Batwing Antennas From Alan Dick Broadcast Will Keep Legacy UHF Radio Services On-Air

Gloucestershire, United Kingdom – Alan Dick Broadcast, Ltd (ADBL) — a leading supplier of broadcast systems for digital and analog audio / video for radio and television transmission — today announced a sizeable purchase award to provide replacement antenna panels to Arqiva, a major supplier of communications infrastructure and media services to the broadcast, satellite and mobile communications markets.

ABDL will furnish a number of Batwing panels to replace legacy antennas originally installed in the 1970s. The panels, developed by ADBL in 2008, are fully compatible replacements for the original units and comply with BBC performance and technical standards formulated in 1970. Two panel sizes – the larger operating from 470 through 580 MHz and the smaller from 615 to 850 MHz – will be supplied, each having three variants with differing beam tilts. Some 1,000 antennas of this type remain operational around the UK.

“We sincerely appreciate Arqiva’s confidence in our products and engineering,” said Barry Sugden, director of Alan Dick Broadcast. “Our staff is extremely pleased to have a role in assuring the viability of these valuable radio services for many years to come.”

About Alan Dick Broadcast
UK-based Alan Dick Broadcast (ADBL) is a long-established global leader in the manufacture of antennas, combiners / filters, towers and broadcast infrastructure services for digital and analogue video and audio systems. Our portfolio starts at concept and runs through planning site development, station equipment, towers, antennas, and a full implementation and testing service. Additional information about ADBL may be obtained at: www.alandickbroadcast.com

###
ABDL contact: Sonia Del Castillo
+1-916-383-1177
sonia.delcastillo@alandickbroadcast.com

ADBL contact: Barry Sugden
+44 1242 820975 / +44 1242 820972
barry.sugden@alandickbroadcast.com

Press Contact: Desert Moon Communications
Harriet Diener • +1-845-512-8283
harriet@desertmooncomm.com

Jampro Antennas Improves Coverage for TV Azteca in Monterrey, Mexico

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 successful commissioning of a digital television transmission antenna system for XHWX-TV in Monterrey, Nuevo Léon, México. The station, broadcasting on analog channel 4 and digital channel 39, is an affiliate of the TV Azteca Trece network and produces regional news, programming and advertisements.

The recent installation employed Jampro’s elliptically polarized JCPD EPOL panel array for VHF Band I. The new transmission system, has significantly improved the station’s coverage. Jampro provided a turnkey solution, including the antenna, patch panel, power splitter, transmission and rigid lines, and on-site commissioning.

“Our solution was tailored to provide optimum signal strength and long-term reliability in Monterrey’s high desert climate,” said Alex Perchevitch, president of Jampro. “We are very pleased to continue our relationship with TV Azteca by welcoming their affiliate into our growing family of satisfied users.”

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.

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

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

133rd AES Historical Events Track The Test Of Time

RCA Studios – Remembering Lee de Forest – Ioan Allen, Sound On Film

SAN FRANCISCO: West Coast arbiter of audio history, Bill Wray has prepared a far-ranging Historical Program for the 133rd AES Convention set for Oct. 26-29 at the Moscone Center. “The lessons of the past remain integral components of pro audio’s on-going evolution,” remarked Convention Co-Chair Jim McTigue. “Bill Wray has always approached our Conventions with an eye towards relevance as well as variety. While today’s digital tools are generations removed from their analog antecedents, our goals for efficiency and clarity remain unchanged. This year’s Historical Program will provide our attendees with an invaluable perspective on problem solving and innovative thinking.”

133rd AES Convention Historical Events Include:

The Evolution of Electrical Recording At RCA Victor Studios 1925-1953: Presenter, Nicholas Bergh, President, Endpoint Audio Labs – This must-see presentation explores early electric recording methodology by examining the technical evolution of RCA Victor Studios. Little documentation remains of this early era or of its relatively crude and often custom-built equipment: Cryptic technical notations in recording ledgers, brief comments in memoirs, rare photos, and decades of secondhand lore. Research for this presentation focused on alternative sources, e.g. Western Electric and RCA engineering reports, manuals for leased equipment, and modern tests of restored original equipment. Although these sources are not definitive, collectively, they become quite powerful. The presentation will include images of recording equipment and rare audio clips.

