Santa Monica, CA, Feb. 7, 2012 — Award winning music company Endless Noise provided music and sound design for three Hyundai spots which debuted during Superbowl Sunday, as well as for a highly popular VW teaser spot (with over 13-million views on YouTube) entitled “The Bark Side.”

Credits for these spots is as follows:

Volkswagen “The Bark Side”
Music and Sound Design: Endless Noise
Endless Noise composed
the all-canine chorus arrangement
of John Williams’ “The Imperial March”
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Agency: Deutsch LA
Director: Keith Schofield
Production: Caviar
Editorial: Union Editorial
Editor: Nicholas Wayman-Harris
Audio Post: Lime Studios
Mixer: Mark Meyhaus
Special Effects: Method

Hyundai Elantra “Victory Lap”
Music & Sound Design: Endless Noise

Endless Noise composed/arranged a version of John Philips Sousa’s “The Stars and Stripes Forever” on nylon string guitar
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Agency: Innocean
Producer: Jennifer Weinberg
Editorial: Beast
Audio Post: Eleven Sound
Mixer: Jeff Payne

Hyundai Veloster Turbo
“Cheetah”
Music & Sound Design: Endless Noise

Endless Noise composed an original music track
–
Agency: Innocean
Director: Daniel Kleinman
Production: Rattling Stick
Editorial: Cut + Run
Editor: Steve Gandolfi
Audio Post: Eleven Sound
Mixer: Jeff Payne

Hyundai Genesis Coupe
“Think Fast”
Music & Sound Design: Endless Noise

Endless Noise composed an original music track
–
Agency: Innocean
Director: Daniel Klein
Production: Rattling Stick
Editorial: Cut + Run
Editor: Steve Gandolfi
Audio Post: Eleven Sound
Mixer: Jeff Payne

Endless Noise Credits for Spots Above:
Creative Director/Composer: Jeff Elmassian
Composer/Arranger: Andy Rehfeldt
Producer: Mary Catherine Finney
Engineer: Grant Cornish
Sound Designer: Bob DeMaa

ABOUT ENDLESS NOISE:

Based in Santa Monica, CA, Endless Noise is an award-winning music and sound design company founded by renowned musician/composer Jeff Elmassian. The company specializes in Original Music, Sound Design, Remix/Mash-up, Sound FX Library, Musical Arranging, and Music Licensing. The studio composes and produces innovative music and sound design for commercials, TV programs, the web, feature films, interactive/multimedia projects and video games.

Clients of Endless Noise include Nike, Coca-Cola, Audi, Lexus, Honda, American Express, Motorola, MasterCard, Nissan and Kyocera to name a few. Building on its Grammy, Cannes Gold Lion, Clio, AICP, D&AD, London International Advertising, ANDY and One Show awards, Endless Noise continues to wow the sonic senses with its mastery of composition, versatility, and fearlessness of pushing the boundaries of music.

Recent industry recognition includes a 2007 Clio Award for Best Sound Design for its EA Games “Night Sky” spot, an AICP Award for Best Musical Arrangement for Garmin “Moose,” and Nike Russia “Ballerina” as a finalist for the Cannes Gold Lion in 2008. The company’s address is: 1825 Stanford Street
Santa Monica, CA 90404, and the phone is 310.694.8251 or 424.268.4102.
For more information, please see: www.endlessnoise.com

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CORPUS CHRISTI, TEXAS, FEBRUARY 8, 2012—An Aviom Pro16® Personal Mixing System is key to the launch of Grammy Award-winner Dylan Ely’s two new companies, The Loop Studios and Venue Rental and Recording Services. Ely, a live sound and recording engineer, works with major recording artists such as Linkin Park, Jennifer Lopez and Ludacris. On the recording side, he has earned a Grammy Award for his work as recording engineer for Best Rap Album, for Ludacris’ Release Therapy in 2008. Ely’s success spurred him to start these new ventures.

Dylan Ely of The Loop Studios

As the owner of The Loop Studios, Ely wears many hats, including producer, Pro Tools® engineer and mixer. His new recording studio, one of the only high-end audio facilities in the South Texas area, provides a full gamut of production services, including recording, mixing, post production and a full-service voice-over facility. In designing his studio, Ely was looking for a simple installation process and an uncluttered studio atmosphere.

“Aviom products are easy to use,” he says. “I like that there’s not a bunch of cabling involved with the system. The mixers are easy to install and, since the system runs on a single Cat-5e cable, it is very easy to replace a wire if needed. This is unlike some of the other systems that use several multipin analog cables and connectors, which are more difficult and expensive to service and fix when something goes wrong.”

