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Thursday, December 31, 2009

A Conversation With Product & Technology Wizard Gerald Stanley Of Crown

A conversation with Gerald Stanley, who in his 45 years at Crown has had significant impact on the company's many contributions to the pro audio industry

Editor’s Note: This interview with Mr. Stanley was conducted in 2002. Also, you can learn more Crown history here.

As Crown marks its 55th anniversary - celebrating a unique history marked by many notable contributions to the pro audio industry - I spoke with Gerald Stanley, who, with his expert product design and engineering work, has had significant impact in helping bring those contributions to life over the course of almost 40 years with the company.

He continues to thrive in his role to this day and was gracious in submitting to an interview regarding Crown past, present and future.

Keith Clark: How did you get started in this business?

Gerald Stanley: I started as a kid (11 or 12) by SWLing (short wave listening) using old radios that were being discarded around the neighborhood. The best units were taken and souped-up using the spare parts of the less worthy units. It was great fun trying to determine why the radio’s designer had done this or that.

It became clear that engineering products could be fun. Every radio had an audio power amp and speaker portion as well as the RF portions. I modified them all. By high school, high-feedback tube power amps were being designed and built for family and friends.

The lesson is if a kid comes to your doorstep and asks for your old PC, give it to them. Who knows what they may make of it all? Your old PC may transform the world in due time.

KC: Have you always had an interest in audio and electronics?

GS: Before electronics there was the classic electric train set.

KC: What year did you join Crown, and what position did you initially fill? What were you primarily working on?

GS: My first year at Crown was 1964 when I was still an undergraduate at Michigan State University. I worked summer and breaks as a technician in the tape recorder setup area, as a draftsman and as a solid-state power amplifier designer working on the first Crown transistorized designs.

All engineers worked first on the line to learn the products in those days. The products were tape recorders and amplifiers were accessories. In 1966, I returned with a graduate degree from the University of Michigan and went to work full time on designing tape recorder electronics and power amplifiers.

KC: What do you like most about working at Crown?

GS: Working at Crown over all these years has been like having multiple careers without ever moving. The company has grown and changed much. It has been a multitude of companies all at one address.

The design opportunities have also been prolific, having been able to design tape recorders, signal processors, audio amplifiers, magnetic resonance gradient amplifiers, semiconductor and audio test equipment, TEF machines and numerous other unusual electronic products.

One of the more unusual was the design of a speech rate translator that was ultimately used by a judge to play back the Nixon tapes at higher than normal speeds.

KC: Who are the interesting/influential people you’ve met over the years, both at Crown and perhaps outside (if applicable)? Tell us what you learned from them.

GS: I hesitate to name names, as the omissions would be many and unjustified. Obviously, my first design lessons were learned from radio designers that I would never meet. It has been aptly said that “Pygmies standing on the shoulders of giants can see further than the giants themselves.”

Some of those giants can only be met through books – Black, Bode & Nyquist – while others, like Dick Heyser, were friends.

KC: How did Crown come to evolve from a respected manufacturer of tape recorders into its current status as a world leader in power amplifiers and affiliated products, microphones, and now, DSP?

GS: As mentioned previously, the first Crown power amplifiers were accessories to the tape recorders. Over a period of time, the accessories outsold the original products.

Each audio product added to the Crown line has brought a unique value to the customer and acted to support the remaining products. The incorporation of digital signal processing is a natural for adding value to most signal processing products and power amplifier systems are no exception.

KC: How many patents are you responsible for at Crown, and what are several of the most noteworthy ones in your opinion?

GS: If one counts foreign issues, I’ve lost track. I believe the U.S. Patent count is now at 21 issued. The most noteworthy would be the opposed-current converter, the grounded-bridge amplifier and junction temperature simulation.

The latter two have expired due to age. The second is now the pinnacle of one major competitor’s product line, while here, it’s our old technology.

KC: What are your favorite Crown products over the years, and why?

