Powercubes™ are optimized for use with EAW® Line Array Systems, and customers who purchase are eligible for EAW‘s Red Certification® Training Program

Whitinsville, MA, USA, April 18, 2012 –EAW® recently announced the release of their Powercube™ amplifier racks. Designed to maximize the capabilities of EAW’s Line Arrays, each Powercube amplifier rack includes electrical power distribution, 12 channels of amplifier power with integrated digital signal processing and 12-channel input and output.

Powercubes support either three Lab.gruppen® PLM20000Q/SP amplifiers or six Powersoft® K10 DSP+AESOP amplifiers. Amplifiers are shipped separately from the respective manufacturers for user installation on delivery. Powercubes come in 115 volt and 230 volt options, making four options in total. Electrical power distribution panels are separately configured for each of the four possible options.

Powercubes are optimized for use with EAW KF740 line array systems and the largest of the EAW subwoofer systems, but Powercubes can also power and control KF760 or KF730 line array systems.

Also, Powercube purchases entitle the customer to sign up for EAW’s Red Certification® training program. Red Certification status is awarded after a two-day training seminar led by EAW’s Technical Training Manager Bernie Broderick and held at the customer’s offices. Red Certification ensures that all Powercube owners and their staffs are fully trained on all aspects of using the power and processing available through the Powercube.

“With Powercubes and Red Certification, EAW KF740 owners can assure their customers of absolutely consistent performance night after night, in venue after venue,” EAW President Jeff Rocha said. “With a network of Red Certified KF740 rental companies, owners that cross rent and tours that contract PA vendors in different cities or different countries can get this same level of consistency anywhere on the planet.”

Powercubes feature a 24U rack in a shock-absorbing cage to house the power distribution, amplifiers and input and output panels. Electrical power distribution panels include standard, three-phase input connectors and circuit breaker protected outputs configured to support each amplifier compliment.

The ingenious input panels allow for maximum flexibility without switching the connectors. The input panels provide analog connections with loop through, AES connections with parallel loop through and dual Ethernet ports for loop through the amplifier’s digital network. Selectable ground lifts located on each analog input allow it to be linked to the next successive input in series, allowing a single input to drive multiple channels of a multi-amp system.

Likewise, Powercube output panels feature both Neutrik® NL4 connectors and NL8 connectors that combine amplifier outputs. This allows for Powercube to drive KF760s, KF740s or KF730s without ever rewiring the amp rack.

Powercubes include amenities that make them easy to work with under difficult conditions. All models feature a Littlite® gooseneck lamp on the back of each rack for easy patching and configuration in dark areas. They include easily accessible courtesy power outlets appropriate to their voltage to power personal electronics or charge wireless devices. Finally, all models except the Powersoft 230V version include a locking storage drawer.

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

— Highland Park, Illinois, and Tucson, Arizona, are the latest Guitar Center stores to expand operations with embedded lessons facilities —

Westlake Village, CA (April 18, 2012) – In the first quarter of 2012, Guitar Center expanded operations at two of its stores – Highland Park, Illinois, and Tucson, Arizona – by adding Guitar Center Studios, an in-house, state-of-the-art lesson facility, which will create unrivaled opportunities for area musicians of all ages and skill levels. Guitar Center Studios provides music lessons from beginner to advanced featuring certified instructors teaching world-class curriculum as well as one-on-one courses on Pro Tools, Logic Pro and GarageBand. Guitar Center Studios is now the most modern and affordable lessons facility in the area.

“The opening of our new GC Studios at our Highland Park and Tucson stores is an important moment for musicians in these areas,” commented Gene Joly, Guitar Center Executive VP of Stores. “As arts programs are consistently being downsized at schools across the country, we feel it’s important to create these opportunities for the next generation of musicians. Many of our recent store openings over the last year-plus have featured GC Studios, and those facilities have been a huge success across the board. We look forward to serving the music communities of these areas in this increased capacity.”
Guitar Center Highland Park is open seven days a week. Store hours are 11 a.m. to 9 p.m. Monday through Thursday, 10 a.m. to 9 p.m. Friday, 10 a.m. to 8 p.m. Saturday and 11 a.m. to 6 p.m. Sunday. Guitar Center Tucson is open seven days a week. Store hours are 10 a.m. to 8 p.m. Monday through Friday, 10 a.m. to 7 p.m. Saturday and 11 a.m. to 6 p.m. Sunday. Guitar Center Studios hours at both locations follow the same schedule as their respective stores.