Lee de Forest: The Man Who Turned Science into Art: Presenter, Mike Adams, Professor, Radio, Television, and Film, San Jose State University – After de Forest received his PhD in physics and electricity from Yale in 1899, he spent the next 30 years fashioning 19th Century science into the 20th century’s popular audio media. He added sound to Marconi’s wireless telegraph to create a radiotelephone system. He added a “B” battery and earphone to Fleming’s diode vacuum tube telegraph detector to enable the detection and amplification of sound. He added a reliable synchronized sound track to Edison’s silent film, and gave birth to the talking pictures. While he didn’t profit from this innovation, his earlier invention of the three-element vacuum tube allowed amplification of audio through loudspeakers for radio and the movies, and helped create their large public audiences.

The Replay of Historical Magnetic Tape – More than Pressing the Play Button: Presenter, Nadja Wallaszkovits, Phonogrammarchiv, Austrian Academy of Sciences, Vienna – By exploring the various process challenges related to the transfer of historical magnetic audio tapes, this program will focus on the digitization of early audio collections. Issues covered include stages of preservation conditions, handling, and reproduction of important original tapes. In a related program,

Old Fables About Magnetic Recording Theory: Presenters, Jay McKnight and Jeff McKnight – This event will highlight some meaningful developments you may have missed over the past 60 years. These include: The story of the “effective” gap length of a reproducing head. And, a correction to Westmijze’s Gap Loss Theory; Who really discovered AC Bias? How does it actually work? And, who were the 4 groups that re-discovered it circa 1940?

The Egg Show: A Demonstration of the Artistic Uses of Sound on Film: Presenter, Ioan Allen, Senior Vice President, Dolby Laboratories – With pictures of eggs ingeniously illustrating his points, and an array of 35mm clips (replete with scratchy leader and still perfect sound), Mr. Allen describes innovative mixing and editing techniques developed over the years. Attendees will see how film sound mixers highlight a conversation in a crowd scene, how they inter-cut music to film and, how they create artificial effects that sound more real on film than on live recordings. This event will be held at Dolby Laboratories’ Theater. A limited number of $10 tickets will be available exclusively to registered convention attendees at the tours counter in the main lobby at Moscone. In addition to an Oscar, and a Samuel L. Warner Award for contributions to motion picture sound, Ioan Allen has earned Scientific and Engineering Awards from the Academy of Motion Picture Arts and Sciences. An AES Fellow, and recipient of the AES Silver Medal, he spearheaded breakthrough film audio formats which have revolutionized the film sound experience.

“And, though not a historical event,” Bill Wray adds, “I strongly recommend this Scott Hull tutorial, to interested attendees. The growing resurgence of vinyl makes this previously historical subject surprisingly relevant.”

Mastering For Vinyl – Today’s Challenges: Presenter, Scott Hull, Mastering Engineer, Masterdisk – In the last few years there has been a renewed interest in producing vinyl records. What are the considerations for mixing and mastering your music for vinyl? A leading mastering engineer for nearly thirty years, Hull will dig into quality control issues and discuss ways to get great sound on your first pressing.

“We are extremely fortunate to have a genuine audio pioneer serving as our Historical Committee Chair,” said Committee co-chair Valerie Tyler. “Bill Wray is one of the most knowledgeable and enthusiastic members of our team. He is an inspiration to all of us.”

Photo: 133rd AEC Convention Historical Chair Bill Wray

###

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

At Skaggs Place Studio in Nashville, Ricky Skaggs Depends on Neumann KH 120 Monitors to ‘Tell the Truth’

Nashville, TN – July 12, 2012: Once again, multiple GRAMMY winner and Christian artist Ricky Skaggs has been hard at work with “the boys” — his longtime band Kentucky Thunder, which have been playing bluegrass music alongside him for over 15 years. Each time Skaggs and his band enter the studio — usually at his own “Skaggs Place Studio” — the resulting music pays homage to the early trailblazers of bluegrass music, while forging entirely new paths within the seemingly timeless genre.

