Jampro Antennas Fills Large Order for New African Network

MORE THAN 50 TV & FM ANTENNAS DELIVERED
TO SYSTEMS INTEGRATOR IN BEIJING

Sacramento, CA Jampro Antennas, Inc. – a world leader in the manufacture and design of radio frequency components and antennas for radio and television transmission – today announced the award of a large quantity of television and radio systems to the Beijing BBEF Science & Technology Co. Ltd. to be deployed in the construction of a new African DVB-T Network.

The massive order was comprised of more than 50 Jampro JUHD horizontally polarized TV panels, and JFVD vertically polarized FM panel antennas. The Beijing-based company is China’s largest broadcast equipment manufacturer and its systems integration business extends internationally to over 18 countries.

“We successfully manufactured and delivered this sizeable order to the customer on-time and on-budget,” said Alex Perchevitch, president of Jampro. “We are very pleased to partner with BBEF, a noteworthy manufacturer in their own right, to implement a significant international project.”

About Jampro
Jampro Antennas Inc., established to answer the need for quality broadcast systems at a reasonable price, is a leading supplier of antennas, combiners & filters and RF components for every application in the broadcast industry. Reputed for innovation and customization, Jampro builds each system to the specifications of the individual broadcaster. From the first system delivered in 1954 to those installed today, the Company is committed to consistent performance and quality founded on solid engineering. Today, over 15,000 broadcasters worldwide benefit from the quality and performance provided by Jampro systems. For additional JAMPRO information, please visit: www.jampro.com.

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Jampro contact: Sonia Del Castillo
916-383-1177 • mailto:Sonia@jampro.com

Press Contact: Desert Moon Communications
Harriet Diener • 845-512-8283
harriet@desertmooncomm.com

133rd AES Convention Tutorials – From ‘Noise On The Brain’ To Getting the Sound Out of (And Into) Your Head

Social Media For Engineers – Large & Small Room Acoustics – Mastering For Vinyl

SAN FRANCISCO: “The 133rd AES Convention is focused on ‘Listening, Learning and Connecting,’ reports Convention Co-Chair Valerie Tyler. Our Tutorial Program is particularly attuned to that goal. Co-Chairs Vene Garcia and Mike Wells have devoted extensive time and energy to developing a diverse and vigorous program. Their work is bound to have a lasting impact on attendee careers.”

“Our game plan was to cover as many significant issues as time would allow,” Vene Garcia remarked. “We also tried to balance the presentations with traditional and contemporary subject matter. This approach is exemplified by Bobby Owsinski’s Social Media event and Scott Hull’s Vinyl Mastering presentation.”

“Presentations on Large and Small Room Acoustics and Sound System Intelligibility actually represent a mini-track on room acoustics,” Mike Wells adds. “We believe this year’s Tutorials will genuinely benefit attendees.”

133rd AES Convention Tutorials Include:

Social Media For Engineers And Producers: Bobby Owsinski, producer/best-selling author – Facebook, Google+, Twitter and YouTube are important for developing a fan base or client list, but without the proper strategy they can prove time consuming and ineffective. Engineers, producers, and musicians will find invaluable techniques for efficiently utilizing social media as a promotional tool. Topics include: Your mailing list – old tech, new importance; Social Media management strategies; Optimizing your YouTube presence; The secret behind successful tweets and …What’s next?

Small Room Acoustics: Leading acoustic consultants Peter Mapp and Ben Kok will discuss basic small room acoustics. Issues related to absorption, reflection, diffraction, diffusion and how to use it, along with details on low frequency treatment. Recording and control room specifics and differences will be identified, including considerations for loudspeaker and microphone placement.

Large Room Acoustics: Diemer de Vries, Delft University of Technology Netherlands, (ret) & AES past president – Traditional and modern methods for describing the acoustical properties of ‘large rooms’ will be discussed. Theoretical models, measurement techniques, and the link between objective data and human perception will be covered. What issues need be addressed for a superior assessment? Reverberation time, the impulse response? Or, is there even more to take into account?

Sound System Intelligibility: Peter Mapp. Ben Kok – This comprehensive assessment of speech intelligibility and measurement will encompass how room acoustics can affect intelligibility, and measures that can optimize sound system intelligibility. Practical real world problems and solutions will be discussed in depth.

