Archive for May 28th, 2013

GUITAR CENTER OPENS NEW STORE IN SOUTHINGTON, CT

— 247th Guitar Center location features on-site lessons and repair services, along with
GC’s vast inventory selection —

Westlake Village, CA (May 23, 2013) – On the evening of Thursday, May 16, 2013, Guitar Center held the grand opening of its new location in Southington, Connecticut, located at 839 Queen St. Southington, CT 06489. The Southington store (Guitar Center’s 247th retail location) is part of a new wave of Guitar Center retail stores that feature lesson spaces, which allows the brand to offer additional music lessons, special programs and expanded opportunities for local musicians.

Southington Store Manager Mike D’Amore stated, “Playing music is not just a hobby, it’s my passion and likewise working at Guitar Center is not just my job, but a truly rewarding career where I get the chance to help my friends, neighbors and colleagues make music every day. Managing the new Guitar Center Southington is a true homecoming for me, and I’m so excited to be at a store that has the capabilities to offer musicians the chance to learn and hone their craft at the brand-new, in-house Guitar Center Studios.” D’Amore is GC certified in guitars and has been with the company since 2003.

Guitar Center Southington: What Musicians Will Find In-Store

Guitar Center Studios – Deeply vested in expanding and enhancing the Southington music scene, Guitar Center Southington also brings Guitar Center Studios to the new location. The fully-equipped, in-house lesson space is giving Southington residents of all ages and skill levels access to affordable music lessons. Sourcing locally trained store employees as certified instructors, courses will be offered on guitar, bass, keys and drums, as well as vocals and recording techniques using Pro Tools and Logic Pro and GarageBand.
Vast Product Selection and Low Prices – Guitar Center Southington brings an unprecedented selection of products to Southington, all backed by Guitar Center’s guarantee and available at attractive prices. The store features the latest in guitars, amplifiers, percussion instruments and keyboards, as well as live sound, DJ, lighting and recording equipment.
Guitar Center Garage – Guitar Center Southington includes GC Garage, the store’s on-site guitar repair service, offering a host of services, including electronics repair, hardware customization, fretwork, structural repairs, cosmetic enhancements, setup and maintenances.

Guitar Center Southington: Additional In-Store Programs and Opportunities Include:

Guitar Center’s “Endless Aisle” – Southington customers can now shop from Guitar Center’s new multi-channel “endless aisle,” which extends the in-store inventory to over $400 million in new and used products from across the nation. Shoppers will be able to purchase in-store, online and via phone, with the option to have products shipped to their home or to the store for convenient pick up.
At: Guitar Center Programs – Throughout the calendar year, Guitar Center Southington will host an array of free events, such as artist workshops, lessons, product launches and performances, as a part of the company’s ongoing commitment to educating and assisting unsigned artists. These programs aim to provide musicians with the opportunities and exposure essential to achieving their music goals.
Recording Made Easy – Available at all Guitar Center locations, the Recording Made Easy program is a four-week, user-friendly series of weekly classes occurring Saturdays from 10:00 to 11:00 a.m.

In addition to special programs at the new Southington store, Guitar Center offers year-round programs designed to spearhead creativity and highlight promising undiscovered talent. Southington residents will now be able to participate in these ongoing events from their hometown. Programs have included Your Next Record, Guitar Center On-Stage, Guitar Center Singer-Songwriter, Guitar Center’s Battle of the Blues and Guitar Center’s Drum-Off.

Guitar Center Southington Store and Studio Hours

Mon-Thurs: 11 AM-8 PM
Fri: 10 AM-8 PM
Sat: 10 AM-7 PM
Sun: 12 PM-6 PM

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134th AES Convention Draws Int’l Pro Audio Community To Rome

High Level Dialogues On Loudness, Digital Cinema & Spatial Audio

ROME: “Our 134th convention exceeded expectations in every way,” reports AES executive director Bob Moses. “Our 4 day program of over 150 workshops, tutorials and round table discussions on digital cinema, loudness, spatial audio and other timely topics, packed our presentation rooms. In addition to a solid pro industry turnout, we attracted many enthusiastic students whose quest for information and mentors was palpable. Our sponsors were uniformly pleased with the new customers in attendance throughout the Convention. I feel confident that we are on a good path in Europe and look forward to expanding this new AES model in future years,” he adds.

