JBL Loudspeakers Fit A Small Space With Big Sound At The Georgia Tech University Bobby Dodd Stadium

In an upgrade that highlights the ability of JBL’s loudspeakers to deliver optimal sound quality in limited spaces, Baker Audio recently selected JBL VLA and PD series loudspeakers for the new audio system at Bobby Dodd Stadium, home to the Georgia Tech Yellow Jackets’ football team. Facing a strict spatial limitation, the JBL loudspeakers provide extreme flexibility in the design of the system, and comprise one of the most articulate sound systems available.

Renovations to the Boddy Dodd Stadium audio/visual system began two years ago with the upgrade of the Stadium’s 10-year-old video setup. Although most of the budget focused on the video system, Baker Audio was still charged with providing an audio system that could mirror the new scoreboard’s quality. The company developed a JBL solution that included two arrays of four VLA601H and two VLA601 line array loudspeakers in the stadium scoreboard on either side of the video board.

The VLA series loudspeaker arrays cover approximately 80 percent of the stadium. There are four PD5212 boxes for downfill in front of a Panasonic video board in the south end zone, and four PD764 loudspeakers used for side fill. Baker Audio mounted the PD764 loudspeakers on custom mounts, which allowed them to rotate left to right on a yoke arm. The entire system is rounded off with an array of Harman Professional products--including Crown IT4000 amplifiers, a BSS BLU-32 Network I/O Expander, and a Soundcraft GB4 mixing console--all of which is configured with HiQnet System Architect™.
“We knew that we would need something compact but powerful enough to cover the entire stadium,” said Joe Schuch, Owner of Baker Audio. “We also wanted something that would have name recognition; something that the administration at the stadium would be familiar with. In researching different loudspeakers, and having extensive experience with JBL, we knew that the VLA series would be able to handle most of it, and once we added the PD series on top of it, everyone was very happy with the power and clarity we got.”

“With System Architect monitoring and configuration, we are able to turn the entire system on and off from the front of house position, and we have maximum control over the entire audio system,” Schuch continued. “The customer couldn’t be happier with the way things turned out, and neither could we.”

For more information on Baker Audio, please visit www.bakeraudio.com

AKG Integrates The DMS 700 Into Its System Architect Plug-In For Full HiQnet™ Compatibility

In an introduction that couples AKG’s legendary wireless performance with Harman System Architect’s ease of use, AKG recently updated its System Architect plug-in for the HUB 4000 Q to version 3.5 with the introduction of the Harman System Architect 2.1 release.

The professional digital wireless microphone system DMS 700 is now fully integrated into System Architect. Users have the ability to setup and monitor multichannel DMS 700 systems with tools such as 1 Click Setup, RF Monitor, Environment Scan and Offline Configuration. With AKG’s 1 Click Setup, the frequency coordination of DMS 700 multichannel systems can be done with ease with just a single click.

The 1 Click Setup is easy and straightforward and allows for optimal frequency coordination for all of AKG’s wireless systems. With a single click, the algorithm completes a full frequency coordination by performing an environment/frequency scan, calculating the inter-modulation-free frequencies for each device and programming each device automatically.

The new upgrade allows AKG’s professional wireless systems – including the DMS 700, the WMS 4000/4500 as well as the IVM 4 – to be completely integrated with Harman’s new System Architect™ 2.1. The new System Architect Plug-In allows anyone who has an AKG wireless system equipped with the HUB 4000 Q and System Architect to be prepared for any future wireless implementation.

Harman HiQnet™ is the world's first connectivity and control protocol that integrates all product categories in the signal chain for professional audio systems of all types, size, and applications. Harman HiQnet no longer requires the user to manage multiple disparate operating systems or be responsible for programming individual signal processors, speaker controllers, wireless microphone systems, and mixing consoles. HiQnet was developed by engineers from across the Harman Pro Group and is coordinated by the System Development and Integration Group (SDIG), a team of dedicated systems specialists based in Salt Lake City, Utah.

AKG is a unit of Harman International Industries, Incorporated (www.harman.com).
Harman International designs, manufactures and markets a wide range of audio and infotainment products for the automotive, consumer and professional markets, and maintains a strong presence in the Americas, Europe and Asia, employing more than 11,000 people worldwide. The Harman International family of brands includes AKG®, Audioaccess®, Becker®, BSS®, Crown®, dbx®, DigiTech®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson®, Revel®, QNX®, Soundcraft® and Studer®. Harman International’s stock is traded on the New York Stock Exchange under the symbol “NYSE: HAR.”

Lexicon® Ships PCM92 Stereo Reverb/Effects Processor for Live Sound And the Recording Studio

Lexicon®, a Harman International Company (NYSE-HAR), today began shipping the new PCM92 Stereo Reverb/Effects Processor. The PCM92 utilizes the latest DSP technology and the finest collection of classic Lexicon algorithms to offer the ultimate processor for live sound and the studio applications.  Delivering 28 mono and stereo reverbs, delays, and modulation effects, flexible routing configurations, and a comprehensive library of over 1200 factory presets, the PCM92 represents the most advanced audio processor in its class.

“We are confident that our customers will be excited to find that the PCM92 follows in the tradition of the highly acclaimed PCM-Series processors.  Whether it is at Front of House or in the recording suite, the PCM92 offers our legendary Lexicon reverbs along with a host of new capabilities that will enhance their ability to produce the most exciting and highest quality sound possible,” stated Randy Garrett, Marketing Director for Lexicon.

The PCM92 features the highly acclaimed Hall, Concert Hall and Random Hall reverb algorithms that have regularly been used by live sound and recording engineers because of their exceptional ability to reproduce the musical ambience of large, wide, panoramically wonderful spaces.

Designed as a single rack space processor with two channels of balanced XLR or ¼” analog I/O and two channels of XLR AES/EBU digital I/O, along with MIDI, Word Clock, and Ethernet, the PCM92 complements any mixing console or integrates easily with your DAW and features 24-bit A/D-D/A conversion and 44.1 to 96 kHz sample rates. 

The easy to use front panel keeps the most important parameters within reach on the high-resolution display for easy editing.  To supplement front panel navigation for live applications, the PCM92 can be configured and fully controlled remotely through Harman HiQnet System Architect™ and the foot switch and foot controller inputs offer additional flexibility for the live performer. 

The PCM92 has a suggested retail price of US $2,699.00 and is now available at authorized Lexicon dealers.