Mastering For Vinyl – Today’s Challenges: Scott Hull, owner Masterdisk – What has to be considered when you mix/master your music for vinyl? This Tutorial will dig deep into quality control issues and introduce sure ways to sound great on your first pressing. Topics include: Why contemporary CD mastering techniques do not produce the best sounding vinyl records; Long Sides; The relationship between Volume, Duration and Quality; The Turntable; Quality control: mixing – mastering – pressing; and, the realities of the current vinyl market.

Binaural Auditory Models: Ville Pulkki, Aalto University, Helsinki: The principles of brain mechanisms of binaural hearing have been debated extensively. In the 1990′s, common thinking was, that human binaural decoding is based on delay lines and coincidence counters. Subsequent neurophysiological findings questioned the existence of such delay lines. This tutorial will introduce the basic principles of most common binaural auditory models, and review recent improvements in the models.

Noise on the Brain Part II – Higher Fidelity: Poppy Crum – Did you know that drinking a glass of orange juice every day may protect your hearing? Most discussions of hearing damage focus on what happens to the cochlea and inner ear. While this understanding is crucial to predicting and avoiding trauma that can lead to hearing loss. Acoustic and chemical stimuli can have significant effects on higher brain areas. While this understanding is crucial to predicting and avoiding trauma that can lead to hearing loss, acoustic and chemical stimuli can have significant effects on higher brain areas. This session will explore new research into acoustic and chemical trauma, how this damage manifests as changes in hearing sensitivity, cognition, and the experience of tinnitus.

Getting the Sound Out Of (And Into) Your Head – The Practical Acoustics of Headsets: Christopher J. Struck (CEO/Chief Scientist CJS Labs, SF – Exploring the electroacoustics of headsets and other head-worn devices, this presentation will review issues ranging from Insertion Gain, to appropriate instrumentation, including ear and mouth simulators. Boom, close-talking, and noise-canceling microphone tests will be addressed, as will relevant standards, and USB, and Bluetooth wireless devices.

An overview of Audio System Grounding And Interfacing: Bill Whitlock, President/Chief Engineer, Jensen Transformers, Inc.- Equipment makers like to pretend the problems don’t exist, but unbalanced interfaces are exquisitely vulnerable to noise due to an intrinsic problem. Although balanced interfaces are theoretically noise-free, they’re widely misunderstood by equipment designers, which often result in inadequate noise rejection in real-world systems. Also discussed are unbalanced-to-balanced connections, RF interference and, power line treatments. Some “cures” are both illegal and deadly.

Photo 1 AES 133rd Convention Tutorial Co-Chair Vene Garcia
Photo 2 AES 133rd Convention Tutorial Co-Chair Mike Wells

The 133rd AES Convention will be held in SF’s Moscone Center, Oct. 26-29.

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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

133rd AES Convention Tech Tours – Fantasy To Electronic Arts

TRI, 25th Street, Ex’Pression, + Fenix, The Bay Area’s Hottest New Club

SAN FRANCISCO: “A Bay Area native with a solid background in all things audio, 133rd AES Convention Tech Tours Chair Jessica Livingston has proven herself an invaluable resource in ferreting out our town’s most interesting and ‘happening’ highlights,” says Convention Co-chair Valerie Tyler. “The depth of Jessica’s connectivity, coupled with her instinctive grasp of what would most appeal to our Tech Tour aficionados has shaped a particularly well rounded schedule this year,” Tyler adds.

“My goal was to profile the diverse range of SF’s pro audio community,” Livingston says. “From a cutting edge video game creative campus, to a top-flight school and SF’s latest live performance venue, these tours are designed to be instructive, colorful and entertaining.”

133rd AES Convention Technical Tours include:

Tamalpais Research Institute (TRI) Created by Grateful Dead founding member Bob Weir, TRI is a $5+ million, state-of-the-art recording and broadcast facility located in San Rafael. The 11,500-square-foot complex features a 2,000-square-foot main studio, a smaller studio, two mixing rooms and five additional isolation rooms. The entire facility is interconnected, for audio and HD video recording. In addition to its broadcast and recording capabilities, the complex is a showcase for the Meyers Sound Constellation System, a revolutionary new concept in public audio.

Electronic Arts: The world’s largest video game publisher, features a host of high tech development and production studios. In addition to sophisticated design and production technology, the 22-acre campus-like environment is equipped with a number of employee-friendly amenities including sports fields, and basketball courts. The tour will visit each of EA’s four buildings and include a presentation in their state-of-the-art auditorium, a ‘Visceral Studio’ demonstration illustrating the audio focus of game development. And, a web audio API sound engine demo.