Las Vegas-based H.A.S. Productions outfits the stage at Mandalay Bay with their newly-acquired EAW® KF740 inventory

Whitinsville, MA, USA, April 17, 2012 – In the several days leading up to the 47th annual Academy of Country Music (ACM) Awards, which took place on Sunday, April 1, 2012, at the MGM Grand in Las Vegas, the city was host to dozens of other events held in conjunction with the Awards. Outside the Mandalay Bay resort, thousands of eager country fans (up to 10,000 at any given time) gathered on Friday, March 30, up through the start of the awards on Sunday, to witness “The ACM Experience,” a stage of performances and other special events. Outfitting this stage was Vegas-based H.A.S. Productions, Inc., an independently-owned and -operated full-service production company. For the gig, H.A.S. selected a system including KF740 Line Array Modules and SB2001 Large Format Subwoofers from loudspeaker manufacturer Eastern Acoustic Works® (EAW®). H.A.S. chose the KF740 rig for its power and versatility, things that cannot be taken for granted at a live event of this magnitude.

Over the event’s three days, such talent graced the stage as J.T. Hodges, Craig Morgan, Eli Young Band, ACM Duo of the Year winners Thompson Square, John Rich and Steel Magnolia. The system for the event consisted of 24 KF740s and 12 SB2001s, powered by Powersoft K20, K10 and K6 power amplifiers. Front fill was augmented by two EAW KF200NT Small Format Array Loudspeakers. Processing was handled by EAW’s UX8800 Digital Signal Processor connected to the proprietary U-Net network, allowing for very simple system configuration with other U-Net enabled products.

The KF740/SB2001 rig is a relatively new acquisition for H.A.S. Productions, and it has already been put to great use elsewhere besides the ACM Experiences; recent jobs include concerts for Dwight Yoakam and Big & Rich, as well as the National Finals Rodeo at Las Vegas’ Cox Pavilion. Company principal Larry Hall stated, “Once we heard the KF740 system, we realized that it was the perfect rig to go along with our business model. We took initial delivery in November 2011 of 24 KF740 and 12 SB2001s, and we’re planning to augment that with an additional 16 KF740’s and eight SB2001 subs in the near future. As soon as we made the move to EAW, we began liquidating our other inventory to become primarily an EAW house.”

Hall sums up why he and the team at H.A.S. are impressed by the KF740: “It provides the sound of a full-size P.A. with the physical dimensions of a mid-sized system. The fact that we can put an arena system on a 24-foot truck and still meet weight at a weigh station was a pretty big deal for us. At 105 pounds per module, the KF740 offers audio quality that surpasses anything else in its class. It’s convenient to rig, convenient to transport, and the bottom line is, it sounds incredibly stellar, with an amazing full-range punch. This is the system for us, and as we expand our inventory, we are excited about the prospect of using these modules for years to come.”

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

— Audio-Technica continues to be the microphone of choice at the 2012 Rock and Roll Hall of Fame induction ceremony—

STOW, OH, April 17, 2012 — For the 15th year in a row, a broad range of Audio-Technica microphones was selected to outfit the Rock and Roll Hall of Fame induction ceremony. A-T supplied over 50 mics to capture the audio for the 27th annual induction ceremony, which took place at the historic Public Auditorium in Cleveland, Ohio, on April 14, 2012. Inductees included Guns N’ Roses, Red Hot Chili Peppers, Donovan, Laura Nyro, The Small Faces/Faces, Beastie Boys, The Crickets, The Famous Flames, The Midnighters, The Comets, The Blue Caps and The Miracles. Freddie King received the Early Influence distinction. Non-performing honorees included Don Kirshner, Cosimo Matassa, Tom Dowd and Glyn Johns. The show will be broadcast on HBO on Saturday, May 5, 2012.

Audio-Technica’s acclaimed Artist Elite® 5000 Series UHF Wireless System was used with the AEW-T5400 handheld microphone/transmitter for frontline vocals on performances by Sara Bareilles, Joe Bonamassa, Donovan, Dusty Hill, Kid Rock, Freddie King, Ledisi, Darlene Love, Travie McCoy, John Mellencamp and house bandleader Paul Shaffer.