The Lexicon PCM92 Stereo Reverb/Effects feature set includes:
·       Lexicon® studio-standard reverbs, delays, and modulation effects
·       Comprehensive collection of over 1200 finely crafted factory presets, including recognizable classics from   Lexicon’s immense library of sounds
·       Lexicon’s flexible Room algorithm used to generate a vast array of room-related effects for music and post
·       Multi-voice pitch shift to enhance vocals
·       Mono and stereo versions of all algorithms
·       Full system configuration and control with HiQnet System Architect™
·       44.1 to 96 kHz sample rate, 32-bit floating point processing
·       Two channels balanced analog I/O (XLR and ¼”)
·       Two channels XLR digital AES/EBU I/O
·       External BNC Word Clock
·       MIDI in, out, and thru
·       Ethernet connectivity
·       Foot controller inputs make it easy to change presets and adjust parameters during live performances
·       High-resolution OLED display is easy to read in all light conditions

Harman HiQnet™ is the world's first connectivity and control protocol that integrates all product categories in the signal chain for professional audio systems of all types, size, and applications. Harman HiQnet no longer requires the user to manage multiple disparate operating systems or be responsible for programming individual signal processors, speaker controllers, wireless microphone systems, and mixing consoles. HiQnet was developed by engineers from across the Harman Pro Group and is coordinated by the System Development and Integration Group (SDIG), a team of dedicated systems specialists based in Salt Lake City, Utah.

Tommy Bolan of N.Y.C Relies On DigiTech® for 2009 Zyko Tour

Guitarist Tommy Bolan and his band N.Y.C took the metal world by storm with the release of their acclaimed metal album Zyko in 2008.  This year, the band hit the tour circuit in support of their new album with shows in 24 cities, and Bolan had DigiTech with him the entire way. 

“The gear is beyond reliable, which is extremely important especially when we were on a serious tour like this,” stated Bolan. “It also has a way of sparking creativity for me as a musician. There is such a broad range of sounds and textures available with DigiTech products, especially with the new RP1000.  The DigiTech gear I use has always held up and the guys who make the equipment will always stand behind their product.”    

Bolan already has a long list of musician accomplishments precedes him.  First as the lead guitarist for the band Warlock, followed by a stint as the lead guitarist for Freight Train Jane, his albums have sold over two million copies worldwide.

“Right now I’m using the Whammy™ pedal and it’s a must-have product because there are endless creative options, and I’m always using it both live and in the studio,” continued Bolan. “Plus I love that it inspires some wicked riffs.”  The Whammy’s legendary ability to pitch shift and control sound has become a staple of DigiTech over the last 20 years.

The other DigiTech gear Tommy won’t go without is the Vocal 300. This affordable vocal effects processor includes a built-in expression pedal.  It features 38 fully programmable studio quality effects and the built-in expression pedal can be assigned to control your choice of up to three parameters in real-time. “Whenever I’m playing or singing live I’m using it on my voice,” added Bolan.

2010 is shaping up to be just as busy a year for Bolan as well. “I’ll be back out on tour and we’ll be working on a new CD too. There will be additional clinics planned and of course some other surprises as well!” stated Bolan.

In addition to being an acclaimed artist Bolan takes pride in his ability to share his craft with others. He currently has an instructional DVD called “Metal Primer” which features the DigiTech Vocal 300 and the Whammy. 

To learn more about Tommy Bolan you can visit his MySpace page www.myspace.com/nyctheband

TV Nova Completes Trio Of Studer Vista Installs

Czech Commercial TV station, TV Nova, has been a prominent customer of AudiTech, Studer’s Prague-based distributor, since its first broadcast in 1994.

Now celebrating 15 years of highly successful operation it has grown to become by far the most important member of the CME Group, achieving market leader status with revenues and profits making it the biggest private TV station in the Czech Republic.

During this time Nova has also continually strived to pioneer new advanced technologies, with the help of AudiTech serving as a competence centre. With fibre optics and Ethernet networks progressively penetrating studio environments, these new technologies are implemented, tested and used by AudiTech on a daily basis.

“Whenever a new Studer model or innovative solution is introduced, TV Nova will be the first customer we approach,” says AudiTech director, Libor Havlicek. “The station’s young team — both technical support and sound engineer personnel — are always willing to invest their efforts.”

It was this open-mindedness that drove the sale of the first Vista 6 (Serial No. 0002) six years ago. This oldest broadcast and production console remains in use on News Center 2 (on the paid-for Nova Sport channel). Configured 80-In/80-Out, 46 channels, 27 busses, its primary use is live on-air application and recording.

The flagship of TV Nova is the Vista 8, delivered as a part of a turnkey solution to News Center 1 by TLS studio house (with commissioning and after-sales support handled locally). This system comprises 160-In/138-Out, 98 channels, 48 busses and ten shared processes. The ‘8’ is used for live news in prime time on the main TV Nova channel, live morning show and many other news-related production tasks.

However, the latest member of the Vista family to join the TV Nova family is the Vista 5. This was recently commissioned for use in the new Production Center, which is mainly used for recording MTV programmes linked to a ProTools workstation via MADI. It boasts an impressive SCore matrix, configured 282-In/192-Out (including 64-channel MADI), 88 channels, 46 busses and 13 shared processes. Its remote location (800 metres away in another complex) with optical fibre connectivity in place, opens up plans for resource sharing via Studer’s RELINK system in the New Year.

Says Libor Havlicek, “All consoles typically use many external sources: all matrix in/outs are already being used (and several layers), and further expansion is now being considered. Projects are always ongoing, with the result that many personally-configured snapshots are used by sound engineers who alternate in the same environment. As a result, the RELINK approach is certainly being considered, making a swap of the older D19m by D21m technology a must.”

Added TV Nova Chief Sound Engineer, Jiri Stekr, "After six years of experience with three Vista models we can confirm that all our colleagues have been able to operate the consoles, and use a substantial part of their features, very quickly. We are very happy with the system philosophy, where intuitive operation is the key word.”

JBL VERTEC® Line Arrays And Syntonic Design Group Help New York Yankees Celebrate 27th World Series Championship

Celebrating their 27th World Series championship, the New York Yankees held a ticker-tape parade and ceremony before an estimated crowd of two million people on the front steps of City Hall in Manhattan, supported by Red Hook, New York-based Syntonic Design, and featuring JBL VERTEC® line arrays. The group of presenters included Yankee legends of past and present, New York City Mayor Michael Bloomberg, and hip-hop artist Jay-Z.

Immediately after the Yankees won game six of the World Series to secure their 27th world title, the planning for the parade began. Syntonic Design provided equipment and a crew for the entertainment portion of the celebration, with the load-in beginning just nine hours later. In the scramble to assemble the equipment and gather the crew, co-project managers John Petrafesa and Tom Clark turned to the loudspeakers they have counted on for years to reliably provide full, even sound, selecting 12 JBL VERTEC VT4889 full-size line array loudspeakers used for the main left/right arrays and front fill, supplemented with 12 JBL VERTEC VT4880 full-size arrayable subwoofers, all powered by Crown I-Tech HD amplifiers.