Equipped with four A-16II Personal Mixers, an A-16D Pro A-Net® Distributor and an AN-16/i Input Module, Ely relies on the Aviom equipment for various functions. Using the A-16II Personal Mixers, each performer in the studio is able to create a unique, customized monitor mix. This solution has proven ideal for Ely, who can focus his full attention on turning out the best mix of a song.

“The Aviom gear is really cool,” states Ely. “The Personal Mixers make the musicians very comfortable in the studio because they can manage what they want to hear. Also, I’m not spending a lot of time building their monitors in the studio because they can control and tweak their own stuff as we go along. That has been the biggest advantage.”

Aviom’s A-16D Pro allows Ely to distribute both DC power and Aviom’s acclaimed A-Net signal to the personal mixers. Connected to Pro Tools, the AN-16/i Input Module provides balanced line-level inputs to the Aviom Personal Mixing System. Ely does not use a console; instead he creates all of his mixes with his Pro Tools software.

“Once artists use the Aviom Pro16 Personal Mixing System, they love it,” says Ely. “I think having this gear is a good selling point for the studio. Musicians who have used them want to keep using them and it’s exciting to turn them on to Aviom.”

Ely also owns Venue Rental and Recording Services, a full-service rental company for the live sound industry. At Venue he uses an Aviom Pro16 Series Digital Snake as part of his setup. Most recently, Venue provided all recording services for Linkin Park and members of the Backstreet Boys while they were on tour. For his rental and recording services company, Ely provides complete, high-end touring console and multi-track recording packages.

For more information, visit http://theloopmusic.com.

Aviom pioneered personal mixing with its Pro16® Monitor Mixing System and continues to break new ground with the revolutionary Pro64® Series of audio networking products. With tens of thousands of products in the field today, Aviom has set the standard for high performance, scalable digital solutions. All Aviom systems harness the power of A-Net®, Aviom’s innovative digital audio technology that simplifies system design while enhancing flexibility and fidelity. All Aviom products are designed, tested, and manufactured in the USA. For more information, visit www.Aviom.com.

— Bose Panaray® MA12EX system and supporting technologies, as well as an acoustical treatment that cut the reverb time in the mosque in half and restored speech intelligibility during worship, show how GC Pro is the single best resource for any HOW AV need —

— Project was completed through GC Pro’s Affiliate program, with the help of program member Christian Sound Installations of Valrico, Florida —

WESTLAKE VILLAGE, CA, February 8, 2012 — Like many houses of worship, the Islamic Center of Hernando County, in Spring Hill, Florida, had some specific audio issues: the main hall of the mosque had a reverb time measured at six seconds, enough to reduce speech intelligibility to near zero, and a second prayer room reserved for women had no separate sound system at all and had to rely solely on reflected sound from the men’s prayer hall for prayer leadership. A visit to Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, solved all of the space’s audio problems, thanks to GC Pro’s breadth of technology solutions and the depth of its Affiliate program, which lets GC Pro find exactly the right fit for system installation.

Last August, Christian Sound Installations of Valrico, Florida, one of the certified Affiliates in the highly successful national GC Pro Affiliate Program, installed a Bose Panaray® MA12EX full-range modular line array with four speakers in the men’s prayer hall, controlled via a Bose Control Space ESP-88 processor and powered by a Crown XTi 4002 amplifier. In addition, the women’s prayer hall now has its own sound system consisting of Bose FreeSpace® DS 100SE loudspeakers powered by a Crown XTi 1002 amplifier. A TASCAM CD-200i CD player with integrated Apple iPod® dock serves as the music source for both systems. When praying, the Imam’s lavaliere microphone was often muffled when his head bowed to the floor; a Countryman E6 wireless headset supplied by GC Pro solved that issue. And the main hall’s reverberation problem was eliminated with the application of acoustical absorption materials to the walls, cutting the six-second reverb time down to three seconds.

Mick Hall, Account Manager at the Tampa Bay-area GC Pro location, says that what they were able to accomplish cost-effectively at the Islamic Center of Hernando County is an example of how keenly GC Pro can help houses of worship solve their AV concerns. The solutions for any AV problem are within GC Pro’s extensive inventory, and ways to implement those solutions are at the ready through the Affiliates program, which allows customers to access the talents and skills of certified acoustical designers, acoustical architects, systems integration companies and other technical services organizations nationwide.

“We have all of the resources necessary to handle any situation, large or small, from renovation to ground up construction,” says Hall. “We have the product and systems solutions and we have the talent, in the form of people like Paul Garner, Owner of Christian Sound Installations, who can integrate those solutions in the best ways possible. That’s what GC Pro has to offer.”