25th Street Recording: Distinguished by a 1,400 square-foot tracking room, and 17-foot-high ceilings, this new Fran Manzella-designed complex represents a rare example of a large-scale studio launch in our current ‘project studio’ era. Outfitted with a massive collection of analog outboard gear and a 64-channel API Vision console, 25th Street also boasts a number of cool (and green) aesthetic accoutrements, including floors fashioned from wood reclaimed from stadium benches.

Polarity Post Production: This 5-studio, full service, audio post house represents the penultimate environment for creative sound design and mixing. Clients range from Disney Channel, to many national ad campaigns. Outpost Studios: Creators of Sound Design, Music, Dolby Mixing, Voice-Over/ADR and Foley for feature films, TV and Gaming. Recent Outpost projects include the new Robert Redford feature “The Company You Keep,” and Kiefer Southerland’s “Touch” for FOX. Thanks to dual occupancy in the same Embarcadero District building, participants may attend both tours concurrently.

Ex’Pression College For Digital Arts: One of SF’s largest and most comprehensive cutting edge educational campuses, Ex’Pression features an Interactive Audio Program focused on preparing students for careers in video games, mobile phone technology, hand-held multimedia devices and many more contemporary creative options. The ultra modern school features multiple studios, control rooms, editing suites, gaming stations, a theater, MDG Labs and a Stop Motion Room. Among the guides for this tour will be legendary multi-Grammy-winning producer/engineer Jack Douglas, who is now a guest lecturer on Sound Arts for Ex’Pression.

Fantasy Recording Studios: is celebrating its 40th year as one of the world’s premiere studios. With credits ranging from Creedence Clearwater to U2 and Estelle, Fantasy continues to attract crème de la crème artists and producers. The three-studio complex boasts a total Studio D upgrade, completed early this year.

The Fenix Club: The latest addition to San Rafael’s cool but low key night life scene, this new, 200 seat, 8600 sq. ft. showcase performing venue/restaurant features outstanding acoustics. Just 25 minutes from the Moscone Center, The Fenix is distinguished by a whimsically elegant design, and accented by a striking backlit wall. This tour will be conducted by architect/acoustician, John Storyk, whose Walters-Storyk Design Group designed the club.

Dolby Atmos Demo: Considered the most significant new development in audio since surround sound, Dolby Atmos delivers a more natural and realistic soundfield. It transports the audience into the story with a ‘lifelike sensory experience.’ Developed with input from highly respected feature film professionals, this new concept in sound represents a dynamic reinvention of traditional surround sound methodology. This demo will be held at the Dolby Headquarters Theater in SF.

*PLEASE NOTE: Tickets for Technical Tours are only available on site at the Moscone Center. A Preliminary Calendar of Event dates and times will be posted on the www.aes.org website soon. Tickets will be sold at the Reception Desk in the main lobby well in advance of departure.

Photos: 1. Electronic Arts
2. 25th Street Studios Live Room
3. TRI Studios Control Room

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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

Waves MaxxAudio Technologies Employed on the New ASUS N Series

— Multimedia notebooks now feature studio-quality sound enhancement by Waves MaxxAudio —

TEL AVIV, ISRAEL, August 15, 2012 — The Consumer Electronics Division of Waves, the industry leader in professional audio digital signal processing and recipient of a Technical GRAMMY® award, is proud to see its MaxxAudio technologies employed on new ASUS N Series notebook computers. This line of premium portable PCs will now have the audio experience to match, as the same award-winning Waves processors that are utilized to improve sound quality in the creation of the world’s most popular music, television, gaming, movies, and multimedia titles are now available for studio-quality sound at home, in the office or on the go. A major point of focus for ASUS is its unwavering dedication to customer satisfaction with every product. This commitment holds true with the new N Series of multimedia notebooks, which deliver ASUS SonicMaster Premium audio technology to ensure the utmost sound quality. It uses enhanced hardware alongside professional Waves MaxxAudio processing tools, further enhancing audio capabilities and taking sound experiences to the next level. In terms of aesthetics, an elegant ripple-effect speaker mesh conveys the flow of lifelike, high-quality sound, emphasizing the elegant design and powerful technology offered by the new ASUS N Series to consumers worldwide.