The backline mic complement of A-T wired microphones included AE2500 Dual-element Instrument Microphone; AE3000 Cardioid Condenser Instrument Microphone; ATM450 Cardioid Condenser Instrument Microphone; AT4050ST Stereo Condenser Microphone; AT4080 Phantom-Powered Bidirectional Ribbon Microphone; AE5400 Cardioid Condenser Handheld Microphone; and AT4054 Handheld Cardioid Condenser Microphone.

The technical staff for the induction ceremony was made up of professional audio industry veterans. Remote recording specialists M3 (Music Mix Mobile), the company responsible for both recording the program and mixing the show for broadcast, used its Eclipse remote truck with John Harris as Audio Coordinator and Music Mixer, mixing the event’s audio onsite and assigning all the inputs and microphones for the event. Joel Singer served as Audio Truck Engineer-in-Charge. The P.A. was provided by New York-based Firehouse Productions. Dave Natale served as Front-of-House Mixer, and Firehouse Productions’ Simon Welch was Monitor Mixer.

John Harris stated, “With such a varied performance roster, we need a selection of wireless and wired microphones that are able to perform flawlessly and capture audio consistently and clearly act after act. Once again, like for many of the high-profile broadcast music events that we mix, we turned to Audio-Technica. No matter the event, I know that there will be an A-T microphone, either wireless or wired, that will allow us to capture the true essence of an artist’s performance.”

For more information, please visit www.audio-technica.com.

Pune, India – April 2012 … On March 10th at Amanora Park Town, the second installment of this year’s Eristoff Invasion Festival took place with one the world’s foremost music makers, DJ David Guetta, as the show’s headlining act. With chart-topping hits like When Love Takes Over, Gettin’ Over You, and Sexy Bitch, Guetta’s music had the festival’s capacity crowds celebrating in a big way. Guetta’s pulsating sounds projected over the audience from an impressive sound reinforcement system comprised of loudspeakers from the Aero and Aero Series 2 catalog of Valencia, Spain-based D.A.S. Audio.

Sound & Light Professionals (SNL Pro) of Mumbai, a major provider of sound reinforcement systems, was contracted to provide the sound system for the event. After consulting with festival organizers Only Much Louder, in partnership with UKNY Music (a leading UK-based music and events company), the decision was made to deploy D.A.S. Audio Aero 50 large format, 3-way line array loudspeakers, Aero 218 Sub enclosures, along with Aero 12A powered, 2-way, mid-high line array elements. more…

REEDSBURG, WI, APRIL 19, 2012 — Sound Devices (2012 NAB Booth C2546), experts in portable audio and video products for field production, recently relocated and settled into its new 27,000-square-foot U.S. headquarters in Reedsburg, WI. As part of the move, the company made its renovation a community project by donating the front portion of the building to the local Habitat for Humanity affiliate.

“The front section of the building was isolated from the rest of the facility, so it was originally in our plans to tear it down,” says Jon Tatooles, managing director of Sound Devices. “However, when I learned that Habitat for Humanity participates in deconstruction projects, it made sense to donate the material and divert it from a local landfill. The volunteers on site were really amazing throughout this venture and we are happy to help others in need.”

After hearing about Habitat for Humanity’s deconstruction projects through a business associate who sits on the board of directors for the Dane County Habitat branch, Sound Devices coordinated the project with the local Sauk and Columbia County affiliate. Bruce Koch, deconstruction and ReStore (Habitat’s ReStore resale outlets sell reusable and surplus building materials to the public) coordinator for the affiliate, conducted an initial visual inspection of the facility in order to determine the types and quantity of materials that were salvageable. Once the project was green lighted, volunteers worked meticulously to deconstruct the entire building over the course of seven days.

Habitat for Humanity is an international organization with local affiliates across the globe that builds housing for low-income working families. The materials collected at the Sound Devices project totaled more than six 30-yard dumpsters of either usable, re-sellable or recyclable materials, including approximately 33 40-foot trusses, 200 2x6s, 80 sheets of 4×8 plywood, 200 studs, siding, insulation, piping, wiring, doors, the furnace and air conditioners. The re-sellable items will be sold in Habitat’s ReStore in nearby Baraboo. The money raised will help Habitat build new houses and pay for overhead expenses at the ReStore.

“For a company like Sound Devices to think outside the box and let us come in to their facility to help others is amazing,” says Koch. “Wonderful things happen when a low-income family has its own home—the children flourish and the parents can better provide—it’s really a great thing to see firsthand. At Habitat, we strive to do everything we can to further that cause. When a local company like Sound Devices can see that vision with us, we’re all happy and everyone benefits.”