The 134th AES Convention was held May 4 -7, 2013 at Rome’s Fontana di Trevi Conference Centre. Under the guidance of Convention Chair, Umberto Zangheri, the Convention program presented attendees with the opportunity to discuss the issues that impact the vitality of the pro audio industry.

“This Convention provided a unique environment for deliberating hot issues, and incubating future innovation and growth in the pro audio industry,” Moses states. “Many events were educational in nature, bringing professionals up to speed on important topics. Many others crystallized critical technical milestones in rapidly evolving fields such as Digital Cinema. One of our missions is to take all this amazing mental power in our industry and turn it into new standards and best practices. The work in the Digital Cinema community is a prime example of this synergy. They’re not just talking about the future; they’re making it happen in our meeting rooms. It’s very important work!” he adds.

Brian McCarty, chair of the AES Technical Committee of Sound For Digital Cinema and Television reports, “the standing-room only attendance for virtually all our Sound for Pictures Track events was augmented by the fact that these meetings were extremely productive in terms of producing demonstrable findings to support our Standards Committee activities.”

Following through on his promise to serve businesses in new ways, Moses says the decision not to have an exhibition floor was deliberate. “I wanted to test a model based on sponsorship,” he said, “in contrast to a traditional exhibition. This event and venue was a good opportunity for such a test. If you look at what our sponsors did – training, product placement, and so on, you can see some very interesting and creative ways for AES to serve them.

“I’m very grateful to these companies for supporting us and coming out to play,” Moses adds. “I heard many success stories from them, and I’m looking forward to stepping our sponsor program up another level in 2014.”

Commenting on her reaction to the Convention, Gioia Molinari, Head of Marketing for Gold Sponsor, RCF remarked, “The emphasis on serious industry issues and meaningful technical dialogues distinguished this event from the new product introduction focus of many large scale conventions. The AES European gathering is sized and designed to establish critical new business relationships and, to help us assess where the industry is headed technically. We were extremely pleased with the quality of the attendees and the genuine enthusiasm expressed by our co-sponsors. This was one of the most productive and stimulating Conventions we have participated in.”

“AES Conventions are unsurpassed environments for student interaction,” said Stephen Webber, Gold Sponsor, Berklee College of Music’s Valencia Campus Director for Technology Innovation. “These are the kinds of events, which inspire dialogues that spark creative breakthroughs. The students we engaged with were bright, inquisitive and, grateful for the opportunity to meet with both their international peers and the industry professionals who are pioneering the changes which are moving our industry forward.”

“The AES Rome Convention technical program focus appealed to us as a manufacturer,” said CharterOak President Michael Deming. “The format successfully allowed us to present our products in a focused way in two technical training sessions ‘Intelligent Compression In the Analog Domain’ and ‘Wide Bandwidth Equalization in the Analog Domain.’ Our presentation room was filled with industry pioneers, working professionals and wide-eyed students, creating an environment for training and technical discussions, that doesn’t happen on a crowded exhibits floor,” Deming adds.

AES President, Frank Wells concludes, “In the marketplace of ideas, the 134th Convention proved that the AES remains professional audio’s prime source for the fundamental information, leading edge technology and technique, standards and practices-AES convention attendees have the information available to allow them lead the curve while others follow.”

###

Photos
1. Keynote crowd at 134th AES Convention in Rome
2. Members of the 134th AES Convention team in Rome
3. 134th AES Convention co-sponsor, CharterOak, President, Michael Deming during a presentation in Rome.