“We are pleased to be working with ASUS on their new product line,” stated Tomer Elbaz, General Manager of the Waves Consumer Electronics Division. “The new N Series models truly live up to the ASUS reputation as a trailblazer in the new digital era, and we are proud that Waves MaxxAudio technology can help take their audio to the next level.”

Jeff Yang, Marketing Director of the ASUS System Business Group, added, “As audio is becoming increasingly important in computing, we felt it important to work with Waves, the proven leader in the professional audio recording industry, for our new N Series. Now customers are able to get larger than life, immersive sound from their notebooks at home or on the go.”

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

GUITAR CENTER OPENS NEW COLLEGE STATION, TEXAS STORE

— 233rd Guitar Center location features on-site lessons and repair services, along with GC’s vast inventory selection —

Westlake Village, CA (August 21, 2012) – On the evening of Thursday, August 9, 2012, Guitar Center held the grand opening of its new location in College Station, Texas, located at 1003 Harvey Rd. Ste 100, College Station, TX 77840-3752. Guitar Center College Station is Guitar Center’s 233rd retail location.

Guitar Center College Station’s grand opening introduced customers to a vast selection of products and a dedicated staff with unparalleled musical knowledge and experience. To celebrate the store opening, Guitar Center hosted a Grand Opening Weekend celebration featuring exclusive savings, gear giveaways and free events catered to local musicians. The grand opening events will also include a free performance and workshops throughout the next two months.

Guitar Center’s newest College Station location features showrooms equipped with the latest products for musicians — from guitars, amplifiers, percussion instruments and keyboards to live sound, DJ, lighting and recording equipment. The new store features Guitar Center Studios, an in-house, state-of-the-art lesson facility, which is creating unrivalled opportunities for area musicians of all ages and skill levels. Guitar Center Studios provides music lessons from beginner to advanced featuring certified instructors teaching world-class curriculum as well as one-on-one courses on Pro Tools, Logic Pro and GarageBand. Guitar Center Studios is now the most modern and affordable lessons facility in the area. Guitar Center College Station also features GC Garage, Guitar Center’s on site guitar repair service.

As part of Guitar Center’s initiatives designed to educate and inspire artists nationwide, Guitar Center College Station will offer unique opportunities for musicians to craft their skills, maintain their instruments and experience many other aspects of the music industry first-hand. Musicians interested in learning about the industry will be able to come to the store to interact with and pick the brains of several industry leaders. College Station shoppers are also able to enjoy Guitar Center’s new multi-channel “endless aisle,” which includes multiple combinations of product options to conveniently choose from. Not only does the “endless aisle” include the College Station store’s extensive inventory, but it also provides easy access to $400 million in new and used inventory located in hundreds of GC stores and warehouses across the nation. Customers have the ability to combine a myriad of in-store, online and phone options to purchase music equipment from anywhere they may be, allowing for a personalized and convenient shopping experience.

In addition to special programs at the new College Station store, Guitar Center offers nationwide programs designed to spearhead creativity and highlight the nation’s most promising undiscovered talent. College Station residents will now be able to participate in these ongoing national events from their hometown:

Guitar Center On-Stage is an annual competition that provides unsigned artists the chance to open for established artists such as Motley Crüe, KISS and Jane’s Addiction.
Guitar Center Singer-Songwriter is an artist discovery program which aims to find the nation’s best unsigned singer-songwriter. Last year’s winner received a career-altering prize package which has included recording 3 songs with accomplished GRAMMY® Award-winning Producer John Shanks, recording time at Converse Rubber Tracks studio and $10,000 cash.
Guitar Center’s Battle of the Blues is a nationwide amateur guitar skills competition with the goal of finding the next great undiscovered blues guitar player and The grand prize package is valued at over $50,000.
Guitar Center’s Drum-Off, entering its 24th year, is the nationwide search for the next great undiscovered drummer. Drummers from across the nation compete in the world’s largest drum competition, vying for thousands of dollars in prizes and the coveted title of Guitar Center’s Drum-Off Champion. The grand prize package is valued at nearly $50,000.

Guitar Center College Station is open seven days a week. Store hours are 11:00 a.m. – 7:00 p.m. Monday-Thursday; 11:00 a.m. – 8:00 p.m. Friday; 10:00 a.m. – 7:00 p.m. Saturday; and 12:00 p.m. – 6:00 p.m. Sunday.

