The Platinum Engineers and Platinum Producers Panels at the 135th Audio Engineering Society Convention Offer Conversations with the Leading Lights Behind the Boards

— Hosted by SonicScoop, these panels brings together engineers Chris Coady, Patrick Dillett, Tom Elmhirst and Manny Marroquin; and producers Jeff Jones, ROBOPOP and Dave Toser —

New York, NY, October 11, 2013 — The Platinum Engineers Panel and Platinum Producers Panel have long been staples of AES Convention special event programs and will continue to be a huge draw at this year’s 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City).

This year’s Platinum Engineers Panel, which takes places on Friday, October 18, 2:30 pm to 4:30 pm (Room 1E15/16), will be moderated by Justin Colletti of leading online pro audio publication SonicScoop. The panel will feature four of the industry’s leading engineers and mixers, who will examine their own works and offer insights into how great records are created. The lineup is scheduled to include:

Chris Coady (The Yeah Yeahs Yeahs, TV on the Radio, Grizzly Bear, Blonde Redhead, Beach House, Delorean, Gang Gang Dance, Zola Jesus, and …And You Will Know Us By the Trail of the Dead)
Patrick Dillett (David Byrne and St. Vincent, Julia Stone, They Might Be Giants, Fatboy Slim, Bebel Gilberto, Plácido Domingo, The B-52s, Danny Elfman, Santana, Nile Rodgers, KRS-One, Mariah Carey, Mary J. Blige, and Notorious B.I.G.)
Tom Elmhirst (Adele, Amy Winehouse, Lily Allen, The Black Keys, Dido, Mark Ronson, Cee Lo Green, Lana Del Ray, The Civil Wars, Jónsi, Michael Bublé, Charlotte Gainsbourg and Quincy Jones)
Manny Marroquin (Bruno Mars, Kanye West, John Mayer, Shakira, Maroon 5, Rihanna, Pink, Miley Cyrus, Alicia Keys, Justin Bieber, The Rolling Stones and John Legend)

The Platinum Producers Panel will be moderated by SonicScoop’s Founder/Editor David Weiss and will take place Saturday, October 19, 11:30 am to 1:30 pm (Room 1E15/16). The panelists’ collective experience spans decades and has produced hit singles and albums in rock, R&B, hip-hop, pop, jazz, and beyond. From their application of classic techniques to late-breaking revelations, this trio of hit makers will provide inside information on tracking, mixing, mastering, songwriting and getting the very best out of artists in the studio. Scheduled to participate are the following:

Jeff Jones (Eric Clapton, Wynton Marsalis, Norah Jones)
ROBOPOP (Gym Class Heroes, Maroon 5, Lana Del Ray)
Dave Tozer (John Legend, Kanye West, Justin Timberlake)

The Platinum Engineers Panel and Platinum Producers Panel create reference points at each successive AES Convention that provide the industry with a year-to-year transparent look inside the complex process of music production. “It’s a kind of living history that takes us inside not only the studio but also the artists’ minds, as they collaborate with those who are the interlocutors between art and technology,” observes Bob Moses, Executive Director of the Audio Engineering Society. “These are always great panels.”

For more information on the Platinum Engineers Panel, please visit http://www.aes.org/events/135/specialevents/?ID=3689. For more information on the Platinum Producers panel, please visit http://www.aes.org/events/135/specialevents/?ID=3704. For further information on the 135th AES International Convention, and to register for your free Exhibits-Plus badge or the premium All-Access badge, please visit http://www.aes.org/events/135/.

Opening Keynote of the 135th Audio Engineering Society Convention to Focus on the Science of Hearing

— Josh McDermott, Department of Brain and Cognitive Sciences, MIT, to present “Understanding Audition via Sound Synthesis” —

New York, NY, October 10, 2013 — The opening ceremonies of the 135th Audio Engineering Society Convention (Thursday, October 17, 1:00 pm to 2:00 pm, in Room 1E15/16 at the Javits Center in New York City) will feature a keynote address by Josh McDermott, Department of Brain and Cognitive Sciences, MIT. The presentation will be titled “Understanding Audition via Sound Synthesis.”