“Because of all the different presenters, we knew that we were going to need a versatile system that was powerful enough to reach the whole crowd, and we needed it fast,” said Jon Simonetta, assistant project manager for Syntonic Design. “We used the VERTEC loudspeakers because our past experience has validated their reputation as the most reliable and even speakers available.

“The Yankees parade celebration presented a real challenge for us because of the time frame we had to work with and the size of the crowd,” Simonetta added. “However, we were able to overcome those challenges and exceed expectations with help from JBL’s VERTEC system.”

Syntonic Design Group is a national provider of audio equipment and design services to all facets of the live entertainment industry. Syntonic operates equipment depots in New York, Orlando and Las Vegas, as well as a sales office in New York City. The company strives to offer its clients sophisticated designs that consistently exceed expectations and reduce their costs by eliminating unnecessary labor, equipment and time.

For more information on Syntonic Design Group, please visit www.syntonic.us

Moonlight Amphitheatre Shines With JBL Loudspeakers

In conjunction with a major facility upgrade, the administration at the Moonlight Amphitheatre in Vista, California opted to end years of renting audio systems every summer by purchasing its own permanent system complete with JBL PD5000, VERTEC® and VRX Series loudspeakers. The system was designed by Acoustic Dimensions and installed by Sound Image and provided the amphitheatre with the flexibility to host one-off concerts and events ranging from classical music to high-volume rock and roll, in addition to its primary summer use for Broadway musicals.

According to Acoustic Dimensions senior consultant Jeff Miller, the system presented many challenges due to the amphitheatre’s proximity to its neighbors. With houses close by on both sides and behind the amphitheatre, there was a need to control where the sound ended up as much as possible; there was also a need to complete the project installation in a short time frame. Acoustic Dimensions ultimately chose JBL loudspeakers for their ability to deliver even coverage throughout various seating areas with good intelligibility and natural tonal response.

“The Moonlight staff was concerned that the loudspeaker manufacturer be someone who could meet the customization needs of the project on the short delivery schedule available,” said Miller. They also wanted it to be someone that the various guest sound designers that work in the facility would be happy with. JBL fit the bill perfectly on both accounts.”

The installation features PD5322/64-WRX and PD5322/43-WRX weatherized loudspeakers that are arranged in an exploded mono cluster for vocal reinforcement. AE Compact Series loudspeakers are used for front fills and down fills. The music system is comprised of VERTEC VT4888 midsize line array elements and VT4882 arrayable subwoofers, configured under the overhang of the stage house, while VRX932LA-1 compact line array speakers cover the upper lawn area on delay towers. For theater use, the orchestra comes through the VERTEC rig while the actors are mixed through the PD rig. The delay system gets a mix of both signals, and some additional AE Compact boxes are used as monitor and effects speakers.

“The client is very happy with the final product,” Miller continued. “The sound is very even and controlled, the system is extremely versatile, and the speakers just sound great. This is a unique venue and the new JBL speaker system has them perfectly positioned to move to the next level.”

For more information on Acoustic Dimensions, please visit www.acousticdimensions.com.

For more information on Sound Image, please visit www.sound-image.com.

AKG Microphones Rock The Music World In 2009

From California to Japan, artists around the world used AKG to drive live and recorded performances in 2009; delivering uninterrupted sound with a variety of AKG microphones and wireless microphone systems. With rap legends like Kanye West, Jay-Z, and Missy Elliot, country superstars Brooks & Dunn, and acapella rockers Rockapella turning to AKG for all their live performances, AKG was able to demonstrate the sonic integrity it’s known for to the world.

With the WMS 4500 wireless microphone system, Jay-Z performed in a variety of different venues; from small house of blues venues to heavily populated frequency areas for television events seen by millions. Using a handheld C 5900, he was able to keep a full mix without sacrificing any of the clarity necessary for his speedy rap style.

Missy Elliot selected the D 5 handheld microphone for many of the same reasons when she performed live on David Letterman’s Late Show. The laminated Varimotion diaphragm that comes standard on all D 5 microphones gave her the most sensitive transmission available and allowed her to concentrate on her raps without worrying about unanticipated feedback.

“This has been a great year for AKG,” said Alfred Reinprecht, AKG’s Vice President of Marketing and Product Management. “We have worked closely with artists and audio engineers to ensure that our products meet and exceed expectations for everyone who uses them. From artists performing in front of millions of people to local theaters putting on recitals and plays, AKG has been able to deliver every time.”

Another artist to adopt AKG for his international “Glow In The Dark” tour was Kanye West. Starting at the beginning of the year, West used the WMS 4500 wireless system and IVM 4 in-ear monitoring system in 40 cities and six continents around the world. Darcy Khan, audio engineer for West’s tour, selected the WMS 4500 for the clean RF transmission and ease-of-use; saving the presets for each city in separate folders on his computer to open upon arrival.

“This feature was a tremendous time saver on the road as it allows me to easily access the file and have all of the saved settings at my fingertips,” Khan said.

The global endorsement of AKG came in response to a series of groundbreaking introductions that included the DMS 700 Digital Wireless system, the C 414 XLS, and the C 414 XL II. Also introduced in the second half of 2009 was AKG’s Perception 120 USB: a microphone that can be easily used to record audio from the desktop and plugged into the computer.

“AKG re-established itself as the leader in live and studio microphone engineering this year,” Reinprecht continued. “We were used by some of the biggest artists in the business, we introduced some of the best products on the market, and we even joined the METAlliance Pro Partners. With the year coming to an end, we have started to look forward to 2010 as we prepare to carry the momentum from 2009 into the New Year”

Globo TV Takes Second Vista 8 From Libor

Brazil’s leading television network, Rede Globo Television (TV Globo), has commissioned a new Studer Vista 8 live/broadcast console.

The sale was confirmed by the company’s territory distributor, Sao Paulo-based Libor Comercio E Importacao, who has been working with the network since its inception 20 years ago.

Libor’s president, Henry Spong says that following early sales of Studer recorders and CD players there had been no further sales of Studer equipment to the station until relatively recently — after the Vista 8 had been previewed in late 2004. “The following year the network became the first in Brazil to purchase a Vista 8 from us — in time for the FIFA World Cup of 2006.”

It was the success of this first Vista 8 that prompted the latest purchase of a 50-fader desk. “TV Globo’s excellent experience with the original desk was fundamental in achieving this sale,” believes Henry Spong.

The new console takes up residence in a large production complex (known as Projac), in the Jacarepagua area of Rio de Janeiro. Here eight identical studios are used (principally for soaps) along with two large audience participation studios for shows.

It was the digital upgrade of the first of these large ‘auditorium’ studios to full HDTV capabilities that saw the Vista 8 specified as the main audio desk, after simpler solutions had been adopted for the less critical requirements of the ‘soap’ studios.