Upcoming event:
Monday, August 27: Guitar Workshop with Dave Elitch (Drummer for The Mars Volta, Daughters of Mara) (7:00pm)

Audio-Technica Endorser Jim Brickman Tapes Session for Long-Running Radio Show at Audio-Technica’s Stow, Ohio Headquarters

STOW, OH, August 16, 2012 — Audio-Technica, a leading innovator in transducer technology currently celebrating “50 Years of Passionate Listening,” was proud to recently host A-T endorser Jim Brickman as he recorded segments for his radio show Your Weekend with Jim Brickman, currently celebrating its 15th year as a syndicated hit, at Audio-Technica’s studio at their Stow, Ohio headquarters on August 3, 2012. A-T products used during the session included the AT4047/SV Cardioid Condenser Microphones and ATH-M50 Professional Studio Monitor Headphones.

About Jim Brickman
Jim Brickman has revolutionized the sound of solo piano with his pop-style instrumentals and star-studded vocal collaborations. A native of Cleveland, Jim Brickman began playing piano at the age of five and studied music at the prestigious Cleveland Institute of Music. Since the release of his debut album No Words in 1994, Jim Brickman’s romantic piano sound has made him the best-selling solo piano artist of our time. He has established a reputation for his collaborations with many gifted musical artists: Lady Antebellum, Martina McBride, Kenny Loggins, Michael W. Smith, Carly Simon, Herb Alpert, Collin Raye, Michael Bolton, Donny Osmond, and Olivia Newton-John. His signature style has brought him six Gold and Platinum albums, 30 charted adult radio hits, and two GRAMMY® nominations. He recently tied for most Number One albums on Billboard’s New Age chart, and he currently holds four of its Top 10 spots. Catch Jim Brickman On A Winter’s Night touring this holiday season. For a complete list of tour dates and details visit jimbrickman.com.

Auralex® Now Shipping UtiliTek™ Sound Absorbent Panels

— Based on Auralex®’s popular ProPanel series, UtiliTek™ panels offer contractors and system integrators a cost-effective solution in acoustical control —

INDIANAPOLIS, IN, August 13, 2012 – Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments and soon to celebrate its 35th anniversary, is now shipping its UtiliTek™ sound absorbers. Designed based on input from leading contractors and system integrators, the UtiliTek panels are similar in function, performance and design to Auralex’s acclaimed ProPanel series, but at an even more attractive price point that still yields top-notch aesthetics and performance. UtiliTek panels are fabric covered, acoustically absorptive panels designed to reduce unwanted room reflections and reverberation, providing a more accurate and articulate listening experience. UtiliTek panels are highly effective and lightweight, are composed of Class A fire-rated materials and feature a recycled absorbent core.

UtiliTek is available in four thicknesses and two edge profiles. The beveled-edge style is available in 2′x2′x1″, 2′x4′x1″ and 2′x4′x2″ sizes. The square-edge style is available in a 2′x4′x3″ size that is perfect for corner mounting between two walls or across wall/ceiling junctures for moderate low-frequency control.

“As part of our ongoing commitment to the sound contracting/fixed installation market sectors, we wanted to offer solutions for contractors working with the tighter budgets that are common in today’s economy,” stated Eric Smith, Auralex Founder and President. “UtiliTek panels can be employed in a wide variety of installations, including clubs, live performance venues, restaurants/bars, houses of worship, corporate, municipal and residential installations.”

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

Neumann KH 120 Monitors Maintain Sonic Consistency in WWE’s Challenging Multiple-Medium Post-Production Environment

The production standard is set extremely high for post-production engineers at WWE (World Wrestling Entertainment, Inc.), a global entertainment company headquartered in Stamford, Conn. that reaches over 13 million viewers in the U.S. and broadcasts to more than 145 countries in 30 languages. Recently, WWE installed several pairs of Neumann KH 120s in its editing and post-production suites, which are used to monitor its weekly television, web and live auditorium programming.

The Neumann KH 120 was chosen for its versatility and its ability to deliver consistent sound quality across multiple broadcast mediums. Post-production staff at WWE relies on monitors in their non-linear video editing suites to produce audio that will provide viewers with the best possible listening experience on television, online and in arenas.

WWE produces seven hours of domestic television and another 80 hours of international content every week of the year, in addition to two home video titles and a pay-per-view event each month. When it came time to upgrade the video editing suites in WWE headquarters, the production team spent 18 months investigating options to get audio quality that sounded like “real speakers,” said Chris Argento, vice president of post-production at WWE.