The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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Jünger Audio Unveils the V*AP Voice Processor To Asian Broadcasters

Dynamics specialist Jünger Audio will be showing its new V*AP two channel voice processor at Broadcast Asia 2013 (Booth 5E6-01). This will give broadcasters in the region their first opportunity to view a product that is specifically designed to make life easier for engineers working in radio stations and TV production voice-over studios.

V*AP, the latest addition to Jünger Audio’s award-winning *AP family of products, draws on the company’s extensive experience with previous Voice Processing devices such as its v-series, but adds new tools and algorithms to create a new, easier and more efficient approach to voice processing with no compromise in sound quality.

V*AP’s main task is to offer perfect control of microphone recordings. Jünger Audio has also included processing such as HP/LP filtering, dynamic section, full parametric EQ and de-essing. All of the V*AP functions can be easily set up by the audio engineer, making it hassle free for any journalist or reporter to use it. Jünger Audio has also provided a dedicated leveler combined with a voice over circuit to help auto-mix voice programs into loudness-based broadcasting on the fly. Using the optional SDI I/O card automated voice over for embedded audio becomes an attractive feature of the V*AP.

Available as either an insert into a mixing desk or as a stand-alone unit, V*AP offers interfaces that allow integration in existing environments via an AES insert. The unit can also be used with an optional analogue board that adds two high quality mic-preamps.

Another key feature of V*AP is the inclusion of Spectral Signature™, Jünger Audio’s automatic spectral sound management algorithm that dynamically controls spectral balance to create consistent voice recordings meeting a dedicated station sound. Spectral Signature™ can automatically analyze the recording of the voice to create a sound fingerprints that become the reference the algorithm matches to on all subsequent live recordings.

At Broadcast Asia 2013, Jünger Audio will also show its ground-breaking M*AP audio loudness processor, which combines an audio monitor controller and a loudness measurement device in one unit, thus providing comprehensive quality control and loudness monitoring for anyone working in a production or broadcast environment.

Designed for quality checking surround (5.1) and/or stereo programs, M*AP can be used for live monitoring and also to ensure compliance with today’s standards and regulations (ITU 1770-3, ATSC A/85 or EBU R128).

The unit comes with alarm signals that alert the operator when pre-set loudness thresholds are exceeded, and these signals can be delivered by simple GPOs and/or SNMP traps, which carry actual loudness values. Loudness measurements can be performed over a long run or over a fraction of a program, or both. These measurements can be triggered by automation systems via GPIs or via the network – or even manually by buttons of the X*AP remote panel.

Alongside loudness measurements, M*AP also offers functionality for acoustical QA. It has eight speaker outputs that allow for A/B checking of stereo compatibility of a surround downmix through alternative speakers, as well as via L/R front speakers.

Peter Pörs, Managing Director of Jünger Audio, says: “By incorporating 3G, HD and SD auto detection, M*AP gives users the option of dealing with all 16 channels of SDI embedded audio at the same time. This means that you can listen to one program while permanently logging the loudness of two (5.1 +2 mode) or four (4×2 mode) programs. It is also possible to send further embedded programs to M*AP’s AES outputs to feed a third party instrument for analyzing and/or display.”

For no extra cost, the M*AP’s SDI board acts as an embedder as well and comes with video delay to compensate for any kind of audio delay. This feature is ideal for those looking to maintain lip sync in QA suites or control rooms. M*AP also features a built-in Dolby® Metadata generator and an optional Dolby® decoder that allows users to decode Dolby-E, Dolby-D (AC-3) and Dolby Digital plus (E-AC-3).

Jünger Audio will complete its Broadcast Asia line-up with the Award-winning T*AP TV Audio Processor and Loudness Logger, a powerful tool that offers customers of all Jünger Audio levelling processors an easy way to monitor the development of the loudness over time. Using this new software, broadcasters can monitor in real time or by analyzing previously stored loudness log files. This innovation is critical as all broadcasters now need to show precisely how their audio levels are performing in order to comply with new legislation on Loudness.