Josh McDermott is a perceptual scientist studying sound, hearing and music. His research addresses human and machine audition using tools from experimental psychology, engineering, and neuroscience. He is particularly interested in using the gap between human and machine competence to both better understand biological hearing and design better algorithms for analyzing sound. McDermott obtained a BA in Brain and Cognitive Science from Harvard, an MPhil in Computational Neuroscience from University College London, a PhD in Brain and Cognitive Science from MIT, and postdoctoral training in psychoacoustics at the University of Minnesota and in Computational Neuroscience at NYU. He is the recipient of a Marshall Scholarship, a National Defense Science and Engineering fellowship, and a James S. McDonnell Foundation Scholar Award. He is currently an Assistant Professor in the Department of Brain and Cognitive Sciences at MIT.

The opening ceremonies will also feature the presentation of awards and remarks from Bob Moses, AES Executive Director, Frank Wells, AES President, and Jim Anderson, Chair of the 135th AES Convention.

“We are very much looking forward to this year’s convention, and the opening ceremonies will be a fitting kickoff to the biggest audio event of the year,” stated Anderson. “Josh McDermott is an expert on the science of human hearing; his research has far-reaching implications for other researchers, manufacturers and technological innovators, and it will serve the convention well to place the weekend’s proceedings in this context.”

For further information on the 135th AES International Convention, and to register for your free Exhibits-Plus badge or the premium All-Access badge, please visit http://www.aes.org/events/135/.

RTW’s TM3 TouchMonitor is a Scream for ScareHouse

Sound Designer Glenn Ricci Trusts Audio Meter to Check Loudness Levels For Popular Haunted House’s Sound Effects

PITTSBURGH, PENNSYLVANIA, OCTOBER 15, 2013 – As Glenn Ricci, the sound effects designer for ScareHouse, named by the Travel Channel as one of the top five haunts in the country, will tell you, sound is just as important as the visual element when it comes creating a convincingly eerie, skin-crawling atmosphere. Helping him raise the hackles of ScareHouse attendees is the TM3 TouchMonitor from RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control.

Located in a supposedly haunted former Elk’s Club lodge in Pittsburgh, ScareHouse treats visitors to Hollywood-quality sets, characters and special effects that lend a high degree of realism (and terror). Its primary attractions include an entire haunted town, a demented anti-Santa, an alternate, zombified replica of Pittsburgh and a very nefarious basement. Human actors portray ghosts, zombies, ghouls and other evil night dwellers, sometimes grabbing at visitors for an especially authentic fright. The scares just wouldn’t be the same, however, without foreboding music, evil-sounding cackles and similar soundscapes setting the mood. Because of the importance these sound effects play, Ricci must ensure that the soundscapes he creates are smooth and the audio is on the level.

“I draw from a lot of different elements when I’m creating something for the show, so it’s important to even out the loudness levels for each source to make it sound cohesive,” says Ricci. “I might record or mix something using my own compositions, stuff from different sound libraries or even canned music, so I want to deliver a very smooth end product without uneven loudness in the final mix. I don’t want to worry about someone hitting play and not hearing the sound because it’s not as loud as the last thing they played. RTW’s TM3 really gives me the peace of mind of knowing everything is crisp, clear and even.”

Controlled using a touch-sensitive display, the TM3 features a 4.3-inch touchscreen and a stylish exterior allowing for horizontal and vertical placement. It includes a large number of graphical and numerical instruments showing single-channel along with summing-loudness bargraphs, PPM, true peak, SPL, loudness range (LRA), dialnorm and correlation. It handles analog or digital stereo signals and features a user interface allowing the selection of up to 10 presets quickly and simply with the swipe of a finger.

“I was pretty amazed with the pre-set capabilities,” says Ricci. “I like that I can program the device to customize pre-sets for me. It makes it more intuitive—you can just go and don’t have to think about it. You just spend a little bit of time setting it up based on the instruments that you plan to work with, and don’t have to think about it after that. It’s good to get different perspectives to just go between a couple of pre-sets.”

The TM3 also offers Ricci a way to ensure consistent loudness across the various software programs he uses. “What I like about having it here is that I never have to worry about what software program I’m using. I use a lot of software programs, such as Logic Pro and Abelton Live for some composition, and they all have different meters in them, so having one consistent meter that lives outside of it all is really helpful. It means I don’t have to check of the meters from a separate plug-in, which saves me time.”