Sound Devices’ new facility is located at E7556 State Road 23/33 in Reedsburg.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The thirteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

In Pursuit of Elegant Simplicity: Life, Luck, and Learning in Music and Audio

BUDAPEST: Graham Blyth, internationally recognized Organist and accomplished professional audio equipment designer, will present the Audio Engineering Society’s Richard C. Heyser Lecture on Friday, April 27, 7:00PM – 9:PM at the Budapest Congress & World Trade Center. After successful conventions in London, Paris, Munich, Amsterdam and other major cities throughout Europe, the 132nd marks the first AES Convention to be held in Budapest.

A prime example of the AES ‘Listen, Learn, Connect’ initiative, Blyth’s Heyser lecture will describe his journey from audio design engineer to developer of Soundcraft Mixing consoles, with a special focus on his approach to mic preamp design. Blyth will also address the importance of the analog engineer in a mostly digital world and, the technical and musical challenges associated with designing high-quality digital classical organs.

As co-founder with Phil Dudderidge of UK-based Soundcraft, designers and manufacturers of highly regarded audio mixing consoles, Mr. Blyth has served as Technical Director of the firm since its inception in 1973. Harman bought the company in 1988, and it continues to maintain an outstanding position in a corporate family that includes JBL, DBX, Lexicon, AKG and Studer.

In addition to his technical virtuosity, Mr. Blyth is an esteemed concert artist who has performed in such celebrated venues as NYC’s St. Thomas Church; the Cathedral of Our Lady of Los Angeles; Grace Cathedral in San Francisco, and many of Europe’s most renowned cathedrals. In 1995 he built the Challow Park Recital Hall, a unique 80-seat auditorium with completely variable acoustics. In 2003 he founded the Veritas Organ Company to address the new generation of digital classical organs. Mr. Blyth is a fellow of the Royal Society of Arts and of the Audio Engineering Society.

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Photo: Celebrated Organist and accomplished professional audio equipment designer, Graham Blyth will present the AES Richard C. Heyser Lecture on April 27 in Budapest.

The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. With 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. For additional information visit http://www.aes.org

132nd AES Convention – Budapest Congress & World Trade Center – Apr. 26-29, 2012

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Charlotte, NC – April 18, 2012: Recognized by Outreach Magazine as one of the fastest-growing churches in the United States, Elevation Church serves over 10,000 congregants each weekend and maintains six worship campuses — four of which are ‘portable.’ To keep pace with this growth, Elevation has had to establish itself on a solid technology footing and has maintained a strong relationship with Sennheiser since opening its doors in 2005. Recently, Elevation became an official Sennheiser endorsed worship facility and was among the first to put the new Neumann KK 205 capsules — which are designed for the Sennheiser 2000 series wireless transmitters — through their paces.

Brian Poole is technical director at Elevation Church and has worked closely with Sennheiser to ensure that the clarity and sonic integrity of the facility is all that it can be, no matter which campus congregants are attending. Recently, Elevation added five Neumann KK 205 microphone capsules to its arsenal of live performance and recording tools. Poole discusses how he has helped Elevation continue to deliver superior sound with Sennheiser and Neumann.

Can you describe some of the challenges that go along with the growth that Elevation has experienced?
We are six years old and have six campuses in the Charlotte area. All in all, we are running at about 10 or 11 thousand people every weekend. With that growth, there have been a lot of rapid changes we have had to make, especially considering that audio is a very big part of what we do. Sennheiser has been there for us the entire time and has provided the best product and support we could ask for — and even more so now that we are endorsed. A big challenge as a multi-campus church is ensuring that we will have gear that we know will be reliable and sound great. Four of our campuses are portable, so we are lugging gear in and out all weekend; when we plug it all in and turn it on, we know it is going to work. Sennheiser has also helped us through our RF coordination, which can be very complex.

How familiar are you with Neumann microphone capsules?
We have always loved Neumann microphones and already had the KK 105 capsules on our pastor’s [Steven Furtick] speaking mic with a Sennheiser SKM 5200 transmitter. Our pastor does a lot of singing as well, and the performance of the SKM 5200 / KK 105 combination has been fantastic. By making a Neumann capsule that works with an SKM 2000 transmitter is really a game changer for us. Now we can have Neumann sound not only for the pastor, but all our other lead singers and it is a very economical solution.