Hall elaborated on how the system was put together: “Traditional mosques are very beautiful and also very live acoustic spaces,” he stated. “The client wanted a system that was small and unobtrusive to the room décor but powerful enough to be an effective upgrade of the existing ceiling speaker system. The main request of the sound system was that it be capable of substantially amplifying the sound in the space while still remaining open and natural enough to give the impression of no PA. It was also a requirement that the system be capable of extremely wide horizontal and controlled vertical dispersion to minimize reflections and artifacts caused by excessive spill on architectural details. Finally, the complete control for the system needed to be as compact and user friendly as possible. The system with Bose MA12EX Panaray speakers in the main room and DS100SE speakers in the anteroom along with the ESP-88 processor and CC-64 remote was an eloquent and high quality solution to solve all of the integration and performance criteria.”

For more information, please visit www.gcpro.com.

HRF Series Half Rack in Lectern

Fairfield, NJ––Middle Atlantic Products is introducing the new HRF Series Half Rack family of products that will also serve to help develop an ECIA standard for the half-width rack format.

The new HRF Series half racks–which incorporate the dimensions of the proposed standard–feature a low profile design and compact dimensions. An offset cable tie area keeps their overall width to a slim 10 5/8”, which makes them an important off-the-shelf solution for maximizing the amount of usable rack space in confined areas. These dimensions also allow the HRF Series to be used with half rack equipment from a variety of manufacturers.

The HRF Series half racks also feature a strong welded frame that enables equipment to be pre-loaded and transported to the installation site. Initial models are available in 8 and 12 space useable racking height configurations with available mounting shelves that include a pattern of holes and slots that accommodate any device-mounting pattern. The line of complementary accessories for the Half Rack Series also includes a high-static pressure blower to exhaust heat, as well as blank and vented panels to complete the installation.

According to Mark Tracy, Director of Product Management, “There was a real need for a smaller, space-saving solution when rackmounting a variety of half-width components in lecterns, credenzas, and in-wall. Thanks to the feedback from our installer and consultant partners, as well as the participation of several manufacturers, this system accommodates the vast majority of smaller components currently available and provides installers with a useful new choice for mounting electronics.”

For technical specifications and in-depth information about Middle Atlantic Products, please click to www.middleatlantic.com or call 1.800.266.7225.

“I had considerable experience with Sonnox plug-ins as a film mixing engineer prior to joining the Radio Group,” Müller says. “Their overall sound quality and flexibility is simply the best you can get in the plug-in market, so I knew they would provide excellent audio processing for radio production where sound is the major priority.”

“One of the most important jobs is to get the voice through to our listeners as clearly and effectively as possible, without being harsh or unpleasantly loud,” he adds. “Of course the sound of voices, music beds and FX varies from format to format, so we needed a plug-in bundle that would suit all our needs; aggressive for one radio format, and more transparent for another without losing loudness.”

The Service Center Production Sound Department utilizes Sonnox plug-ins differently for each station. “The Oxford EQ is engaged for virtually every track, shaping detail and emphasizing transparency, but tailoring the finished mixes for specific audiences,” Müller explains. “The Oxford Dynamics plug-in’s built-in modules are particularly well suited to our bigFM audience, and to CHR where voices are more directly in the listeners’ face. The SuprEsser plug-in gets deeper into our AC and Hot AC workflows, enabling us to dynamically reduce ‘overemphasized’ frequencies. The Oxford Limiter and Inflator are our primary weapons in the ‘Loudness War.’ I’m not a fan of indiscriminately increasing volume. That translates to lost punch and transparency,” he says. “By creatively employing the Limiter and Inflator plug-ins in our summing busses and masters, we can achieve excellent loudness levels and retain the details, emotions and dynamics that make compelling broadcasts.”

“The Sonnox Broadcast Bundles have proved themselves the perfect solution to all our radio sound design challenges,” Müller concludes.

Photo: Stefan Müller, Service Center Production Sound Department Head of Production

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For information on Sonnox Plug-Ins please visit: www.sonnox.com

“I had considerable experience with Sonnox plug-ins as a film mixing engineer prior to joining the Radio Group,” Müller says. “Their overall sound quality and flexibility is simply the best you can get in the plug-in market, so I knew they would provide excellent audio processing for radio production where sound is the major priority.”

“One of the most important jobs is to get the voice through to our listeners as clearly and effectively as possible, without being harsh or unpleasantly loud,” he adds. “Of course the sound of voices, music beds and FX varies from format to format, so we needed a plug-in bundle that would suit all our needs; aggressive for one radio format, and more transparent for another without losing loudness.”