“I fell in love with the audio quality of the small, self-powered Neumann KH 120 monitors,” Argentino says. “The stereo imaging and center channel information are absolutely perfect, and it’s incredible how accurate they are. There’s no artificial high end or feeling of processing. They sound like ‘real speakers’ and enable us to develop programming where we can judge the sound for television, online and the arena.”

Argento tested a variety of monitors while upgrading WWE’s Audio Mixing suites. For large suites, he selected Neumann’s new O 410 active midfield studio monitors. Having been extremely pleased with the crisp sound of the O 410s, Argento turned again to Neumann for the smaller non-linear video editing suites, which he chose to outfit with KH 120 monitors after getting firsthand experience with them during the 2011 NAB Show in Las Vegas.

WWE initially deployed pairs of KH 120 monitors in six non-linear editing suites, and subsequently added pairs to 14 additional suites. Now that the Neumann KH 120 has become the standard for WWE monitoring environments, Argento says he plans to add even more pairs of KH 120 monitors to additional editing suites in the near future.

Following its mantra of “good video is made by good audio,” WWE engineers are faced with a daily challenge of providing a consistent quality across existing and future media. Argento says the Neumann KH 120 monitors have made it easy to achieve this consistency, while maintaining the company’s high standards of audio quality.

The monitors have also aided editing and production staff in finishing programs that must forego audio post-production. Argento said it is critical post-production engineers are able get the same listening experience viewers will have later, and in this regard, he says the KH 120s have exceeded expectations.

As the first of Neumann’s line of studio monitors, the KH 120 is designed for use as a near-field loudspeaker or as a rear loudspeaker in larger multi-channel systems. It represents the latest in acoustic and electronic simulation and measurement technologies to ensure the most accurate sound reproduction possible.

Antelope Audio Eclipse 384 AD/DA Converter Brings Master-Quality Audio to Korn Frontman Jonathan Davis’ Road Rig

Korn shook up the rock world at the end of 2011 when the L.A.-based band released its tenth studio album, “Path of Totality,” featuring collaborations with a host of dubstep producers including multiple Grammy Award-winner Skrillex. Now, Korn frontman Jonathan Davis is doubling down on his recent statement that “North American dubstep is the new electronic heavy metal” through a side project, Killbot, and a solo project under his DJ name, J Devil, recording into a laptop on the road and in the studio, using Antelope Audio’s new Eclipse 384 converter, master clock and monitor controller.

Davis recently added the Eclipse 384 AD/DA converter in order to streamline his mobile production rig after spotting it on the Antelope Audio web site. The 384 kHz A-to-D/D-to-A converter is clocked using the same Oven Controlled Clock and 64-bit Acoustically Focused Clocking technology that is implemented in Antelope Audio’s renowned Trinity Master Clock. The Eclipse 384 offers additional features conducive to mobile production applications, including two dedicated headphone amplifiers and a custom USB interface, as well as two large peak meters on the front panel. In order to simplify operation, users can create up to five custom presets of favorite setups via the system’s OS X- and Windows-compatible software control panel that may then be recalled from the Eclipse 384’s front panel.

“This is all I’ve got now; I used to have racks of stuff,” says Davis, who records vocals, guitar and bass into an Apple MacBook Pro through a signal chain comprising little more than the Antelope Eclipse 384, an API Channel Strip and a Shure microphone. “It’s basically my studio all in one box. It’s the best interface I’ve used. I love that everything is right there,” he says of the Eclipse.

Davis, who has been performing DJ sets using the moniker J Devil, is a longtime aficionado of electronic dance music (EDM), and has been producing dubstep-influenced remixes for rock and electronic artists for several years. Having started creating EDM on his laptop “for fun,” Davis has now teamed up with dubstep producers and fellow metal-heads Sluggo and Tyler Blue to form Killbot, a “metalstep” collaboration that has signed to Steve Aoki’s Dim Mak dance record label and has announced plans to release a four-track EP. There is also a J Devil solo EP in the works.

Davis has jumped into EDM production with both feet, making use of every waking minute to create new music for all of his projects. “Making electronic music and learning to produce and learning my new instrument—laptop, I call it—has been an amazing thing,” he told Billboard.com recently. “After every Korn show I come offstage, take a shower and I start writing.”

By utilizing high-grade audio production equipment such as the Antelope Eclipse 384, Davis is able to produce release-ready masters right there on the tour bus or the hotel room. “The Eclipse is essential, because it gives me everything I need to work on the road and not just make a demo. The stuff I actually do on the road I keep and it sounds great—it’s not just a demo that I have to rework or re-record later,” he says.