“We love that RTW’s TM3 meter has not only helped improve Glenn’s workflow but that it being used to smooth the sound for such an interesting project,” says Christopher Spahr, U.S. Director of Sales and Operations, RTW. “His work for ScareHouse is a great example of how the TM3, along with the entire line of TouchMonitors, can be used outside of a traditional broadcast setting, lending a hand to sound engineers working on their mixes in post-production. It’s really a win-win for everyone involved.”

About RTW
For more than 45 years, Cologne-based RTW has accompanied the steady technological progress in the professional audio industry with innovative instruments and technologies for visual audio monitoring in broadcast, production, post production and quality control. Its state-of-the-art audio and loudness metering systems have an excellent reputation throughout the world. With groundbreaking products such as the Surround Sound Analyzer, the company has been a key vendor of professional broadcast and audio metering equipment for decades.

RTW’s range of products currently include the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the TM7 and TM9 units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.

As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by RTW, showing the company’s dedication to supporting its customers and dealer networks in the U.S. The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers.

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.

Special Series of FX Tutorials and Workshops Will Kick-Off Each Day of the 135th Audio Engineering Society Convention

— Professor Alex U. Case will lead a tutorial explaining technical foundations and demonstrating creative strategies for an effect family (compression, equalization, distortion and reverb), followed by a workshop panel offering added insight from the designers of some of the most important hardware and software available for the effect. Downbeat is 9:00 a.m., each morning —

New York, NY, October 10, 2013 — At the 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City), Alex U. Case, the well-known Associate Professor of Sound Recording Technology at the University of Massachusetts Lowell, will kick off four straight days of tutorials demonstrating audio processing technologies and techniques. Each day’s sessions will then continue with other presenters’ seminars.

Prof. Case, an active member of the Audio Engineering Society and a Fellow of the Acoustical Society of America with degrees in Mechanical Engineering, Music, and Acoustics, is an engineer, educator and author who speaks frequently on audio and acoustics across the United States and worldwide. At this year’s AES Show, he’s overseeing a jam-packed series of seminars that cover key issues in audio, starting at 9 a.m. each morning with tutorials on specific subjects – Compression, Equalization, Distortion and Reverb – followed by intensive workshops on the same topics, intended to reinforce that new knowledge in a highly practical manner.

Case, who has been a major draw in other types of presentations at previous AES Shows, is packaging his vast knowledge and educational skill in an immersive presentation format that will let attendees leave with a new sense of understanding and confidence in their abilities. “I chose topics that I thought I would have been most interested in early in my career,” explains Case, who says the content of the tutorials are based largely on chapters of his book Sound FX. “But we wanted to take it a step further, so I added the workshops to the tutorials to create a more complete experience.”

Alex U. Case-led Tutorial sessions include:
Seminars:
Compression: http://www.aes.org/events/135/tutorials/?ID=3651
Equalization: http://www.aes.org/events/135/tutorials/?ID=3673
Distortion: http://www.aes.org/events/135/tutorials/?ID=3703
Reverb: http://www.aes.org/events/135/tutorials/?ID=3723

Workshops:
Compression: http://www.aes.org/events/135/workshops/?ID=3652
Equalization: http://www.aes.org/events/135/workshops/?ID=3674
Distortion: http://www.aes.org/events/135/workshops/?ID=3702
Reverb: http://www.aes.org/events/135/workshops/?ID=3722

For more information on these and the entire tutorial schedule, please visit http://www.aes.org/events/135/tutorials/. For further information on the 135th AES International Convention, and to register for your free Exhibits-Plus badge or the premium All-Access badge, please visit http://www.aes.org/events/135/.

Photo Caption: Professor Alex U. Case

Audio-Technica to Hold “Ask Me Anything” Sessions at 135th AES Convention

— Featuring industry insiders and friends of A-T, these AMA sessions are set to be informative and revelatory for an audience of in-person AES convention attendees as well as a worldwide online audience —

STOW, OH, October 10, 2013 — Audio-Technica, a leading innovator in transducer technology for over 50 years, announces that, for the first time, it will be hosting several “Ask Me Anything” (AMA) question-and-answer sessions at its exhibition booth (2723) at the 135th AES Convention in New York, NY. Sessions are scheduled for two days of the convention: Friday, October 18, and Saturday, October 19. The session schedule is listed below, and additional details are available at the Audio-Technica booth or www.audio-technica.com/aes2013. (Note: this schedule is subject to change; updates will be made on this link).