As an artist, Skaggs is wholly committed to authenticity and detail in his recordings. He is an avid collector of vintage microphones and esoteric gear, and constantly in pursuit of the latest sonic building blocks that will help make his recordings stand the test of time. The latest addition to his studio? The new Neumann KH 120 studio monitors. We chatted with Ricky to learn more about his recent projects, and why it’s important to have a loudspeaker that tells the truth…..

What have you been up to lately?
“Me and the boys [Kentucky Thunder] have gotten together and will be putting out a bluegrass record — the first one since Honoring the Fathers, which we recorded several years ago. We’ve cut two days of tracks, about six songs on which we are now working on overdubs. In the coming weeks, we will be doing more tracks, as well as singing and overdubs. For this record, which will have a lot of variety, I’ve brought in Gordon Kennedy [producer] for moral support. I really wanted him involved because I didn’t want it to be just another bluegrass record. Gordon is able to bring some input and creativity that I wouldn’t necessarily think to bring to the project. Beyond this, I’ve been working on a live CD of Bruce Hornsby and myself. Last time we toured, we did a lot of live recordings on the road and we’ve been going through those live shows and hope to get a record out soon.”

Tell us about your first experiences with the Neumann KH 120 monitors
“When I found out that Neumann was doing monitors, I knew they wouldn’t do anything unless it was excellent — because they have never done anything outside of excellence. If it was Neumann, it was going to be great. I first heard the KH 120s out at Winter NAMM and I was just blown away. I really loved what I was hearing. There is something in the midrange that highlights the acoustic instruments and strings, and the highs are not too bright or harsh. Finally, I just can’t believe how small they are and how great they sound.”

How about the low end?
“Typically it is a little bit harder to define the low end, but everything translates great through the KH 120s. In general, I was really impressed and surprised with their performance given their small size, and could not believe that that such clarity in the low end could be achieved without a subwoofer. The low end of my mixes sound tighter now — and in bluegrass, this is important on instruments like the upright bass and the acoustic guitar. We know that when we get to the mastering facility, that the entire low end will be nice and tight.

Why is the crossover important and how does the KH 120 perform in this regard?
“For any instrument that occupies the midrange, you’ve got to have crossovers that are extremely quick, smooth and transparent. The crossover on the Neumanns is very smooth and you can really hear this on acoustic guitars and mandolins. This is exactly what I hear from the KH 120s, and highlights the thing that I love most about them: the midrange. My instruments sound like I know they should.”

Why have the KH 120s earned a place at Skaggs Place Studio?
“I want the safety net of having a great monitor system — it takes the guesswork out of recording and mixing, and you can be more confident in what you are putting down to tape. I know the low end is there, as well as the mids and the highs. Nothing is falsified and it is the real thing. I don’t like cutting any corners — especially in the recording studio. Once you cut something and put it out, it is out there forever. As an artist, I want to make sure that the recording represented the best that I could be at that moment in time.”

You are no stranger to Neumann. Tell us about your collection of Neumann microphones

“My history with Neumann goes back a long way, and to me, the company’s microphones represent the gold standard. I have a U 47 that was once used by folks like Dolly Parton, George Jones and Johnny Cash. I also have two U 69s, which we use on everything including the piano on the recent Bruce Hornsby recording. I bought some KM 64s years ago that had been owned by a traveling gospel band, The Happy Goodman Family. My Neumann KM 66, an early version of the KM 86, is our all-time favorite guitar mic. I also use and appreciate the newer Neumann microphone models such as the TLM 102, TLM 103 and of course the M 149 and U 87.”

Photo captions:
1. Ricky Skaggs, pictured alongside the Neumann KH 120 monitor
2. The Neumann KH 120 monitors are the latest edition to Nashville’s Skaggs Place Studio

NETIA and First Gulf Extend Radio-Assist(TM) Installation at Radio Riyadh to Three Regional Sites

New NETIA Workstations at Jizan, Hail, and Tabuk Enable Easy Media Exchange With Central Riyadh Station

CLARET, France — July 12, 2012 — NETIA today announced that it is working with systems integrator First Gulf to extend the Radio-Assist(TM) 8 suite of digital audio software at Radio Riyadh to include three regional stations in Saudi Arabia, located in the cities of Jizan, Hail, and Tabuk. Part of a larger multi-year national media infrastructure project overseen by the Saudi Ministry of Culture and Information (MOCI), the extension of Radio-Assist brings more sophisticated production tools to the three stations and simplifies their exchange of media with the kingdom’s central Radio Riyadh station. NETIA technology already plays a key role in the restoration, digitization, and preservation of audiovisual media of cultural and historical importance in Saudi Arabia.