“Although there was strong competition, and all major brands were evaluated, no other console was able to match the all round performance of the Vista 8,” continued the Libor president. “We were able to close the deal by offering competitive pricing and good after-sales support.”

It is the comprehensive snapshot system and dedicated mute groups that make Vista 8 the perfect multipurpose solution for live performance and live studio broadcasts, combining and extending the powerful on-air features of the Vista 6 with the dynamic automation of the Vista 7. Furthermore, the new control bay design offers more faders in a smaller footprint making it ideal for both fixed install broadcast and remote vehicle applications.

TV Globo have sent personnel to the Studer factory for training to apprise them of the performance, operation and servicing of the Vista 8, and the network (including project engineers, operation personnel and maintenance) is said to be very pleased with the Vista 8’s performance. “In particular they feel very comfortable with the Vistonics™ operating platform and the redundancy philosophy,” says Mr. Spong.

As a result, a subsequent project will see the first of Globo’s large HDTV OB trucks installed with a further Vista 8.

Soundcraft Vi4 Digital Console Provides Freight And Salvage With A Foundation For Musical Success

As a non-profit organization with a mission to foster musical success around Berkeley, California, Freight and Salvage Coffee House has hosted a wide range of musical performances for more than 40 years. When it moved to a new facility at the beginning of the year, it needed a state-of-the-art audio system that had the flexibility to handle anything from rock and roll to soft acoustical shows, which is why the venue opted for the Soundcraft Vi4 digital console.

Located in the heart of Berkeley since 1968, Freight and Salvage had been in the same building since opening its doors. When the decision to move was made at the beginning of the year, it needed to find a building that could provide a large auditorium for concerts, but also contain smaller rooms for its expanding educational program. Freight and Salvage relocated to an old building that was renovated to look like new; it now features a 440-person auditorium and six classrooms for practicing and teaching performers. The installation was completed by Pro Media / UltraSound, with Shalleck Collaborative contributing to the design work.

“When we were looking for a mixing console, we were really looking for something with a huge amount of flexibility, something that could handle a range of different types of music,” says Steve May, Technical Director at Freight and Salvage. “We also needed something that was easy to use, because we have a staff of 12 using the console on any given night. With the Soundcraft Vi4 digital mixing console, we were able to get the flexibility that we needed, with tremendous power and clarity and also with the ease of use that we needed.”

Another reason that May selected the Vi4 was the digital console’s ability to save digital presets, giving the crew the power to have specific settings for specific shows. With the Vi4, each member of May’s staff can have their own settings saved and ready to go at the touch of a button, and each show can be specially designed weeks before and saved to the console.

“A couple of the other competitors’ consoles seemed easy to figure out, but we just had to push so many buttons to find anything,” May continues. “The Vi4 had everything accessible right there, with each setting easily visible above each input strip. It just gave us incredible amounts of control.”

With such an array of different instruments at any given time, control is exactly what Freight and Salvage needed. For example, at the opening show, local singer/songwriter Barbara Hippy was playing with her band that included a piano, a saxophone, a base guitar, drums, percussion, acoustic guitar, and a ukulele, all in different combinations.

“At Hippy’s show, the Vi4 really proved to everyone that it was the best selection,” May says. “On that show and ever since, we couldn’t be happier with the consoles ability to handle even the most complex settings with ease.

For more information on Pro Media/ UltraSound, please visit http://www.promediaultrasound.com/

Daktronics Completes Major Install At Minor League Hockey Arena With JBL AE Series Loudspeakers

Daktronics recently completed an installation at the Allen Event Center in Allen, Texas, using 25 JBL AM4215/95 loudspeakers placed every 30 feet to deliver even sound throughout the bowl seating area. The sound system is powered by Crown CT1200 amplifiers and uses an assortment of Harman products in to reach into the Arena’s bar and lounge area.

One of the largest manufacturers of LED video boards, Daktronics has used JBL loudspeakers for more than 30 years in all different types of installations. For the Allen Event Center, Daktronics was faced with the task of installing a sound system that could be played individually in the bar or lounge area for private parties, but also have the ability to be integrated into the larger system for hockey games and public skating events. Having used JBL loudspeakers such a long period of time, system consultant and installer Doug Dodge was familiar with JBL’s sonic integrity, and he knew that the AM4215/95’s would be the best solution for the application.

“The biggest reasons for choosing the JBL speakers were great sound and affordability,” Dodge said. “They provide excellent performance for an affordable price, and they make the system at the Allen Event Center very loud and intelligible at the same time.”

One of the biggest challenges faced by Daktronics during the installation was the time frame. The system was going up along with all of the other construction that came with building the hockey arena and meant that Daktroniks had to work around the other companies installation schedule, but finish in the same amount of time.

“We had to hang all of the speakers and wire everything on a very short deadline,” continued Dodge. “That was another major reason for choosing JBL: they are very easy to install, and they all went up very quickly.”

In addition to the JBL loudspeakers and Crown amplifiers, the system included the use of AKG microphones. With the array of Harman products in use, Daktronics was able to utilize Harman’s HiQnet System Architect™ to easily plug and play the system.

Sound Image Deploys Crown I-Tech HD and Studer Vista 5SR For Taylor Swift’s North American Tour

Taking advantage of the power of Crown’s I-Tech HD series amplifiers and flexibility of the Studer Vista 5SR console, California-based Sound Image deployed 80 I-Tech HD amplifiers and a Studer Vista 5SR for use on country music star Taylor Swift’s tour throughout North America.

The 2009 tour, which included 52 concerts, sold out within minutes, prompting a second leg of the tour to be added for 2010.  Sound Image’s FOH engineer on the Taylor Swift tour, Russell Fischer, stated, “The goal was to bring Taylor Swift’s brand of country pop music to life, and to get the show’s energy and feeling across to an already excited crowd.” 

According to Fischer, Sound Image chose the Vista 5SR for its audio quality and versatile control surface. “The audio quality is the most obvious advantage over other digital consoles,” stated Fischer. “Being able to do six different things on different channels and input data all at once is a huge advantage when you are mixing live. The main challenge throughout the tour was covering the audience evenly around to 240 degrees, along with keeping track of close to 70 inputs.

“I’ve worked with the Studer Vista 5 before. We had it since the summer and I loved it from the first sound check.  It’s been the most reliable digital console I’ve used and I’ve found it to be a very easy platform overall,” Fischer adds

For Fischer, this was his first experience with Crown’s I-Tech HD amplifiers. “I’ve been using Crown since the DC series. Lately, I’ve been using the original I-Tech amplifiers, but for this tour we went with the HD series. They have been reliable and improved the sonic quality of the speaker system; overall they’ve performed great.