Friday, October 18, 2013 (all times EDT):
1:00-1:30 — Joel Singer, GRAMMY® Award-winning engineer/mixer, co-founder and chief engineer of Music Mix Mobile.
2:00-2:30 — Jackie Green, VP R&D/Engineering at Audio-Technica.
3:00-3:30 — Frank Filipetti, GRAMMY® Award-winning music producer, engineer and mixer.
4:00-4:30 — Richie Castellano, musician and YouTube sensation.

Saturday, October 19, 2013 (all times EDT):
1:00-1:30 — Richard Chycki, mixer, engineer and producer.
2:00-2:30 — Carl Tatz, TEC Award-nominated recording studio designer.
3:00-3:30 — Frank Wells, President of AES.
4:00-4:30 — Jimmy Douglass, GRAMMY® Award-winning recording engineer/record producer.

“Ask Me Anything” questions are fed to the presenters through a moderator during a 30-minute Q&A session. Questions can be submitted by individuals present at AES booth 2723; online at www.livestream.com (free registration); and by Twitter #ATliveAES.

In addition, individuals may watch during and after the event at www.audio-technica.com/aes2013 (also accessible from A-T’s website or Facebook page).

“We are very much looking forward to the AMA sessions at the AES Convention,” stated Gary Boss, Audio-Technica Marketing Director. “This will be a wonderful opportunity to hear comments on a wide variety of topics from some of the leaders in their fields in an informal, no-holds-barred setting. And with the online presence, people who could not make the convention in person can get a taste of what the show has to offer and interact with these experts. We hope that this series of events will truly enhance the AES Convention experience for all who participate, and be the beginning a great tradition moving forward.”

Full details are available at www.audio-technica.com/aes2013.

Antelope Audio Orion32 Interface Receives Technical Achievement Nomination for 29th Annual TEC Awards

Orion32 Captures Nomination in “Computer Audio Hardware” Category

Santa Monica, CA, October 14, 2013Antelope Audio announced that its groundbreaking new Orion32 interface has been nominated for the 29th Annual Technical Excellence & Creativity (TEC) Awards in the ‘Computer Audio Hardware” category. The TEC Awards is the pro audio industry’s most prestigious awards show honoring outstanding achievement in product innovation and sound production. The 29th Annual TEC Awards will be presented during the 2014 NAMM Show in Anaheim, CA.

Nominations are based on product entries made by a select panel of industry professionals in numerous audio categories. Products must be released and in commercial use during the period of September 1, 2012 to August 31, 2013 to be eligible for nomination.

Igor Levin, president and founder of Antelope Audio, commented: “We are pleased the Orion32 has been nominated for Outstanding Technical Acheivement by the TEC Foundation. The Orion32 is a best-in-class product that sets new standards in recording and playback in recording and live sound environments, delivering unmatched audio quality and value in a single 1U rackspace unit.”

Orion32: World’s First 32 Channel AD/DA and Master Clock in a 1U Rack

The Antelope Audio Orion32, which is priced at just $2,995, is compatible with all major recording software platforms and is the world’s first 32-channel AD/DA converter and audio master clock in a 1U rack. The device supports both MADI and USB interfaces and is clocked by Antelope’s renowned 64-bit Acoustically Focused Clocking (AFC) technology.

The Orion32 allows 192 kHz I/O streaming of 32-channel digital audio through its custom-built USB chip, which provides simple connectivity to any USB-enabled DAW or computer. The converter also provides 32 channels of 96 kHz audio through its Fiber Optic MADI I/O connections, which can be used to connect with any suitably equipped MADI device.

For more information about the Orion32, visit:
www.antelopeaudio.com/en/products/Orion32-Multi-Channel-AD-DA-converter

For more information about the TEC Foundation, visit:
www.tecfoundation.com

About Antelope Audio
Antelope Audio is the brainchild of Igor Levin who has more than 20 years’ experience and a number of innovations in digital audio and synchronization technology. The company is widely acknowledged as the leading manufacturer of audio master clocks.