GS: I’ve enjoyed a lot of the products and hesitate to pick a favorite. It’s like picking favorites amongst your kids.

KC: What product was developed that you were sure would be a hit, but somehow, it just didn’t take off?

GS: There have been products that didn’t take off, but then they weren’t my favorites either. Does anyone remember the OC-150? (This was an “output control console.” Find out more about it here.)

KC: How has Crown’s approach to designing products changed over the years that you’ve been with the company?

GS: The largest change has been the use of computing tools to analyze designs before ever making hardware. This change has been delightful as designs can now be considered that would have been intractable by earlier manual methods.

Since I’m a programmer (since college days) who has been writing circuit simulators and solving assorted problems using numeric methods, it’s been fun.

KC: Any big changes since the Harman acquisition?

GS: Our manufacturing area is being transformed into a world-class facility. Change is occurring at record rates. We are also making products for sister Harman companies, which adds some diversity to the design opportunities.

KC: Where do you see Crown heading in the future in terms of product conceptualization, design and manufacturing?

GS: As the Harman center for amplifier excellence, I would expect to see more opportunities for both design and manufacturing of state-of-the-art products. This is clearly a team effort with all of the associated parties.

KC: What do you like to do with your free time?

GS: I like biking, hiking, programming and working in my large home electronics lab.

KC: What do you see happening, technology-wise in general, over the next 5-10 years? (In pro audio…)

GS: I see a guaranteed future for digital, wireless and networked systems. Power amplifiers will continue to offer higher power with ever-increasing efficiency and value. Power amplifiers will remain integral parts of our electronic future.

KC: Why have you hung around so long in the audio business?

GS: When graduating with a Masters in EE, I was offered a fellowship to pursue a doctorate in radio astronomy, which I declined.

While I loved radio astronomy, it seemed that future starvation would be the likely result of such a career choice. Audio at least had a product to sell and it could also be fun. I’ve not regretted the choice.

Addendum: Mr. Stanley was selected by the Audio Engineering Society’s awards committee and board of governors to receive the distinguished AES Fellowship Award in 2008. According to AES Secretary Han Tendeloo, the award is for “significant contributions to power amplifier design and electronic networking of communications systems.”

Note: Thanks to Chris Shuler at Public Address for his considerable help with this project.

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History Files: Altec Lansing (and Western Electric) 639 A/B Two-Element Microphone

The Altec Lansing 639A/B microphone, an early two-element microphone made its debut in the early 1940s

The Altec Lansing 639A/B microphone made its debut in the early 1940s, and was originally sold by Western Electric (WECO) under the same model number.

When the U.S. government forced the breakup of WECO in 1947, Altec spun off to continue manufacturing the WECO sound reinforcement and related products, and they continued to make/offer the 639 for many years afterward.

The microphone earned the nickname of “birdcage” because of its size and body design.

It’s an early unidirectional microphone, and what made it unique was use of two microphone elements: ribbon and dynamic.

The ribbon offered a figure-8 pattern; the dynamic, being a pressure microphone, provided an omnidirectional pattern.

By internally blending the two microphone element outputs, the omni cancelled the rear lobe of the figure-8, creating a cardioid pattern.

Both models included a pattern selector switch. The “A” model offered three settings – ribbon, dynamic and cardioid, while the “B” model supplied three additional settings to modify the cardioid characteristic.

Design credit for this 639 goes to William R. Harry and Robert N. Marshall of Bell Laboratories. They received patent number 2,227,580 in early 1941.

Model 639 Condensed Specs
Sensitivity: -84 dB re 1v/dyne/cm2
Power Output Level: -56 dBm at 10 dynes/cm2
Frequency Range: Uniform from 40 Hz -10 kHz
Impedance: 40 ohms (average value, intended for use with equipment having a rated source impedance of 25 ohms to 50 ohms)
Dimensions: 7 inches by 4.4 inches by 3.4 inches
Weight: 3.25 pounds

References: A History of High Quality Studio Microphones. AES Journal, December 1976; Vintage Broadcast Microphones web site; and Dorrough Electronics web site.