“We are proud to be working with NETIA to extend state-of-the-art production and broadcast capabilities to regional stations and to facilitate and streamline the exchange of content between the country’s radio broadcasters,” said Naim G. Saidi, CEO of First Gulf Company.

The Radio-Assist 8 range of digital audio software programs covers the entire operation of a radio station, addressing acquisition, sound file editing, commercial and music production, scheduling, multicasting, data security, and administration. The installation of Radio-Assist at Jizan, Hail, and Tabuk ensures the interoperability of media management systems across broadcast stations and provides the foundation for shared access to the extensive national archives being created by MOCI.

“Saudi Arabia is undertaking an ambitious upgrade to its national media infrastructure, and we’re pleased to be a part of this project,” said Thomas Dresch, project manager at NETIA. “With this latest NETIA installation, key radio stations across the country have been able improve their local production capabilities while taking much greater advantage of resources and programming at Radio Riyadh.”

More information about NETIA and its products is available at www.netia.com.

# # #

About NETIA
NETIA, a GlobeCast company, is a leading provider of software solutions that enable efficient management and delivery of content to today’s full array of media platforms. Relied on by more than 10,000 users in 200 installations in more than 40 countries, NETIA solutions allow content producers and owners to manage content from ingest to delivery, targeting multiplatform outlets including the Internet, VOD, IPTV services, and mobile devices.

NETIA provides content management solutions to major radio and television brands and multimedia groups around the world. Clients include BSkyB, RAI Italy, Radio Oman, France Telecom/Orange, RTM Malaysia, Mediacorp Singapore, RTL, Radio France, the Associated Press, France Televisions, and L’Équipe 24/24. NETIA has its headquarters in France, with offices in the United States, Paris, Rome, and Singapore, in addition to a global network of professional distribution partners.

ENDS

Primestream – IBC2012 Product Preview

IBC2012 Product Preview
Primestream(R)
Booth 7.D21

Primestream(R)
Americas:
15590 NW 15th Ave
Miami, FL 33169

Europe:
Beumeesweg
48, 9661 AJ Alteveer,
The Netherlands

Company Contact:
Warren Arenstein
VP of Business Development
Tel: +1 305 625 4415
Email: warenstein@primestream.com
Website: www.primestream.com

Agency Contact:
Peggy Blaze
Wall Street Communications
Tel: +1 818 357 3693
Email: peggy@wallstcom.com

Company Overview:

Primestream’s broadcast software solutions offer a seamless, end-to-end platform for digital acquisition of live and file-based video content. Features include media asset management (MAM), editing, logging, playback, publishing to the Web, video contribution via smartphone, and dynamic archiving. The company’s portfolio includes the FORK(TM) Production Suite, as well as Mobile2Air(R), ControlStation(TM), and the cloud-based FORK Xchange(TM) Suite. Deployed in more than 300 broadcast operations across 40 countries, Primestream’s proven solutions are implemented by some of the world’s leading broadcasters, uplink service providers, online digital media operations, and production/postproduction facilities.

More information about FORK software solutions is available at www.primestream.com and b4m.com

Primestream(R) Products at IBC2012:

NEW! FORK(TM) 3.0
FORK(TM) 3.0, the next generation of Primestream’s acclaimed FORK Production Suite for managing and automating broadcast workflows, will make its European debut at IBC2012. FORK 3.0 boasts new features, technological improvements, and third-party integrations that make it more responsive, powerful, extendable, and capable of handling multiple tasks. Underlying technology enhancements such as drones, dynamic forms, and scripts increase the software’s stability, reliability, and functionality. Additionally, the new version includes FORK Xchange(TM) Suite, a new companion application that serves as the Web portal into the FORK environment; the new Shot List Editor, a fast and nimble way to edit proxy content inside of FORK; and the latest versions of Mobile2Air(R) and FORK Social add-on applications. Primestream also continues its commitment to open-platform, hardware-agnostic broadcast solutions by integrating Adobe(R) Premiere(R) Pro, Sony(R) XDCAM(R) Station, and Harmonic ChannelPort(TM) workflows into FORK 3.0.