In 2009 Antelope Audio launched its product line of high-resolution USB D/A converters, being among the pioneers designing a 384 kHz DAC. Antelope’s DACs employ their renowned 64-bit clocking and jitter management technologies and custom-designed circuits, achieving unprecedented precision and sound clarity.

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All brands and trade names are the property of their respective owners.

GROWING SONNOX AAX COLLECTION SPARKS 40% DISCOUNT OFFER

OXFORD, UK: Beginning on Oct. 15th and running through the pre-Christmas shopping period until November 30, Sonnox will offer a substantial 40% discount on all plug-ins and bundles (excluding Codec Toolbox, GML Option.)

“We’ll shortly be releasing the next entry in our growing collection of 64-bit AAX plug-ins,” reveals Sonnox Sales & Marketing Manager, Nathan Eames. “The Oxford Reverb has been on many Pro Tools users’ wish lists for Pro Tools 11 compatibility, so we’re delighted to be releasing an AAX version in the coming weeks. Now is an opportune time to buy Sonnox AAX plug-ins, as we’re currently running our biggest promotion to date,” Eames adds.

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Photo: Sonnox offers a 40% discount on plug-ins and bundles Oct. 15 – Nov. 30, 2013

For detailed information on Sonnox Oxford Plug-ins please visit: www.sonnox.com

The Music Producers Guild Gets BPI and AIM Backing For Its Broadcast WAV Initiative

Just months after officially launching its ‘ISRC in Broadcast WAV’ initiative, the Music Producers Guild has received the support of the BPI and AIM, two trade bodies representing the music industry. Both have agreed to adopt Broadcast WAV as standard.

“We are really delighted to have the support of the BPI and AIM,” says Alchemy Mastering’s Barry Grint, who has led the MPG ISRC campaign. “This is fantastic news for all recording artists and copyright owners because adopting Broadcast WAV will make file identification and content tracking much easier and more accurate. It will also help royalty agencies develop more precise systems for payments, thereby safeguarding the incomes of artists and copyright owners when their recordings are played on air.”

With two major UK music industry organisations now firmly behind the new format – and with a number of mastering hardware equipment manufactures also on-board – the Music Producers Guild believes it is only a matter of time before Broadcast WAV is adopted by the music industry world-wide.

“WAV is the standard format for music interchange in the production process, but MPG members were frustrated that there was no method of embedding industry standard ISRC information in the format to enable more accurate identification the content of files,” Grint explains. “Working in collaboration with the European Broadcasting Union, which created a professional version of the WAV format called Broadcast WAV, we have been able to ensure the carriage of ISRC information in this type of file, thus removing the need for it to be re-entered and reducing the opportunity for error.”

The inherent good sense of using Broadcast WAV is now being recognised.

BPI Chief Executive Geoff Taylor says: “BPI is pleased to support this MPG initiative and we’ll be encouraging our members to adopt Broadcast WAV as a standard. By incorporating ISRC data into the WAV file, we can provide a more accurate and reliable means of identifying recordings when they are exchanged between labels and studios.”

James Farrelly, membership manager of AIM, adds: “In an environment where labels of all sizes now understand that effective metadata management is the key to maximising revenue from their master rights, the work MPG is doing to adapt the BWF format will result in a clearer, more accurate approach to identifying tracks and minimising potential mis-allocation of income from repertoire usage. AIM is proud to support this initiative and looks forward to working with the MPG and their partners to build industry wide adoption of the format.”

The MPG is now planning to address mastering engineers by holding a seminar to demonstrate the ease with which Broadcast WAV can be implemented. This will take place in London in early November (see www.mpg.org.uk for more details).

“For engineers using Magix/Sequioa or Merging/Pyramix, switching to Broadcast WAV will simply involve a software upgrade as both of these workstation manufacturers are already backing the Broadcast WAV initiative, ” Grint explains. “Now that this issue is higher up the priority list, we hope other manufacturers will quickly follow their lead.”