StreamGuys and AdsWizz Strike Partnership to Monetize Digital Media

Partners Offer Both On-Demand and Live Streaming Media Monetization Tools, Including First-Ever Pre-Roll and Mid-Roll Podcast Ad Insertion Technology

BAYSIDE, CALIFORNIA, August 21, 2012 – Broadcasters and audio publishers can now experience a true streaming media return on investment through the collective strengths of StreamGuys’ cloud-based streaming services and AdsWizz’s digital advertising solutions. The new StreamGuys and AdsWizz partnership offers one of the first mobile-friendly, multi-platform streaming solutions with targeted, rich media advertising capabilities.

The two companies have already won a contract with a major sports broadcaster. The new customer is successfully using AdsWizz’s Pre-Roll Ad Insertion technology to deliver targeted advertisements to consumers who download the broadcaster’s audio podcasts, reaching more online media players and mobile devices than before via StreamGuys’ one-to-many streaming architecture.

In addition to pre-roll podcast capabilities, the two companies will provide joint customers with a portfolio offering several ad-supported monetization tools, including audio and video mid-roll ad insertion technology as well as companion display ad banners. These rich media advertisements can target specific subsets of users based on their gender, demographic and active location based data.

AdsWizz’s Digital Advertising Monetization Platform enables CDNs, Ad Networks and Online Audio Publishers to unleash the power of one-to-one marketing by allowing them to insert ads directly into each end-user’s on-demand or live stream and ensure the ad specifically speaks to the individual’s interests. In addition AdsWizz also provides real-time audience measurement and analytics tools to evaluate audience response. Customers using these tools can later confirm with their advertisers that streams were monetized through targeted advertisements.

StreamGuys’ one-to-many architecture ensures that broadcasters and publishers can deliver content, including advertisements in multiple formats to reach many targets. StreamGuys also eliminates transcoding steps often used for multi-format streaming that degrade audio and video quality.

Jason Osburn, executive vice president at StreamGuys, notes that the StreamGuys/AdsWizz partnership allows the company to offer a solution that simplifies monetization of live and on-demand rich media delivery — and deliver those ad-injected streams to virtually every popular end user device for consumption. The StreamGuys/AdsWizz solution currently supports Flash and Icecast streaming for MP3 and HE-AAC audio formats; as well as Flash and iOS for video.

“Most broadcasters are now seeking compatibility with iOS devices, including the iPhone and iPad, as well as other mobile platforms to expand their audience reach,” said Osburn. “Our relationship with AdsWizz allows us to provide a full-service shop to support broadcasters who depend on ad placement for revenue generation.”

StreamGuys manages the overall solution from their facility, including the AdsWizz server software that lives on StreamGuys’ adaptive bit-rate streaming architecture in the cloud. The company also provides rich data on hits, visitors, user agents, geographic regions and other analytics to help customers strategize future growth.

“Until now broadcasters, audio publishers and advertisers were constantly in search of ways to turn podcasts into revenue-generating advertising mediums,” said Alexis van de Wyer, president at AdsWizz. “Their search officially stops today with AdsWizz’s breakthrough in enabling broadcasters to insert targeted ads into podcasts. As we continue our partnership with StreamGuys, joint customers will be able to further grow their revenue through several other innovative ad-supported monetization tools, leveraging both on-demand and live streaming media.”

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About AdsWizz, Inc.
AdsWizz provides ad serving and audience measurement technologies to CDNs, agencies, ad networks and online audio publishers. Its audience measurement product delivers publishers with real-time and actionable analytics on their audience behavior. AdsWizz ad serving technology enables agencies and ad networks to create online advertising campaigns across audio, video and display formats with social media integration. The ad serving technology gives online audio publishers the ability to monetize all their online content such as Simulcast, webcast or Podcast; Web, Mobile or In-dash; and domestic or international. AdsWizz serves its customers from its San Francisco, Denver, Paris, Brussels and Bucharest offices. For more information, visit www.adswizz.com.

About StreamGuys, Inc.
In business since 2000, StreamGuys is a provider of audio and video streaming services. The company has have 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.

# # #

StreamGuys, Inc – info@streamguys.com – www.streamguys.com – 707.667.9479
P.O. Box 828 Arcata, California 95518 – fax 707.516.0009

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