Photo Link: www.wallstcom.com/Primestream/FORK3Products.zip
Photo Caption: FORK(TM) 3.0 Production Suite

FORK Xchange(TM) Suite
FORK Xchange(TM) Suite is a new companion application to Primestream’s highly acclaimed FORK(TM) software platform for managing and automating broadcast workflows. FORK Xchange Suite is the Web portal into the FORK environment, fully integrating with FORK Production Server and giving broadcasters and media enterprises instant access to content when and where it’s needed — from any Internet-enabled Windows(R), Mac(R), or iOS device.

FORK Xchange Suite allows producers and editors to browse and view clips, edit and add metadata and markers, sort content, trigger FORK action scripts, and transfer media from and to multiple remote production servers. FORK Xchange Suite provides frame-accurate markers, real-time metadata synchronization, and full support — whether users are working from a desktop or an iPad(R).

Enhanced Adobe(R) Premiere(R) Pro Integration
Also at IBC2012, Primestream(R) will demonstrate the enhanced level of integration of FORK(TM) with both Adobe(R) Premiere(R) Pro and the new Adobe Creative Suite(R) 6 Production Premium on Windows(R) and Mac OS(R) X. Using a newly developed panel, Premiere Pro users are able to search and browse the FORK media asset database with speed; select clips, bins, or timelines created in the FORK Editor; and simply drag those items into a Premiere Pro project. When an edited sequence is complete, users can send the project — ready for air — to FORK or into a newsroom system placeholder.

Photo Link: www.wallstcom.com/Primestream/FORK_AdobePremierePro.zip
Photo Caption: Enhanced Adobe(R) Premiere(R) Pro Integration

Company Quote:

“At IBC2012, Primestream will demonstrate its long tradition of implementing the newest technologies and broadcast solutions to meet the changing requirements of our clients. FORK Production Suite is the power behind so many Primestream solutions, and the latest version — FORK 3.0 — gives our customers the tools to work and collaborate more efficiently. This and the other products we will demonstrate at IBC2012 will help our customers better manage today’s workflows and be well prepared for those of tomorrow.”
– Claudio Lisman, CEO, Primestream/B4M

Sennheiser’s Mentorship Program Immerses Students in Top Flight Broadcast Environments, Courtesy of HBO and Fox Sports

Old Lyme, CT, July 11, 2012– Since 2009, when audio specialist Sennheiser launched its Mentorship Program to help encourage the next generation of audio engineers to enter the field of televised sports, the company has initiated collaborations among a variety of higher education institutions and professional broadcast networks. For its most recent mentorship program, Sennheiser selected students Zachary Templin, from the New England Institute of Art in Boston, and Shawn Brewer, from the Conservatory of Recording Arts and Sciences near Phoenix, to participate in covering the Mayweather vs. Cotto fight by HBO Boxing and NASCAR’s Coca-Cola 600 race by FOX Sports, respectively.

According to Randy Flick, senior audio mixer, HBO Boxing, immersing a student for several days in the setup and broadcast of a major sports event provides an experience that simply cannot be provided by the majority of audio schools. “You’ve got to have a grasp of all the technology in your head before you can even think about getting into a show,” says Flick. “Zach proved to be a great asset, and my senior RF guy, Lloyd Jacobsen, was very impressed with him.”

Templin got hands-on experience with two set-ups for the broadcast, one for the weigh-in and another for the fight, and was also introduced to the importance of the communications systems. “Randy placed an emphasis on covering the intercom system, which was the biggest mystery to me and is the backbone of any broadcast,” recalls Templin. “The A2s — Lloyd, Shep and Paul — covered RF, PLs, and IFBs with me, and taught me how to make sure they are set correctly for each different position.”