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About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

StreamGuys Powers In-Store Broadcasts for Custom Channels

Cloud-based streaming architecture supports custom music services with dynamic ad insertions for businesses

BAYSIDE, CALIFORNIA, October 15, 2013 — Internet music service Custom Channels is helping retail businesses like Whole Foods Market transform in-store environments with broadcast-quality audio programs, mixing music and dynamic advertising that deliver a branded, radio-like experience. The company is relying on robust, cloud-based streaming services from StreamGuys to support its customers.

Custom Channels brings a rare broadcast perspective to the growing business of in-store audio streaming. Its principal partners, including President/Co-Founder Dave Rahn, launched Custom Channels following years of experience working at and consulting for radio stations. Today, Rahn and his team leverage their professional production skills and broadcast programming knowledge to build custom in-store programs for retailers like Whole Foods Market, for which they support two-thirds of their stores.

The company recently switched to StreamGuys for content delivery support, recognizing its broadcast expertise as well as its shared spirit of customization to meet client needs.

“We have always used an outside CDN because the specialized technical knowledge required to maintain servers, bandwidth and overall infrastructure is frankly beyond our area of expertise,” said Rahn. “The difference with StreamGuys is that they are not forcing us into one business model for streaming services. They instead provide us with the streaming services that are right for our model, and deliver the ongoing recommendations, support and troubleshooting we need. That helps us keep costs low and leaves us to focus on program content and customer relationships — which is what we do best.”

Custom Channels takes program content beyond music by incorporating dynamic ad insertions in the form of “mid-rolls,” which Rahn cites as a particularly strong tool to trigger ads and promos for in-store streaming models. StreamGuys incorporates third-party ad insertion software into its streaming architecture, targeting broadcasters and IP-based music services that wish to incorporate promotional content in the form of pre-rolls, mid-rolls and post-rolls — and potentially generate new revenue streams.

“The ad insertion software in the StreamGuys architecture allows us to manage content at the server side as opposed to just pushing messages to individual players and boxes,” said Rahn. “For example, we work with a large chain of dental offices, Comfort Dental, with offices all over the country. The mid-roll insertions allow us to take a single Comfort Dental radio channel and insert specialized ads for each region, or even down to the local office level. The messages don’t have to live in the origin stream; instead, we create a place in the stream and insert them on a very targeted basis. It’s a very efficient model, and makes for good use of IP delivery.”

Rahn’s broadcast experience also means a focus on audio quality. Custom Channels currently delivers most audio content using the aacPlus codec at bitrates ranging from 64 to 96 kb/s, and uses other high-quality codecs like Ogg Vorbis for specialty services such as ReMix, which allows customers to create their own custom mixes. Rahn will explore Ogg Opus moving forward, the new versatile, open-source audio codec for low-latency, high-quality audio streaming. StreamGuys is the first CDN to announce support for Ogg Opus audio streaming.

“We’re dealing with businesses, and we try to keep as light of a footprint as possible since there are other demands on their bandwidth and technical infrastructures,” said Rahn. “StreamGuys allows us to use various high-quality, bandwidth-friendly formats so we are comparable to FM quality and usually higher than satellite quality — a sweet spot that our clients can easily handle on their networks.”

Rahn also points to several restaurant brands as Custom Channels clients, including the 200-plus Which Wich sandwich shop chain; and the fast casual Mod Pizza chain based in the Seattle region. Another interesting client is Floyd’s Barbershop, which operates more than 70 barbershops around the country. Custom Channels produces a true “retail radio” station in this case, with full-blown professional production, deejays and live requests.

“We focus on music-conscious brands that essentially want custom radio stations, and many of these clients also stream their channels on their websites,” said Rahn. “Ultimately, StreamGuys offers an ideal service for in-store delivery, whether it’s conventional streaming of a radio station or a business that wants something a little more unique.”

More information on Custom Channels can be found at http://www.customchannels.net.

About StreamGuys, Inc.
In business since 2000, StreamGuys is a provider of audio and video streaming toolsets and services. The company has a reputation for outstanding customer service, a robust and reliable network, and competitive rates. More than 600 clients worldwide, across many industries, depend on their mission-critical service. Projects include serving as the technology backbone for live streaming/podcasting for top public broadcasters such as New York Public Radio, WAMU Washington D.C., KQED San Francisco and WXPN Philadelphia; live video events for major auto racing circuits and the British Royal Wedding; audio streaming for government entities such as D.C. Court of Appeals, U.S. Army, and the National Science Foundation; mobile video content for Cisco Systems; and IPTV content for international broadcaster ABS-CBN.
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StreamGuys, Inc – info@streamguys.com – www.streamguys.com – 707.667.9479
P.O. Box 828 Arcata, California 95518 – fax 707.516.0009

Partner Conference Allows Distributors To Get Under DPA’s Skin

More than 120 pro audio distributors, dealers and opinion leaders travelled to Denmark for DPA Microphones’ Partner Conference.