If you would like more information about these products please visit Jünger Audio at Broadcast Asia 2013 – Booth 5E6-01 – for a demo.

-ends-

About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.jungeraudio.com

Prism Sound Ships Lyra – A New Audio Interface For The Studio Producer, Musician and DJ Market

The good things in life are always worth waiting for and after months of anticipation internationally renowned British manufacturer Prism Sound has finally shipped the first Lyra audio interfaces to its worldwide dealer network.

“We were hoping to ship Lyra earlier in the year but due to some manufacturing issues this was delayed until now,” says Prism Sound’s Sales and Marketing director Graham Boswell. “Testing Lyra on all of the software and hardware platforms took longer than anticipated, but now we have commenced deliveries I am confident that this new family of audio interfaces will delight all audio content producers including musicians, composers, project studio owners, DJs and re-mixers.”

Lyra, which made its debut at the 2012 AES Convention in San Francisco, brings to an even wider audience Prism Sound’s high performance audio converter technology. This technology is used in the world’s leading recording facilities by recording artists and for blockbuster movie soundtracks such as Harry Potter, Lord of the Rings and the Hobbit. Based on the award-winning and critically acclaimed Orpheus interface, Lyra allows music recording professionals to access the power and sophistication of the Orpheus audio path and clock circuitry, but in a smaller package and at a much more affordable price point.

Lyra connects seamlessly with both Macs and PCs via a simple USB interface, making it ideal for recording professionals who don’t need eight channels of analogue I/O.

Prism Sound plans to launch a number of different variants of Lyra and has started the ball rolling with Lyra 1 and Lyra 2. Both incorporate new ARM Cortex processor design offering class-compliant USB interfacing, plus DSP and a low latency ‘console-quality’ digital mixer for foldback monitoring. Both products also have optical SPDIF capability and Lyra 2 also supports ADAT.

Lyra 1, which retails in the UK at £1,349 plus VAT, will be of particular interest to the musician and project studio market. This unit offers two analogue input channels – one for instrument/line and one for mic/line – plus two DA output channels and optical-only digital I/O. With Lyra 1, musicians can connect a guitar and a microphone through the input channels, plug into their software mixer via a simple USB connection and start laying down basic tracks in a matter of minutes.

Lyra 2, which retails in the UK at £1,849 plus VAT, takes the concept a little further by offering two AD input channels with switchable microphone, instrument or line input modes and four DA output channels. Both optical-only digital I/O and copper S/PDIF are available on this version of Lyra, which also offers wordclock In/Out enabling synchronization with other digital devices.

Both products are ergonomically designed to look as good as they sound. The front panel has a master volume control assignable to selected output channels, while the unit’s small size – just 11 inches wide – makes it very easy to transport for musicians, producers and DJs on the road. For studio use, Prism Sound can supply dedicated rack mounts as an extra.

“We know there is a market for Lyra because our customers have been demanding this product ever since we launched Orpheus,” Graham Boswell adds. “However, we are very protective of our reputation for delivering the highest possible audio quality so we were not going to bring any product to market until we were sure that it could live up to our exacting specifications. Lyra does just that, and we are very proud to introduce it.”

Lyra is fully supported by Prism Sound’s acclaimed technical and after-sales service staff.

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About Prism Sound
Founded in 1987, Prism Sound manufacture high-quality professional digital audio equipment for the International broadcast, film, music production, manufacturing and telecommunications sectors. The company’s product range includes the Prism ADA-8XR precision 8-channel converter unit, which is regularly used for music and film soundtrack projects by clients such as EMI Abbey Road, BBC, Sony, Lucasfilm and Walt Disney. Prism Sound also manufactures a range of audio test and measurement products, including the de facto standard DSA-1 handheld digital audio generator/analyser and the dScope Series III audio analyser system.

For more information: www.prismsound.com

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