The GTO series of line array speakers, offering a unique combination of high-power output in a compact and relatively lightweight cabinet, feature Outline’s patented Butterfly design. The cabinets deliver clear, non-colored, high-SPL audio capable of bringing listening environment quality to the live event experience. When coupled in an array, GTO’s unique V-shaped front baffle allows individual sound sources to be positioned much closer together than in conventional line-source systems. This facilitates superior acoustical coupling between high-frequency modules, thus producing a smooth yet extended HF response. It also creates the ideal “unbroken baffle” shape through an array, which minimizes diffraction and deterioration of the mid-high frequencies, contributing to the far-field performance of the system. A GTO line array system is capable of delivering a true visceral response to the audience while maintaining clarity.

About Outline
Outline S.r.l., based in Brescia, Italy, is a leading manufacturer of high quality loudspeakers of both powered and un-powered configurations. Founded in 1973, the company has a rich history in the development of high quality loudspeaker systems, test and measurement systems, and holds numerous technology patents. With offices in Italy and the USA and over 50 distributors on five continents with more than 4000 venues and users to its credit, Outline has assumed its place among the leaders in the professional audio market.

Irvine California––This year’s KROQ Weenie Roast Y Fiesta was both a 20th Anniversary musical celebration and a heartfelt remembrance for the Beastie Boys’ Adam “MCA” Yauch who passed away from cancer the day before the show.

Delicate Productions, also celebrating their 20th Anniversary of providing sound for KROQ’s legendary event, upped the ante with the new Martin Audio Multi-cellular Loudspeaker (MLA) system, which they were using for the first time at the Roast.

Held at the Verizon Amphitheatre, the event featured headliner Coldplay who had just completed three sold-out shows at the Hollywood Bowl, along with heavyweights Incubus, The Offspring, Silverspun Pickups, Pennywise, Angels & Airwaves, The Dirty Heads, Garbage, AWOLNATION, Grouplove, Of Monsters and Men and Walk The Moon.

During the high-impact show with a surprise appearance by the recently reunited Soundgarden, Coldplay capped off an exceptional set featuring their hits with a solemn piano version of “(You Gotta) Fight For Your Right (To Party)” as a tribute to Yauch and the band that broke so many musical boundaries.

The overall system consisted of 15 MLA enclosures and one MLD downfill enclosure per side for the main system, seven MLAs and one MLD per side for sidefill, 12 MLX subwoofers (3 flown and 9 ground-stacked), eight W8LMs for front fill, and Martin Audio LE700 stage monitors. Delicate also provided Yamaha PM5D consoles for monitors.

Delicate’s crew for the Roast included Andy Turner (FOH Tech), Brennan Houser (System Tech), Steve Walsh and Manny Barajas (Monitor Techs), Dave Reyna (RF Tech), Manny Perez and Peter Baigent (Stage) and Meegan Holmes (Project Manager).

Asked about the Martin Audio MLA system’s performance, Delicate Director of Touring Jason Alt said, “It was phenomenal. Expectations for the system were great and it performed above and beyond. Given the variety of artists that played, whatever people put into it, they got out of it. Overall, every engineer that mixed on the system had a really positive experience and was blown away by the fidelity of the system.”

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.

BUENA PARK, Calif.—When LifePointe Christian Church in Elk Grove, California was looking for a sound system to compliment their new location, a converted Harley Davidson showroom, they turned to the expertise of CCI of Olympia, Washington. Project manager, David McLain, recommended a NEXO PS15 system for the 400-seat church that consists of three PS15s, one CD18 and a 4×4 NXAMP.

“Pastor Chris Delfs sought out a new location where they would not only own their space but could create a unique, new culture,” states McLain. “They weren’t looking for a NEXO system per se, but were looking for good advice.” At only 60’ deep, with less than 20’ of trim, a line array would not have been the best tool, whereas, the asymmetrical horn pattern of a PS15 reaches the back rows with ease.”

“David actually discouraged a line array approach in this case, and if you look at how much the HVAC and lighting impacts the trim height, the PS solution was much better,” notes Steve Armstrong, PROS Inc., independent rep firm for NEXO.

“I’d been hearing a lot of talk about NEXO speakers over the past few years,” and have listened to various models and I was impressed enough to recommend them for a couple of rooms, particularly given the outstanding support I’ve been receiving from Yamaha Commercial Audio Systems,” says McLain. I didn’t really know the extent of the NEXO lineup until I had opportunity to listen critically and extensively to their whole selection of speakers at a demo at the Cerritos Performing Arts Center in California. The Cerritos Center is an awesome building. We used their beautiful main room to try out the NEXO speakers. I spent the first demo day designing speaker systems for rooms using various software, and I liked the way the NEXO speakers worked in the planning, and also liked what I saw in the computer models. The NS-1 software was easy to work with, so I imported some real-world rooms, like LifePointe, that I’d been working on. It appeared the NEXO PS Series would provide excellent coverage.”