Additionally, Fischer also felt they benefited from being able to deploy Harman HiQnet System Architect™. “In the end we benefited by deciding to go with the I-Tech HD amplifiers because we ended up with better audio and we had more control of the amps using System Architect.”

Radio-Canada Acadie Takes To The Air With Studer Vista 5

In the first use of a Studer Vista 5 console in a CBC/Radio-Canada facility, Radio-Canada Acadie with main studios located in Moncton, New Brunswick recently purchased a Vista 5 for its television studio.  Sold through Solotech Inc., the Vista 5 console features 32 faders in a 42-fader chassis.

When deciding on a console, Radio-Canada Acadie needed one that could operate daily without fail. “The Vista 5 is used seven days a week,” says Maurice Cyr, operations manager for Radio-Canada Acadie. “We have only one studio, one control room and one Vista 5, so the console must be dependable and perform well, day in and day out. If it fails, we can’t go to air since we have no backup or replacement available in our plant. Our operations dictate that we have an audio control board that is trustworthy, and so far the Vista 5 has not let us down.”

Radio-Canada Acadie’s audio technician Roger Thériault along with team members Ghislain Jean; project leader from CBC/Radio-Canada Broadcast Engineering in Montreal and Gilles Bourgeois; maintenance technician and project coordinator in Moncton—researched a variety of audio consoles for the facility. “We chose the Vista 5 because it was the audio console that best met our present and future program needs. This model offers us the features and options we felt were a must for the production of our live daily news programs" Cyr says. " Every audio source and setting we need to do our shows can be programmed and accessed on one surface. We can now do our news programs without having to go live into menus and layers to access the different sources. This allows us to react instantly to sometimes very complex and unpredictable situations” adds Roger Thériault, the main operator of the Vista 5 in Moncton.

The number of available outputs on the Vista 5 was also an important deciding factor for Radio-Canada Acadie, as well as the console’s Vistonics™ operating interface, which provides instant overview as well as instant access to critical controls, thus making operation quick and safe. “The Vista 5 affords us the possibility of doing many ‘live’ remotes during the show with features such as interphone, mix/minuses and a listen function for the live reporters in the field,” says Thériault.  “The Vistonics system makes the board very user-friendly and is much appreciated by everyone and anyone that operates the Vista 5."

“Additionally, the mix/minus feature on the Vista 5 offers us new possibilities with our live remotes.  For example, the host can now communicate off air with the reporter in the field, all this while the item is being aired live” adds Maurice Cyr. 

CBC/Radio-Canada is Canada's national public broadcaster and one of its largest cultural institutions. The Corporation is a leader in reaching Canadians on new platforms and delivers a comprehensive range of radio, television, Internet, and satellite-based services. Deeply rooted in the regions, CBC/Radio-Canada is the only domestic broadcaster to offer diverse regional and cultural perspectives in English, French and eight Aboriginal languages.

Soundcraft Vi6 Making News In Perth

The guys at Channel 7 Perth’s news control room have put their aging Euphonix 2000 mixing console to rest, replacing it with a Soundcraft Vi6 large-format digital live desk.

“We had a thorough look at the market and I have to admit that originally I really wanted a Studer Vista 5 console, but it wasn’t within our budget,” confessed Colin Graham, primary operator of the Vi6. “However in my researching I came across the Soundcraft Vi6 console and realised that it was really a Vista 5 without as much fruit, and the fruit that it was missing wasn’t what I was interested in anyway!.”

Graeme Pennifold, Channel Seven’s Engineering Manager, states that there were other contenders but that they very soon focused on the Studer from an operational view.

”We liked the Vistonics control on the Studer, in fact that’s what really sold us, but we were amazed to find that the Soundcraft Vi6 also has the Vistonic control but in a console that is much more affordable,” he commented.

“The Vistonic interface on the Vi6 is very intuitive,” agreed Colin. “I would describe it as a fourth generation digital console. Digital consoles very quickly got very powerful but you really needed to know what you were doing with them. They never really told you what you were doing with them all that clearly.

“Ease of operation is aided by simple things like use of colour and who was the genius who thought to drill holes in the monitor so that the knobs were linked to what you were looking at?! When you’re working as quickly as you have to in television, you really don’t want to think that much – you need to be able to react. Paging through things is dangerous to say the least. The fact that everything is only one or two levels down at most is really very helpful.”

Graeme and Colin report that since the arrival of the Soundcraft Vi6 into the newsroom their jobs have been made a lot easier. Whilst Colin operates the Vi6 for the news reports Monday through to Friday, a range of freelance operators are in charge at the weekend.

”They are all experienced guys but may only be doing the news once or twice a month so such an intuitive console was a huge bonus,” Colin said.

“We did a staged installation for the Vi6 training of our casuals,” added Graeme. “They only needed two sessions each before they were comfortable with the operation of the console. When they first went on air Colin sat with them to hold their hands but soon found out that he didn’t need to!”

Colin pointed out that the console also sounds good, stating that not all digital consoles in that range do. He describes the sound of the Vi6 as warm with really good dynamics and EQ.

”They’re a little touchy,” he added. “You don’t want to get too brutal with them, but it sounds sweet and we can get a nice strong sound that doesn’t get blown away by the commercial breaks which is often a problem when you’re live to air."

Asian Million Star Uses The AKG DMS 700 To Shine Bright On Hong Kong TV

After five successful years in Taiwan, the singing extravaganza Asian Million Star premiered on Hong Kong with help from the highly versatile, frequency-agile AKG DMS 700 wireless microphone system. The wildly popular television show, which started months before the on-air premier with 5,000 aspiring singers, featured 25 contestants competing over the course of 13 episodes, with a panel of judges selecting the best vocal performers to move on to the finale.

Judges for the show included an array of respected audio and musical professionals ranging from creative composers to studio producers. With some of the most finely tuned ears in the business deciding the fate of each performer, the AKG DMS 700 system matched musical talent with sonic integrity. Not only does the clean digital audio transmission eliminate the distortion and significant noise levels that accompany other analogue systems, but it also offers 155MHz of bandwidth, which provides a robust and versatile operation that’s perfectly suited for a competition like Asian Million Star. Also, the DMS 700 has the ability with 40 pre-programmed frequencies, which allowed it to easily transition between any and every musical style on the show.

“The AKG DMS 700 was specifically engineered for applications like Asian Million Star”, said Thomas Stubics, AKG’s Product Marketing Manager for Recording and Broadcast. “Whether it’s being used for a ballad, an orchestra, or any other type of musical performance, the DMS 700 is perfectly suited with digital transmission that allows any type of performer to sound like a professional every time.”

The move to Hong Kong offered Asian Million Star its first chance to use AKG’s DMS 700 wireless audio system, with Tom Lee Engineering supplying the equipment. After 30-years of experience in the industry, the professional audio and lighting company had confidence in the abilities of the AKG equipment.