The Service Center Production Sound Department utilizes Sonnox plug-ins differently for each station. “The Oxford EQ is engaged for virtually every track, shaping detail and emphasizing transparency, but tailoring the finished mixes for specific audiences,” Müller explains. “The Oxford Dynamics plug-in’s built-in modules are particularly well suited to our bigFM audience, and to CHR where voices are more directly in the listeners’ face. The SuprEsser plug-in gets deeper into our AC and Hot AC workflows, enabling us to dynamically reduce ‘overemphasized’ frequencies. The Oxford Limiter and Inflator are our primary weapons in the ‘Loudness War.’ I’m not a fan of indiscriminately increasing volume. That translates to lost punch and transparency,” he says. “By creatively employing the Limiter and Inflator plug-ins in our summing busses and masters, we can achieve excellent loudness levels and retain the details, emotions and dynamics that make compelling broadcasts.”

“The Sonnox Broadcast Bundles have proved themselves the perfect solution to all our radio sound design challenges,” Müller concludes.

Photo: Stefan Müller, Service Center Production Sound Department Head of Production

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For information on Sonnox Plug-Ins please visit: www.sonnox.com

Venue specifications, as well as the direction of the action, meant that centrally positioned LED screens were essential. The live event was broadcast onto huge LED screens hung in the centre of the venue to bring the experience and performance of the leading drivers even closer to the more than 9,000 spectators each day. Music clips, advertisements, statements, progress reports, greetings, and awards ceremonies were recorded and broadcast to every seat in the hall, and every spectator seated around the perimeter of the venue could see at least one full unobstructed LED screen.

Providing sound reinforcement for the event posed a unique set of challenges: (1) providing uniform, 360° sound coverage, and (2) taking into account the distance from the spectators in the first rows, which varied between 20 and 45 metres. Additional factors included the anticipated background noise stemming from the roar of 10 motocross motorbikes at a time driving past fans as well as the resulting cheering of all those spectators.

In the preliminary planning meetings for this project, it quickly became clear to Lars Schnier, D.A.S. Audio’s System Designer in Germany, that, “It’s a jungle out there. The only way to win this fight is with every weapon in your arsenal at the ready.” He quickly decided on the company’s large format Aero 50 line array system to cover the venue’s long throw requirements. The Aero 50 , a passive, 3-way full range loudspeaker system incorporating dual 15-inch low frequency transducers, four 8-inch speakers for the midrange, and two neodymium compression high frequency drivers with 1.5-inch exits, provided the sonic muscle for an event of this scope. Each line array cluster consisted of 6 elements in order to cover the longer distances in the oval.

The longer diameter of the venue was fitted on one side with Aero 12A compact powered line array enclosures and, on the other side, with an Aero 28A system to test and compare the two options. The under-balcony sound system consisted of 24 Variant 25A powered, mid-high line array elements—rigged under the galleries in order to minimize shadows in the rows furthest back.

Sixteen Lab.gruppen FP10000Q power amps—augmented by 4 Lake LM26 controllers—provided amplification and processing for the Aero 50’s as well as signal distribution to the Aero 12A and Aero 28A enclosures. This equipment was distributed throughout the ceiling areas using the accessible rigging in the hall. All system controllers for the Aero 50 loudspeakers, along with the D.A.S. DSP-4080 signal processors for the Aero 12A and Aero 28A enclosures, were controlled by a wireless remote. At the end of the installation, Lars Schnier and his system assistant, Lucas Gripshöfer, had 24 discreet audio zones to measure, level, and bring into phase with each other: a considerable task that the two managed most efficiently.

The Aero 12A proved to be a very good loudspeaker choice for this application. The two clusters of eight Aero 12A’s were positioned to provide coverage over an angle of roughly 28°. The system, as tuned and positioned by Schnier, provided consistent coverage for the entire horizontal and vertical area as far as the adjacent Aero 50 units. Checks on all the different levels during the breaks showed both systems to be complementing one another nicely—providing dropout free audio coverage throughout all areas of the venue.

The results of all of the measurements, loudspeaker placement, and fine-tuning resulted in uninterrupted views of all of the LED screens and a full-range sound system that provided the high level of speech intelligibility and even coverage throughout the venue that the various event managers, technicians, and VIP guests had hoped for—even against the background racing noise, which meant that Lars Schnier and Lucas Gripshöfer for D.A.S. Audio, in cooperation with Soundart GmbH & Co KG and HWS Veranstaltungstechnik, delivered sound quality that helped make the event a rousing success.