“I have to admit, there’s a fair bit of skeptic in me,” McLain says. “A box that promises a rectangular coverage pattern had better do more than just advertise well! It needs to offer an actual rectangular coverage pattern. And more importantly, it needs to sound good! In the next day’s listening tests, I measured 112 dB at the back of the listening room, and I have to say, it sure didn’t feel like 112 dB. In fact, it didn’t sound like a PA playing. It sounded like a woman was right there singing to me. Yamaha brought in a live jazz drummer and they just sounded louder, like there was no PA in between. Even the little NEXO PS8 two-way sounded way bigger than its small size. And, all of the subwoofers for the line arrays – which were shaking my pant legs at 100’ – are cardioid subs. Even during the “fairly loud” cuts (think aggressive Sunday morning volume), we could easily hold a conversation on the stage behind the subwoofers.”
Armstrong added that Pastor Delfs was appreciative of CCI’s insistence on NEXO. “David has provided LifePointe with five previous systems and each one has progressed in terms of quality and capabilities.”

“Every Sunday, one of our congregation members emotes about the system, which is so significant to my passion to lead people to a better way, that I’m thrilled beyond words,” states Pastor Delfs. “I love the NEXO sound system. David and CCI hit it out of the ballpark.”

For more information on CCI Solutions, visit www.ccisolutions.com.
For more information on NEXO, visit www.yamahaca.com.

-END-

About Yamaha Commercial Audio Systems, Inc.:
Yamaha Commercial Audio Systems, Inc. (YCAS) provides a full line of integrated professional audio products offering complete systems solutions for the broadcast, sound reinforcement/installed sound, touring, commercial recording, and post production markets. The company is the official U.S. and Canadian distributor for all NEXO speaker models. YCAS offers comprehensive in-house and field product training for its customers, a dedicated dealer network, and 24/7 technical support.

**** Photo: Baylon Fonseca on location ****

Baylon Fonseca has achieved prominence among the Indian film community for his ability to produce great sound. His expertise has resulted in numerous awards, among them: the National Award for Best Production Mix, 2012 for his work on Zindagi Na Milegi Dobara and the National Award for Best Sound Design and Best Sound Mixing, 2012 for his work on Game. Both films were produced by Excel Entertainment Pvt. Ltd. of Mumbai and were released to worldwide theatrical audiences in April and July of 2011 respectively. Fonseca credits much of his success to the capabilities of his Lectrosonics equipment.

Presently, Fonseca’s Lectrosonics equipment arsenal consists of SMQV, UM450, and UH400a transmitters, a SIXPACK multi-channel wireless receiver system out fitted with two UDMS 230 UHF RF distributor units, and UCR411a receivers. For IFB purposes, he also uses T4 transmitters and R1a receivers. These are augmented with SNA 600 dipole antennas and an RM remote for use with his SMQV transmitter.

“The sound quality of this equipment is fantastic,” Fonseca reports, “and I find that many actors love the SMQV for its incredibly compact, low, profile design that can be easily hidden in wardrobe. With the RM remote, I can adjust the SMQV’s audio input gain, operating frequency, lock and unlock the front panel controls, and control sleep mode on and off. This is tremendously helpful. I am equally impressed with the range I get in difficult shooting situations with this equipment.”

Fonseca went on to describe how his Lectrosonics gear helps him get first-class results, “Both Game and especially Zindagi Na Milegi Dobara have multiple scenes shot with actors in moving cars. With my Lectrosonics equipment, I never had to worry out about dropouts in the signal. The fidelity of the dialogue captured by my setup was simply awesome and we used only actor mics in all these scenes. Further, when we shot the scenes at the San Fermin Bull Run in Spain for Zindagi Na Milegi Dobara, this was extremely difficult because of the nature of the scene and the vast crowds required for the shoot. With my Lectrosonics setup, I was able to sneak out of sight and still capture all the dialogue and crowd sounds that you hear in the film.”

In addition to sound quality and range, Fonseca is equally complimentary of Lectrosonics’ reliability and the company’s customer / technical support services. “My SIXPACK, the receivers, and my transmitters are all highly reliable,” he reports. Equally important, the gear is extremely easy to use and the company’s support services are exceptional. The most complicated scenes become extremely easy to execute thanks to the never failing reliability of this equipment and the support Lectrosonics provides. Even if it’s a simple question, people like Larry Fisher, Gordon Moore, and Dean Slotness are ever present with answers.”

Fonseca summarized his Lectrosonics experience with the follow thoughts, “Thanks to my Lectrosonics equipment, both Game and Zindagi Na Milegi Dobara turned out fantastic. The films sounded really good and I achieved everything we had set out to do. Numerous people have told me Indian film sound has finally come of age and was every bit on par with elsewhere in the world. In my book, Lectrosonics is a winner!”

To learn more about Baylon Fonseca visit him online at www.imdb.com/name/nm1598555/ or contact him at baylon.fonseca@gmail.com.

About Lectrosonics
Well respected within the film, broadcast, and theatre technical communities since 1971, Lectrosonics wireless microphone systems and audio processing products are used daily in mission-critical applications by audio engineers familiar with the company’s dedication to quality, customer service, and innovation. Lectrosonics is a US manufacturer based in Rio Rancho, New Mexico. Visit the company online at www.lectrosonics.com.

* This text and image content for Editorial Use Only and may not be used in any kind of commercial or promotional material or advertising without written permission.

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