“The DMS 700 has an ease-of-use unmatched by any other brand,” continued Stubics. “Even first-time audio performers have the ability to set the right channels and deliver uninterrupted performances, without having to worry about intricate system settings.”

First Studer Vista Off The New UK Production Line

Soundcraft Studer’s production strategy; to converge both brands production in the Potters Bar facility, passed a significant milestone this week. With UK production now in full swing, the first Studer Vista large-format consoles were completed and went through test procedures with flying colours.

Formerly Vista, OnAir 3000 and Router production was done in the Studer Regensdorf facility near Zurich in Switzerland. Speaking from the Potters Bar production floor, Soundcraft Studer President Andy Trott reflected, “Over the past few months our staff here and in Switzerland have worked incredibly hard to transfer the knowledge, logistics and skills to the UK team, and so to see our flagship product come through its rigorous tests so smoothly today is a great testament to the quality of our people on both sites. From planning and procurement, to PCBA, build and test, I have to salute the production team and all the supporting staff for an amazing job well done.”

To accommodate the additional workload the UK plant has doubled its production floor-space and added over 20 staff. Vice President of Operations, Nigel Beaumont added, “The UK factory has gone through a massive transformation over the last few years. Five years ago we invested $7m installing the most advanced PCBA line in Europe. Now we have added hi-tech cell manufacturing based on LEAN methodologies in order to assemble, configure and test our products in Potters Bar. We also handle NPI prototype manufacturing from this facility, the key rule is; prototype and configurable products are handled here and the bulk of our other products are assembled offshore. That means Studer Vista, OnAir and Router products and customer configured Soundcraft Vi Series are finished and shipped from Potters Bar. Most of these products are built to specific customer requirements, so having all this under one roof improves our efficiency and yield considerably and provides our customers with the opportunity to come and inspect progress on their orders.”

The business is also in the process of constructing the largest console demonstration and customer centre in the world. The facility in Potters Bar will also house two large Customer Acceptance Test (CAT) rooms, a large multi-media training suite and three large, interconnected studios in order to showcase live, broadcast and production technologies. Trott explained, “This investment is a commitment to our customers and products. Many of our clients want to check and approve the systems before their installation takes place and we will also be able to offer them a superb environment to train their staff. We also plan to support industry associations, societies and educational establishments by allowing the centre to be used for meetings and conferences.”

The centre will also be host to the largest collection of Soundcraft and Studer mixing and recording exhibits spanning over 40 years. The Soundcraft Studer Heritage Centre will provide visitors a unique journey through both company’s pasts including many of the world’s most famous studio tape recording machines ranging from the famous Abbey Road Studer J37 first used on The Beatles’ Sgt Pepper’s album, the first ever touring Console - the Soundcraft Series 1, right through to the latest and greatest digital technologies from both brands.

Trott Concludes, “Harman’s strategy is to focus on Centres of Excellence and by Christmas we will have moved our Regensdorf team to the beautifully equipped new Console Technology Centre focusing entirely on new product development; this includes R&D, Product Management, Projects, Customer Service and Production Engineering. Potters Bar will continue to focus on Production, Marketing, Engineering, Sales, and Service and supporting functions. We’ve now reached the right balance between our two sites - harnessing the benefits of UK engineering and production excellence in Potters Bar and Swiss design and innovation in Regensdorf. I’m very proud that when most other companies have cut their investment we have increased ours by another $1.5million, that’s got to be good for our customers and the market as a whole.”

Photos:  Vista 8 Team 2: Andy Trott and some of the UK and Regensdorf production staff with the first Vista 8 to come off the Studer production line

           Vista 5 team: First Vista 5 and UK/Swiss production team

Randy Meullier Turns To Soundcraft Vi6 For Alice Cooper “Theatre Of Death” Tour

SSE Audio provides Soundcraft platform for rock legend’s European leg.

POTTERS BAR, United Kingdom — When Alice Cooper embarked on his current UK and European Theatre of Death tour, his long-serving sound engineer Randy Meullier was finally able to bag his first choice digital console — the Soundcraft Vi6™.

And he says he largely has Pete Russell at the SSE Audio Group to thank. Taking over the European sound production duties from Phoenix-based Precise Corporate Staging (PCS), by the time Russell suggested that Meullier try the Soundcraft platform (with the Vistonics™ II interface), the sound man — who has been piloting the legendary rocker’s front-of-house mixes for the past seven years — had already served his baptism on the Vi6 in Norway and Cyprus.

“Earlier in this tour I did a fly-in show at the Skaanevik Festival in Norway and it was a joy to use the Vi6,” he said. “I was delighted when Pete told me he could make one available. In fact as a result of the Vi6 mixing has become fun again. The audio quality is breathtaking and after the first three shows on the board I had more people come to FOH to compliment me on the sound than any other situation I can think of. I feel like I have total control over the system instead of it controlling me.”

Equipped with the latest v3.0 software Randy is using 42 inputs, but he says the success of his mix owes as much to the support of his systems tech David Quigley as to the desk itself. “David and I first worked together in Australia. He’s the best of the best — and would always be my systems guy of choice anywhere. He’s constantly on things, always tweaking the EQ, listening to the system and walking around the room to let me know what is needed. An engineer is only as good as his support staff of systems techs. Anyone who doesn’t think so is fooling themselves.”

The band generally uses a lot of pick-up PA’s on tour in the States — sourcing racks and stacks locally while carrying their own monitors and control. This can bring its own problems, as Pete Russell acknowledges. “This is the fourth tour we have done with Randy, and I know how frustrating it has been for him to get consistency due to the inbuilt quirks of the console he was using prior to this — which won’t handle the anomalies of different systems easily.

“The Vi6 is clean and fairly flat in comparison and he can get a better sound when different systems are put in front of him from show to show.”

The sound engineer agrees. ”I was an analogue engineer who was dragged kicking and screaming into the digital world. But the Vi6 is like an analogue board, and a pleasure to use.

“In Norway the house technician helped me configure the console to my liking from the basic input list I had created from the downloaded offline software.”

The concert was a big success and Randy had the show saved on his memory stick. When he arrived in Cyprus and found another Vi6 waiting for him, all he had to do was plug in his USB and load up his show file.

“After these few dates with the Vi6 you had to drag me kicking and screaming away from it, it sounded so good.”

He says the Alice Cooper band can be particularly difficult to mix. “They play loud and this year they have gone to in-ears. These cause Alice to sing softer but with much better quality — but Alice’s mic isn’t always directly in front of his mouth because of all the action on stage. I could never get the quality of his voice with my old desk whereas I can get it with the EQ on the Vi6 and can push him harder with no trouble to keep him on top of the mix, because audiences want to hear every word he sings.