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Shure Now Shipping PG27USB and PG42USB Side Address Condenser Microphones

Connect professional-caliber Shure microphones to any USB computer port with “plug and play” performance

Shure has announced that thePG27USB and PG42USB side address condenser microphones are now shipping.

PG27USB and PG42USB microphones connect professional-caliber Shure microphones to any USB computer port with “plug and play” performance.

These cardioid condenser microphones feature built-in headphone monitoring with zero latency and monitor mix control, enabling users to instantly hear what they’re recording and make adjustments on-the-go.

The key difference between the PG27USB and PG42USB Microphones is the application for which they were designed.

The PG27USB features a flat, neutral frequency response for reproduction of a wide variety of instrument and vocal sounds.

The PG42USB was engineered to reproduce the subtle nuances of lead vocals; its large diaphragm, low-cut filter and external shock-mount are all optimized for the higher sensitivity required for vocal performances.

Other unique features of the PG27USB and PG42USB include:
• Large diaphragm capsule: Provides wider dynamic range, clear highs, and strong lows.
• USB “Plug and Play” Connectivity: Enables the convenience of digital recording, anywhere your computer goes.
• Integrated pre-amp with Microphone Gain Control: Allows control of input signal strength.
• Zero Latency Monitoring: For real-time playback and multi-tracking without disorientation.
• Headphone Jack: For monitoring with 1/8” connectivity.
• Monitor Mix Control: For blending microphone and playback audio.

“Shure has a long history of building professional gear that stands up to the punishing treatment of traveling musicians. The introduction of our USB microphones is a testament to the fact that recording has moved beyond the studio,” said Scott Sullivan, Shure Senior Director of Global Product Management.

“Now, everyone from on-the-go artists to traveling podcasters can create and capture professional sound quality from the road.”

Pricing and Availability:
• PG27USB: $199 retail [$238 MSRP]
• PG42USB: $249 retail [$298 MSRP]

The PG27USB and PG42USB carry a two-year limited warranty and can be purchased at select retail partners.

Earlier this year, the PG27USB was recognized with the Shure X2u XLR-to-USB Signal Adapter as two of the Top 18 Products at CES 2009 in the Popular Mechanics Editor’s Choice Awards.

Shure Website

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Sennheiser Releases New Version 3.2 Wireless Systems Manager Software

Now available for Intel-based Macintosh running OS 10.4 and above, and allows multi-computer network control

Sennheiser has released the latest version of its Wireless Systems Manager software (WSM) for monitoring and controlling its wireless audio networks.

New version 3.2 brings two new major features to WSM. The software is now available for Intel-based Macintosh computers running OS 10.4 and above, and it also now allows multi-computer network control with easily assignable permissions to facilitate control in complex situations.

WSM allows users to pre-program equipment so that changes can be made on a tour bus or during other down time.

With an integrated spectrum analyzer, it identifies free wireless channels and shows where there may be reception problems. WSM clearly displays all transmitter and receiver parameters, including signal strength, battery strength, and output, in real-time on the computer using fully-customizable windows.

“As of November 2009, we will make WSM version 3.2 available for download to our customers free of charge,” said Robb Blumenreder, Sennheiser Channel Manager, Professional Systems. “In response to requests from users, the latest version makes it possible to establish networks with up to six computers, which is particularly advantageous for applications in the broadcast studio and for communication between the monitor and the FOH positions.

“The computers may be set up on ‘equal footing’ or with clearly assigned access rights. And good news for Mac users: the new WSM now also runs on Intel Macs.”

WSM is compatible with evolution wireless G3 – 300 & 500 Series, 2000 Series, EM 3732, SKM 5200, SKM 5212, and NET 1.