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

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Photo Description: A supercross contestant in mid-air beneath the DAS loudspeaker arrays

**** Photo: Lectrosonics’ headquarters ****

In the company’s manufacturing areas, forty-eight 400 watt metal-halide fixtures have been replaced with forty-eight 4-lamp 52 watt fluorescent fixtures. Additionally, the machine shop offices had new bulbs and electronic ballasts installed in their 32 watt ceiling fixtures.

The company’s corporate offices received equally significant upgrades. One hundred twenty-six 2-lamp 96 watt fixtures were replaced with one hundred twenty-six 4-lamp, T8 32 watt fixtures, which offer a dramatic reduction in power consumption and vastly improved life expectancies compared to conventional lighting. Further, one hundred twenty office fixtures were retrofitted with new electronic ballasts and bulbs.

The lighting renovations implemented throughout Lectrosonics’ physical plant yield impressive energy savings. Whereas the power draw using the old lighting systems consumed 72 kW, the new fixtures draw just 42.6 kW, a savings of 29.4 kW or more than 40%.

Karl Winkler, director of business development at Lectrosonics, commented on the company’s efforts to go green, “With more and more evidence pointing to strained natural resources and global warming, we all have to take steps to ensure a more environmentally friendly—or green—presence in our daily lives. As a company, we have a responsibility to do our part and be ‘good neighbors’ to those around us. By changing the way we light our facilities, not only do we consume considerably less power, we reduce the heat that results and, hence, lower the load on the air conditioning systems during the summer months. The end result of these efforts is no small matter. The process took several months, cost more than $30,000, and will take several years to break even— but it’s the right thing to do.”

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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“You know, I’ve always been a big fan of the old API stuff, so when I saw that API was putting out the JDK brand I was very intrigued – especially with the R22 compressor,” said Tarquin, who has previously recorded artists such as Steve Vai, Steve Morse, Frank Gambale and Billy Sheehan. “I knew the R22 was based on the original live mixing Paragon console, and then I saw that JDK had the EQs. JDK has some fantastic stuff.”

In his own career as an artist, Tarquin has had more than thirty commercial releases, which include several Top ten Jazz radio hits. Tarquin has composed pieces for a number of television shows such as Extra, TMZ and CSI, established his own boutique record label – BHP Music – and has even recently released the book Recording Techniques of the Guitar Masters in addition to recording the Guitar Masters album series. According to Tarquin, he used the JDK R20 and R22 heavily in the recording process of the newest volume, which will feature the likes of Slash, Leslie West, Gary Hoey, Hal Lindes and Chris Poland.

“The R20 mic pre is great. What’s great about it is when I use some of my mics, I find that I need a lot of gain to push them up. The dual mic pre works very well with that. The R22 EQ is very warm sounding and pretty intuitive to use as well, yet it gives enough detailing to carve out the sounds I need while keeping the transparency of the original tone, especially with rock and drums, but even with guitars,” said Tarquin. “It’s great to have different flavors available outside my console with different EQs and different mic pres as well. I have a lot of older API EQs and this one stands right up with them.”

ABOUT API (AUTOMATED PROCESSES, INC.) Established more than 40 years ago, Automated Processes, Inc. is the leader in analog recording gear with the Vision, Legacy Series and 1608 recording consoles, as well as its classic line of modular signal processing equipment.

www.apiaudio.com

The Ashly KLR Series amplifiers leverage the company’s decades of experience building reliable, high-performance amplifiers and uses the latest technologies and materials to dramatically increase efficiency, while maintaining sonic purity and decreasing cost. The Ashly KLR Series amplifiers are dual channel, and each of the nineteen KLR-4000s used at the “Wanna Play?” stage delivered 2,000 watts per channel into a two-ohm load.

The “Wanna Play?” stage was located just outside the convention center area, adjacent to the arena fountain. The impressive collection of Community loudspeakers and subwoofers comprised a four-way system and included four Solutions SLS960 bi-amped all horn-loaded array cabinets, four iBOX i215S double-15-inch bass cabinets, eight VLF218 double-18-inch subwoofers, iBOX i2W8′s for front fill, and six channels of M12 stage monitors.

This year was the largest NAMM show in its 110-year history. Registered attendees numbered over 95,000, a six-percent increase over last year. International registration was up 15%. These numbers, along with the 236 new exhibitors, appears to forecast a prosperous 2012.

ABOUT ASHLY AUDIO With a greater than thirty-seven year history, Ashly Audio Inc. is recognized as a world leader in the design and manufacturing of quality signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. www.ashly.com

ABOUT COMMUNITY PROFESSIONAL LOUDSPEAKERS Community Professional Loudspeakers has been a leading supplier of professional sound systems since 1968. Headquartered in Chester, Pennsylvania, Community distributes its products to over fifty countries on six continents. Visit www.communitypro.com for more information.