“I try and do it with minimal FX, generally using just short slap delay and reverb.”

He admits that as a 30-year veteran of the sound board he was starting to feel jaded until being rejuvenated by the Vi6. And what feels particularly good, he says is the EQ. “On the Vi6 it is just so precise. I first noticed this on those shows in Norway and Cyprus — because of all the action on stage Alice’s vocal mic will sometimes get pointed at various loud things on stage so I will tweak the EQ a bit at times; I noticed right away I needed minimal adjustment to do what I needed.”

Of the channel count, 24 of the inputs are dedicated to Jimmy deGrasso’s drums alone. “Myself, Jimmy and his tech Lorne Wheaton have worked hard on the tuning and micing scheme for this drum set.  Lorne is an expert tech who can really tune a set of drums so I use minimal gating and a touch of compression on the kicks and snare — but the excellent dynamics of the Vi6 do not colour the sound in any way.”

Because of the loud stage volume Randy also has successfully used some minor gating on the downstage background vocal mics. The dynamics section allows this better than any other console he has used.

“I now know what I’m going to get every day, and that makes me totally relaxed. It’s just a case of loading last night’s show, renaming it to today and tweaking it a bit … and off we go. The band rarely does sound checks so I have gotten used to some fast first song tweaking and I find I can do it as fast as any analogue console.”

Finally, using the MADI output on the Local Rack the sound crew are also ready to multitrack the shows.

With the established team of Cesare Sabatini and Toby Mamis handling production and tour management duties respectively, and sound engineer Paul Bostic again partnering Randy Meuillier at the stage end (with SSE systems tech Andy Yates assisting Paul), these latest dates have delivered high octane sound to Alice Cooper’s loyal fans throughout Europe.

“It’s vital that a legend like Alice Cooper can get the sound quality he deserves,” Randy concludes. And after his experience piloting SSE’s Vi6 over the ten UK dates, he is determined that when the touring season resumes in Spring, and the entourage heads off around the world, a Vi6 will be at the top of his technical rider.

Soundcraft is a unit of Harman International Industries, Incorporated (www.harman.com).
Harman International designs, manufactures and markets a wide range of audio and infotainment products for the automotive, consumer and professional markets, and maintains a strong presence in the Americas, Europe and Asia, employing more than 11,000 people worldwide.  The Harman International family of brands includes AKG®, Audioaccess®, Becker®, BSS®, Crown®, dbx®, DigiTech®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson®, Revel®, QNX®, Soundcraft® and Studer®.  Harman International’s stock is traded on the
New York Stock Exchange under the symbol “NYSE: HAR.”

###

Pictured are Nick Muellier (Left) and David Quigley.

DigiTech® Announces Free 20-Second Looper Upgrade For The RP500 Multi-Effect Switching System

DigiTech®, a leading manufacturer of guitar, bass, and vocal processors, and a Harman International company (NYSE-HAR), has announced a free Version 2.0 software upgrade to the popular RP500 Multi-Effect Switching System. The upgrade now provides RP500 users with a 20-second looper.

“The free upgrade takes the RP500 to the next level by adding a 20-second looper. You can easily lay down a phrase, loop it, then change presets to a totally different sound and loop again. It’s a great way to create new songs or to perform by building the song right in front of the audience,” said Jason Lamb, Marketing Manager for DigiTech. 

The RP500 features over 125 amps, cabinets, stompboxes and effects, including DigiTech’s famous Whammy, unique Pedalboard Mode that offers switching system on/off control over stompboxes and effects, and USB audio streaming to your PC or Mac.

The free Version 2.0 upgrade will be available for download at www.digitech.com on December 2, 2009.

Producer/Engineer Elie Maman Gets In The Mix With JBL LSR4300 Series Studio Monitors

Elie Maman, one of New York’s fastest-rising producer/engineer/composers, continues his ascent in the music industry and relies on JBL LSR4300 Series studio monitors as part of his winning formula for success. The owner of EMP Productions has composed the theme song for MTV’s television show “Rob & Big,” and has produced tracks for numerous recording artists, including David Rush of Universal Republic Records. In recent months, Rush’s single “You Already Know,” which Maman composed, has appeared on the MTV Movie Awards, MTV’s “Rob Dyrdek’s Fantasy Factory,” and on ESPN’s “Sports Center.” Additionally, Maman’s compositions can be found on the Season 1 DVD of “Fantasy Factory” and MTV’s “How To Dance Like Michael Jackson.”

While working predominately from his home studio, Maman also uses studios in Manhattan in New Jersey. Regardless of where each session takes him, Maman always brings his pair of LSR4326P powered studio monitors with him. “I can’t travel without them,” Maman noted. “Once I got the LSR’s, there was no going back. They’re so clear and it still amazes me how accurate they are.”
The LSR4300 Series incorporates JBL’s unique Room Mode Correction (RMC™) technology that compensates for standing waves in any space and provides users like Maman with a level of room-to-room consistency unavailable with any other studio monitor. “I work out of several different spaces, and they’re not always pristine listening environments,” Maman noted. “But the LSR monitors allow me to quickly and accurately tune to any room, and it literally only takes me 30 seconds. Furthermore, not only do the LSR’s deliver a true, accurate mix, but they also have a very sexy appearance.”

With a promising future on the horizon, Maman will continue to rely on JBL LSR studio monitors for all of his upcoming projects. “I can hear things with the LSR’s that I don’t hear with any other speaker,” he said. “They’re the only studio monitors I have and the only ones I want to work with.”

For more information on Elie Maman and EMP Productions, please visit www.eliemaman.com

Crown Offers Free Online Seminars For Network Design In Audio Projects

Providing system designers and integrators with leading amplifier technology and unmatched technical knowledge and support, Crown International is offering two online seminars focused on network design for audio projects. The free seminars are first-come, first-serve, with registration being limited to 50 participants per seminar. Each will be offered twice to accommodate individual schedules.

Each seminar will be led by Bradford Benn, Director of Application Engineering for Crown. Benn is Crown’s lead network design and development specialist and has worked on projects ranging from NFL stadiums and NASCAR racetracks to NHL arenas.

The first of the two seminars entitled Networking 101 will be a primer on Ethernet Networking.  It will include basic discussion of connectivity, addressing, and hardware options. It is designed to assist with the design of basic systems and provide a vocabulary to build from larger systems. The session will be offered at the following times:

Date: Thursday, December 3, 2009

Time: 2:00 pm, Eastern Standard Time

Session number: 719 316 881

Date: Friday, December 4, 2009

Time: 9:00 am, Eastern Standard Time

Session number: 713 516 242

The second, Deconstructing an Arena, will discuss how one goes through designing a networked control system for an arena studio system. The concepts discussed will apply to all sizes of projects.  The session will be offered at the following times:

Date: Thursday, December 3, 2009

Time: 9:00 am, Eastern Standard Time

Session number: 717 500 457


Date: Friday, December 4, 2009

Time: 2:00 pm, Eastern Standard Time

Session number: 719 014 996

For more information, or to register for any of the above seminars visit http://www.crownaudio.com/tutorials/webinars091203.htm.