Broadcast Talent for Hire
For Jason Cohen, director of live events, HBO Sports, Sennheiser’s Mentorship Program serves to increase the talent pool in the industry. “But, altruistically,” observes Cohen, “it allows us to use the power and the tools that we have and give these young, aspiring, career-minded audio technicians the experience and learning that many of us were not fortunate enough to have when we were younger.”

“This is an initiative that is really on the shoulders of Sennheiser,” Cohen adds. “Sennheiser has to research and interview and weed through the potential candidates; they have to put their name behind the person; and they pay for their expenses and their time. We do the easy part — we just let them in our door!”

Fred Aldous, audio consultant and senior mixer for FOX Sports, notes that there is a big difference between the typical training a student receives at an audio school and an event such as the Coca-Cola 600. The long-distance race, one of the most-watched on the NASCAR calendar, was broadcast from Charlotte, NC last May. “It’s a bit overwhelming when students emerge from the nice, protected environment of a recording studio into this hostile live environment on the road,” says Aldous. “I don’t think even people in the industry know or understand what it takes to put together a show of this magnitude.”

The many benefits of giving back
Aldous says he became involved with the Mentorship Program because he believes in giving back. “When I was younger, I would have liked to have had somebody to spend a weekend with, and get an idea of what happens behind the scenes. That’s why I do it; I want to give somebody the opportunity to get a head start on a possible career.”

The race broadcast was done in conjunction with NASCAR, conducted onsite from Game Creek Video’s FX truck. During his three days on-site at the racetrack, Brewer was introduced to the main audio production room as well as the track effects and competitor communications submix positions, head-end patchbays, announce booth, track effect microphone setups and communications systems. “It was really valuable to be able to get into an actual broadcast event and see what kind of equipment they’re using, how fast everything moved and what actually goes into running a race of that caliber,” says Brewer.

What particularly struck him, Brewer says, was the change in tempo of the calls Aldous had to listen to from the producer, a director and associate director from the practice sessions and qualifying, on SPEED, to the race, which was broadcast on FOX. “During qualifying it was kind of laid back; there weren’t as many calls coming through. But when the actual race started it was a mile-a-minute. They were moving just as fast as the cars were!”

Photo captions:
1) Fred Aldous, A1 and senior mixer for FOX Sports, pictured alongside the Conservatory of Recording Arts and Sciences student Shawn Brewer.

2) Zachary Templin of New England Institute of Art participated in covering the Mayweather vs. Cotto fight by HBO Boxing.

3) Randy Flick, senior audio mixer, HBO Boxing, pictured alongside student Zachary Templin of New England Institute of Art.

Auralex® Appoints Music Veteran Saul Zonana Artist Relations Manager

— Company augments current personnel as part of long-term business strategy —

INDIANAPOLIS, IN, July 10, 2012 – Auralex® Acoustics, Inc., the world’s leading brand of acoustical treatments and soon to celebrate its 35th anniversary, has appointed noted singer-songwriter, producer and multi-instrumentalist Saul Zonana to the position of Artist Relations Manager. In his new capacity, Zonana will spearhead a new artist relations program, with a focus on expanding and maintaining brand equity within the community of accomplished and emerging artists, engineers, producers and musicians. The announcement was made by company founder and president Eric Smith and is part of Auralex’s long-term strategic business plan, which includes providing Auralex dealers and end users additional personnel in the field.

Aside from being the main contact for all Auralex artist and end user activities, Zonana will provide valuable information to Auralex’s marketing department for creating market-driven products and artist-oriented promotional materials. He will also oversee a new artist-centric portion of the Auralex website highlighting key and unique applications of Auralex sound treatment products.

Currently based in the Nashville, Tennessee area, after spending much of his life in New York City and on the road, Zonana has a rich and colorful, decades-long career in the music industry. His past projects include notable 1990s bands No Heroes and Luv Junkies, time spent in KISS guitarist Ace Frehley’s touring band, collaborations with guitar virtuoso Adrian Belew, a stint with Crash Test Dummies and ten solo albums – the latest of which, Fix the Broken, will soon be released on Zonana’s own label.

“Saul’s background in various corners of the music industry makes him a perfect asset for our organization as we reach out to artists who are loyal Auralex users and those who could benefit from our products,” stated Eric Smith. “Aside from his impressive resume, he is a class act, and we are thrilled to have him on our team. As Auralex looks at our long-term business strategies, creative minds like Saul will help us realize our goals.”