Sennheiser USA Website

 

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Tuesday, December 29, 2009

ADAM Audio Monitors New Music At Cuyahoga Community College

Studio A has ADAM Audio S6A MK2s, and the other main studio has ADAM S5A MK2s

Focusing on “creativity, collaboration, and community,” the Recording Arts and Technology program at Cuyahoga Community College offers unparalleled resources and knowledge for anyone interested in the recording and performing arts.

The curriculum is designed by program director Tommy Wiggins, a producer, musician, engineer and entrepreneur, to inspire anyone––whether they want a career in music, film or broadcasting or are just seeking a creative outlet for their talents.

As explained by Wiggins, “We chose the name Recording Arts & Technology for the program, joining both to help students create something worthwhile when they’re here. To collaborate with each other––the studio audio, the live audio, the digital film program and other programs, which we share with the community by bringing them in here to participate as well.”

Cuyahoga’s 75,000-square-foot creative arts center will also house the nearby Rock and Roll Hall of Fame’s archive and library. Educational partner for the Hall of Fame, the college has a new building dedicated to maintaining the hall’s extensive collections and library.

The facility includes seven new audio recording studios, all designed by the Walters-Storyk Design Group. Says Wiggins, “Studio A has an SSL 48-channel Duality SE with the ADAM Audio S6A MK2s, and the other main studio has ADAM S5A MK2s.

“ADAM monitors are the most transparent sounding. Each set of loudspeakers is matched to the control room, which is important when you’re learning about recording and music.”

By the way, ADAM Audio will be at booth 7119 at the upcoming Winter NAMM show in Anaheim.

ADAM Audio USA Website

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Monday, December 28, 2009

The Technologist: Spotlight Versus Pro Tools - The Devil Is In The Details

So, was it possible to recover a core system service once it’s basically been destroyed? Well, technically yes

As any Pro Tools user can tell you, the devil is in the details.

Making sure that your system is properly optimized makes all the difference, as I found in my month-long battle with Spotlight.

It all began when I started having random kernel panics, which seemed to be attributable to a Spotlight conflict. So, I set out to correct the issue.

As specified by Digidesign on the DUC:
“If Spotlight Indexing is running in the background, this can cause errors in Pro Tools. You should make your recording and playback drives ‘private’ which will disable Spotlight indexing on those drives.” (via Digidesign)

This was easy enough to verify, but did not correct the issue. As I like to be extremely thorough, I found a way to permanently disable Spotlight on my machine. I hoped that this would fix the problem.

Oh how wrong I was! Had I been in my right mind, I would have remembered that Spotlight is the global search service for OS X.

Whoops? Yeah…

Thus, as one of the (seemingly) many Pro Tools users who has disabled Spotlight Indexing, only to have other application search services hobbled as well, I went looking for a suitable alternative.

While I appreciated the boosts in system performance after disabling Spotlight, I still wanted the ability to search across volumes, within packages and hidden files, etc. Really all I needed (I thought) was the ability to search for file names, not file contents.

Thankfully, EasyFind by DEVONtechnologies (freeware) had me covered on both fronts.

Granted, it wasn’t as fast as Spotlight since it searches for each query separately, as opposed to using the Spotlight Metadata system, but I could at least search now.

Did this solve my problem? Not hardly.

Unfortunately, my problem was actually caused by a rather complex and unrelated driver issue.

However, once the real problem was solved, I really wanted Spotlight back as I was beginning to miss the ability to search within files.

So, was it possible to recover a core system service once it’s basically been destroyed?

Well, technically yes.

For most users, my recommendation would be to utilize whatever flavor of full system re-installation they are most comfortable with.

However, if you’re like me and just aren’t willing to sacrifice your machine to that much downtime, I found Pacifist to be a lifesaver.

Basically, it allows you to reinstall the components of the operating system that you decide need repaired. This, obviously, is not for the feint of heart.

My methodology was extremely unscientific, as I just searched around and installed anything that looked related to Spotlight.

However, after a restart and using Cocktail to force a Spotlight index, my machine is now purring along nicely.