These seminars will be conducted through WebEx Training Center. The requirements are an active internet connection, a web browser, and either a computer with audio capability. Exact requirements can be found at http://support.webex.com/support/system-requirements.html.

Crown is a unit of Harman International Industries, Incorporated (www.harman.com <http://www.harman.com/> ).  Harman International designs, manufactures and markets a wide range of audio and infotainment products for the automotive, consumer and professional markets, and maintains a strong presence in the Americas, Europe and Asia, employing more than 11,000 people worldwide. The Harman International family of brands includes AKG®, Audioaccess®, Becker®, BSS®, Crown®, dbx®, DigiTech®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson®, Revel®, QNX®, Soundcraft® and Studer®. Harman International’s stock is traded on the New York Stock Exchange under the symbol “NYSE: HAR.”

Lexicon Begins Shipping Highly Anticipated PCM Native Reverb Plug-In Bundle

After meeting extremely favorable reviews at its AES introduction in October, Lexicon today began shipping the new PCM Native Reverb Plug-In Bundle.  The newest addition to Lexicon’s legendary processing family provides seven Lexicon reverb algorithms that are designed to deliver the highest level of sonic quality and function while offering all the flexibility of native plug-ins.

As the ultimate studio reverb package for creating professional mixes within popular DAWs like Pro Tools, Logic, and Nuendo, the PCM Native Reverb Plug-In Bundle is one of the most highly anticipated introductions from Lexicon yet. It includes unique plug-ins for each reverb including: Vintage Plate, Plate, Hall, Room, Random Hall, Concert Hall, and Chamber, and comes complete with over 950 of the most versatile and finely crafted studio presets.

“We are very excited that the new PCM Native Reverb Plug-In Bundle is now available to our customers,” said Randy Garrett, Marketing Director for Lexicon. “Ever since the introduction at AES, the response has been outstanding and we know that this product will exceed our customers’ expectations once they experience the distinctive smooth, rich reverbs for themselves.”

The user interface is extremely intuitive and displays nine of the most logical parameters for customization, but also provides the ability to transition deeper into the algorithm to edit the full matrix of parameters.  Input and Output Meters allow a user to quickly assess the audio levels going to and from each reverb and the EQ section makes it possible to visually dial in the settings for both the early and late reflections. To add another tool to the user’s arsenal, each plug-in is complemented with three multi-dimensional real time displays that offer additional insight to help shape the sound.

The PCM Native Reverb Plug-In Bundle is ideal for recording and post-production environments where unsurpassed quality is required. It is a fully functional cross-platform plug-in that is compatible with Windows XP, Vista, and 7 along with MAC OSX 10.4, 10.5, 10.6, Power PC and Intel based. The Bundle is Native only, and requires iLok authorization. It is now available from authorized Lexicon dealers with a suggested retail price of US $1899.

The Lexicon PCM Native Reverb Plug-In Bundle feature set includes:
• Seven legendary Lexicon reverb plug-ins
• Over 950 brilliantly crafted studio presets
• Multi-platform compatibility (Windows XP, Vista, and 7; Mac OS X 10.4, 10.5, 10.6, PowerPC and Intel)
• Formats that work seamlessly in any VST, Audio Unit, or RTAS compatible DAW
• Graphical real-time display illustrating the frequency stages of each reverb
• Visual EQ section for easy adjustment of both early and late reflections
• Presets can be stored in a DAW independent format and easily transferred to a different DAW
• Full parameter control and automation
• Input and output meters for quick assessment of audio levels
• iLok authorized

Lexicon is a unit of Harman International Industries, Incorporated (www.harman.com). Harman International designs, manufactures and markets a wide range of audio and infotainment products for the automotive, consumer and professional markets, and maintains a strong presence in the Americas, Europe and Asia, employing more than 11,000 people worldwide. The Harman International family of brands includes AKG®, Audioaccess®, Becker®, BSS®, Crown®, dbx®, DigiTech®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson®, Revel®, QNX®, Soundcraft® and Studer®. Harman International’s stock is traded on the New York Stock Exchange under the symbol “NYSE: HAR.”

Harman Music Group Promotes Craig Paller To Vice President of Worldwide Sales

The Harman Music Group today announced the promotion of Craig Paller from Vice President, Domestic Sales, to group-wide Vice President, Worldwide Sales and responsible for strategic planning and sales initiatives at the brand, market, and dealer level for BSS Audio, dbx Professional, DigiTech, and Lexicon Professional. Today’s announcement was made by Rob Urry, President of the Harman Music Group.

“Craig Paller is an outstanding sales executive with a proven understanding of the markets Harman Music Group serves and deep empathy for the needs of our dealers and customers,” Urry said today. “In this new role his experience, enthusiasm, and leadership skills will benefit all of our brands in growing and strengthening in each of their specific markets.

Paller joined Harman Music Group in November 2005 as Vice President of Worldwide Sales for BSS Audio & dbx professional. In 2007 his responsibilities were expanded to include sales management for Lexicon Professional. In this role he successfully managed the US sales team for these brands and successfully met commercial targets.

Prior to joining Harman Music Group, Paller was the Director of U.S. Sales for Shure and managed all aspects of sales and distribution including policies, forecasting, pricing, dealer programs, as well as promotions and sales goals. Paller began his career at Electro-Voice, Inc, were he held several positions including National Sales Manager and overseeing sales for their U.S. MI Market.

Commenting on his new position, Craig Paller stated, “I’m excited about the opportunity to lead our worldwide sales team and continue to build each brand’s presence in established as well as emerging markets. I want our customers and dealers to know we have a great team in place that will continue to develop strong relationships and help them meet their goals by providing the highest quality products that reflect the heritage and quality of our brands.”

Craig Paller holds a bachelors degree in Marketing from Millikin University. In addition he also holds Six Sigma Green Belt certification.

Harman International Industries, Incorporated (www.harman.com), designs, manufactures and markets a wide range of audio and infotainment products for the automotive, consumer and professional markets. Harman International maintains a strong presence in the Americas, Europe and Asia, and employs more than 11,000 people worldwide. The Harman International family of brands includes AKG®, Audioaccess®, Becker®, BSS®, Crown®, dbx®, DigiTech®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson®, Revel®, QNX®, Soundcraft® and Studer®. Harman International’s stock is traded on the New York Stock Exchange under the symbol “NYSE: HAR.”