Tell me about your first impressions with the KK 205s.
We just received them three weeks ago, and they are already on our primary lead vocal microphones [used in combination with the Sennheiser SKM 2000 handheld transmitters] at our two permanent campuses. One of these campuses is a warehouse with low ceilings, and the acoustics aren’t ideal. The KK 205 has a supercardioid pattern so we are able to get plenty of gain before feedback — this is huge for us because we like it loud and we like it to sound good. I was 100 percent comfortable that I could take the KK 205 right to the stage without going through weeks of rehearsals first.

For our Easter service, the new Neumann capsules went into our broadcast facility. We have a big spoken word element in our Easter service, and this is the first thing right out of the gate during our worship experience. All our main worship leaders were on the KK 205s and the feed went out to all six of our campuses. It was also put online for everyone to see and participate in. Everything worked out great and all the voices were very rich.

Do you intend to use the KK 205s in other applications?
We do a lot of recording both for CDs and streaming on our website. In fact, our worship band has just signed a pretty big record deal and we expect the KK 205s and the SKM 2000s will be used on future live recordings. Our first live album and live DVD was a big deal for us and it is very exciting that Sennheiser has released a ‘Neumann for the Masses,’ if you will.

How has your experience been with Sennheiser overall, including with the new Neumann KK 205s?
First of all, Sennheiser has rock solid RF and the sound quality is best of the best. We’ve got 36 channels in our auditorium of Sennheiser wireless and I’ve never had a single issue of anything dropping out. Now, with the KK 205s, we can put Neumann performance in the reach of all our singers, increasing the overall quality of our worship experience. Audio quality has always been an incredibly important component of worship for Elevation Church and the KK 205 capsules truly represent quality for the masses — the cost/performance ratio cannot be beat. All in all, our relationship with Sennheiser has been fantastic and we feel very blessed.

Caption:
Brad Hudson, Worship Leader at Elevation Church, uses a KK 205 on a SKM 2000 during Easter rehearsals at Elevation’s Blakeney campus.

Offers an Unobtrusive and Versatile High-Quality Mic
to Meet Today’s Challenging Broadcasting Needs

LAS VEGAS, APRIL 16, 2012 – DPA Microphones, the manufacturer of high-level reference and headset microphones, will feature its d:fine series of headset microphones at the 2012 NAB Show (Booth C3436). Named to reflect their accurate audio definition and natural sonic characteristics, the d:fine headset mics offer consistent audio performance at all sound pressure levels, from a whisper to a shout, impressive gain-before-feedback and stable construction. The d:fine series is available as omnidirectional and directional and includes a long and a short mic boom mounted on either a single-ear mount or a dual-ear mount.

“The d:fine headset microphones have set a new benchmark for the industry, combining DPA’s accurate, full-range sound quality with a small form factor microphone capsule ideal for the wide variety of traditional and new broadcast applications,” says Jarrod Renaud, sales and marketing for DPA Microphones, Inc.

Today, broadcasters’ audio needs are changing and they rely more than ever on unobtrusive wireless headset mics. With these different options, broadcasters can find the d:fine headset that best fits their needs. The single-ear d:fine is good for more stationary productions such as a news show, commentary at a live sporting event or a talk show. For more active productions such as reality shows, health and fitness programming and live dance performances, the dual-ear d:fine provides broadcasters with the extra assurance that the mic will stay in place. The new short boom d:fine headset allows a user to optimize the placement of the microphone to realize perfect fit and invisibility, plus handling of extremely loud vocal levels, while minimizing distortion of wireless transmitters.

In a broadcast world that is increasingly changing and relying less on studio-bound and traditional filmed programming, the d:fine headset microphones provide worry-free performance in the most exacting situations. Supporting the exceptional d:fine sound quality, with a frequency range of 20 Hz to 20 kHz ± 2 dB and a maximum peak handling capacity of 144 dB before clipping, d:fine headset mics offer the unique opportunity to enjoy the quality of a DPA product through a sleek and flexible wireless headset mic.

The DPA single-ear and dual-ear headset mics are available in omnidirectional and directional versions, in black, brown, beige and lime green. The adjustable, single-ear headset features a removable ear hook assembly. All mics feature a

connector wire with multiple connector options to fit any professional wireless system.

“We are dedicated to understanding the needs of our clients and developing both microphones and support systems to meet those needs,” states Renaud. “The d:fine series is the perfect example of microphones that meet the new audio challenges increasingly encountered by the broadcast industry.”

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

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