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

Aphex®’s New Audio Xciter™ Music App Now Available: Hear Your Music the Way It Was Meant to Sound

— Pro audio technology innovator Aphex releases the Audio Xciter™ music player app, providing unprecedented sound quality on mobile devices through its proprietary Xciter digital signal processor (DSP), previously available only in pro audio equipment —

BURBANK, CA, July 10, 2012 — Aphex®, a leader in audio enhancement technology for more than 35 years, is proud to announce the availability of Audio Xciter™, the first audio app that dynamically improves the quality of digital music (as well as audiobooks and podcasts) on your Apple iOS devices through a proprietary Xciter digital signal processor (DSP). It has been the career-long dream of Aphex Chairman & CEO David Wiener to help musicians and music lovers make the most of every music experience, and Audio Xciter is a great testament of Wiener’s drive to end the debate about poor audio quality in digital devices. Audio Xciter uses patented Aphex DSP technology to improve the quality of your music by analyzing and enhancing the audio signal in real time. The iOS app is available today with an Android version to follow next month.

Legendary musicians such as Paul McCartney, Bruce Springsteen and Led Zeppelin have relied on the Aphex technology behind Audio Xciter for years and used to rent Aphex products for thousands of dollars for audio mastering. Now music lovers can experience the original sound quality created in-studio through the Audio Xciter app (available as a free demo download).

“Heavily compressed digital music files reduce sonic performance in music recordings,” said David Wiener. “We’ve leveraged our professional studio technology and created Audio Xciter to restore the detail, richness and spaciousness to your audio experience. The result is a more immersive sound that more accurately reflects the original intentions of the artists, engineers and producers. All the musicians and producers we work with think this is a revolutionary product for mobile music.”

“The Audio Xciter app brings musical detail to life, no matter what style of music you’re listening to. You will hear increased clarity, along with space and detail, that will impress anyone,” said Alan Parsons, GRAMMY® Award-winning record producer and engineer.

The free Audio Xciter app allows 15 minutes of enhanced playback per day. Users have two upgrade options: Audio Xciter Basic removes the time restriction and Audio Xciter Studio allows users to fine-tune the Xciter DSP settings for a truly custom experience. The launch pricing is $2.99 for Audio Xciter ($4.99 after July 31st) and $7.99 for Audio Xciter Studio ($9.99 after July 31st). Audio Xciter can be purchased through iTunes for iOS and will soon be available at the Android Store and Amazon.com for Android devices. The app is available at http://bit.ly/AudioXciter-for-iOS.

A portion of the proceeds from the sale of Audio Xciter will go to Respect the Music, Aphex’s foundation supporting music and arts education.

Additional information including demo videos and screenshots are available at http://AudioXciterApp.com.

Aphex® Appoints Newest Manufacturer’s Representatives

BURBANK, CA, July 9, 2012 — Aphex®, a leader in audio enhancement technology for over 35 years, has appointed a series of additional manufacturer’s representatives as part of the company’s ongoing growth and expansion. These firms will join Aphex’s current sales force in representing Aphex’s line of pro products in their respective territories, fostering sales and increasing market share.

The following firms have been appointed, listed with their regions and principals: Warman Marketing: Rocky Mountain territories (Harry Warman); Sound Vision Marketing: Florida (Tim Yates); Audio One Marketing: Minnesota, North Dakota, South Dakota (Tim Van Bargen); ASR Enterprises: Mid-Atlantic region (Pat Foley); and Marketing Concepts: Texas (Bruce Marlin).

The appointment of new and additional dedicated reps in these regions underscores Aphex’s commitment to meeting the rising market demand with a network of experienced, knowledgeable manufacturer’s representatives. Aphex Chairman & CEO David Wiener stated, “Aphex is totally on a roll! With new products and technologies showing off our strengths and delighting customers old and new, we’ve been firing on all cylinders. The appointment of our newest manufacturer’s reps is part of our long-term strategic business plan, and we look forward to each of these valued partners helping us as we prepare for continued expansion.”

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

About

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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