Guests from around the world attended three days of meetings and seminars in Copenhagen and at DPA’s headquarters in Allerød. They were also taken on a tour of DPA’s production facility in Asnæs where they were shown the different processes involved in making a DPA microphone. The conference culminated in a live, hands-on workshop at the Nørrebro Theatre in Copenhagen, where a singer/actor and a band demonstrated various DPA microphones.

DPA Microphones’ CEO Christian Poulsen says: “The conference was a huge success as it allowed those attending to really get to know the company. DPA has changed a great deal in recent years thanks to the introduction of a new management team and significant developments in R&D that have led our product range in new and exciting directions. We held this conference because we wanted our distribution partners and invited guests to get a real sense of the DNA of the new DPA – a company with true forward vision.”

Among those attending was sound engineer Chris Ekers, who was involved with the London Olympics 2012 Opening and Closing Ceremonies.

Commenting on his time in Denmark he says: “I use DPA microphones all the time for theatre and classical opera work, so I know what they can do. However, I was very interested to see the production facility and learn more about how they are made. I was amazed at the amount of work and care that goes into each microphone. I met one lady who had personally touched every DPA 4060 miniature microphone ever made – and that must be an awful lot of microphones.”

Ekers adds that the seminars and demonstrations were extremely useful, even for an experienced engineer. He also enjoyed meeting the DPA team and learning more about the company’s approach to design and manufacturing.

“This is obviously a young and vibrant company with lots of good ideas for expanding its product range in an intelligent way,” he says. “It was a privilege to be invited to DPA’s Partner Conference and I thoroughly enjoyed the experience and DPA’s hospitality.”

His views were echoed by Rui Lisboa, DPA’s Portuguese distribution partner. “I was surprised to learn that every DPA microphone is hand-crafted, and also amazed by the rigorous test procedure each one goes through,” he says.

Sound engineer Bernard Schmid, who attended the partner conference as a guest of DPA’s Austrian distributor, adds: “For me, the practical demonstrations were the most useful as these gave me a chance to compare different models. I have been using DPA microphones for many years yet I still learned a new and easier way of hiding a miniature microphone in the hair.”

Another guest was Akira Fukada, the inventor of the surround standard Fukada Tree, who says: “Being able to participate in the conference was a great honour and a very stimulating experience. I now understand the direction in which DPA is aimed and I learned about the quality control of these wonderful products. DPA is an indispensable microphone for my music production, and I look forward to new developments at DPA.”

Other attendeed included artist and sound engineer Seigen Ono; Takeru Yamazaki, product manager at DPA’s Japanese distributor Hibino Intersound and Chul Hoon Choi and Soo Hwan Kim from DPA’s South Korean distributor Best Leading Solutions.

“It was a fascinating experience and I came away with a much better understanding of DPA, its business philosophy and its approach to R&D and product design,” says Soo Hwan Kim, sales manager at BLS. ”We got a few hints about some of the new products that are coming along next year and these look really exciting. DPA already has a strong reputation for quality, but seeing the care that goes into the manufacture of each and every microphone leaving its factory makes you realise just how exceptional these products really are.”

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About DPA
DPA Microphones is the leading Danish Professional Audio manufacturer of high quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to provide you – whether you’re in live sound, recording, theater or broadcast – with the absolute finest possible microphone solutions for your tasks. DPA takes no shortcuts in the design processes nor makes any compromises in manufacturing, which is all done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound.
For more information, please visit www.dpamicrophones.com

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The Radio magazine The Wire provides information from manufacturers and associations about industry news, products, technology and business announcements. The information shown here is posted by companies and their representatives and are not edited or previewed by the Radio magazine staff. The content providers are solely responsible for the content of their posts. If you would like your company's news and information to appear here, contact us.

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