Is there a moral to all this?

Well, not mucking around with core services is always a good start; however, knowledge of the resources to trust in a hurry like the DUC, Apple Support, or the RE/P forums on ProSoundWeb are crucial, as they are the staples that will help to carry you through a crisis much like this.

The Technologist, a.k.a. Kyle P. Snyder, is an audio engineer with innumerable credits in the public and private sector, writing about audio engineering, recording technology, and a multitude of other tropics for ProSoundWeb.

Find out more about Kyle at his website, http://kpsnyder.com/

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Harman Pro Launches HiQnet System Architect 2.1 For Faster, More Comprehensive HiQnet Support

The upgrade allows System Architect to automate many of the more time consuming system design tasks based on the application’s greater, embedded understanding of how a user constructs a system

Building on the new workflow principles and operational paradigms offered with its HiQnet System Architect 2.0, Harman Professional recently made its new System Architect 2.1 available to HiQnet users worldwide.

The upgrade allows System Architect to automate many of the more time consuming system design tasks based on the application’s greater, embedded understanding of how a user constructs a system.

System Architect 2.1 has been upgraded to allow greater compatibility between HiQnet devices from Harman Professional’s legendary brands, including Crown, JBL, dbx, AKG and BSS Audio.

New with version 2.1 is the support of the new Crown PIP-USP4/CN card and control of the AKG DMS 700 digital wireless system via the HUB 4000 Q. 

Frequency coordination of DMS 700 wireless systems can be performed with 1 Click Setup from AKG’s plugin. ‘1-Click Setup’ calculates discrete, inter-modulation-free frequencies for the entire wireless system on the fly with just a single click.

The upgrade means that System Architect takes multiple like-devices within rack and arrays and automatically groups them into master panels These are then made accessible from icons associated with the relevant racks or arrays directly in the venue.

Additionally, user-defined panels can also be assigned to racks, arrays and areas, putting access to control exactly where it makes sense and where it should be.

“With this new upgrade to System Architect, Harman Professional offers its customers the ability to manage all the products within a HiQnet system with remarkable efficiency,” said Adam Holladay, Market Manager, System Development and Integration Group.

“With the operational and performance optimizations that come with the new upgrade, each HiQnet product can effectively work towards providing a more unified system, together reaching a greater potential than alone and with minimal work from the engineer.”

Additional features added to System Architect 2.1 include the ability to readdress devices directly in the venue, both online and offline; the ability to reorder devices in racks and arrays by address and a new region indicator control for use in advanced custom panel design.

The user interface was upgraded to include a file load progress bar, and also provides enhancements to the intelligent Network Troubleshooter to assist with solving network complications.

“System Architect 2.1 continues our goal of offering users the greatest functionality with the least amount of labor,” continued Holladay. “With System Architect ‘generation 2’, Harman Professional is effectively providing engineers with a helping hand to make the even the most complex audio designs as simple to configure as possible.”

Harman Professional Website
Harman HiQNet Website

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Passing Of Ross Ritto, Founder/CEO Of Sound Image

"The Sound Image family owes Ross a great debt of gratitude." - Dave Shadoan

Ross Ritto, Founder and CEO of Sound Image, passed away from cancer on Wednesday, December 23, 2009, at the age of 60.

Born in Rochester, NY, Ross spent nearly 40 years in the sound reinforcement business, helping to grow the company that would provide touring systems, and eventually full systems integration.

A tribute by Sound Image President David Shadoan: “Ross will be sorely missed by his family, friends, audio industry colleagues and employees. The Sound Image Family owes Ross a great debt of gratitude.

“We would never have been able to accomplish what we have, or become who we are, had our paths never crossed.”

Please forward any correspondence or condolences for the Ritto family to Sound Image’s David Shadoan at .(JavaScript must be enabled to view this email address), 760-737-3900 ext. 2132.

Sound Image

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Sennheiser G3 Wireless Systems Deliver Broadway Sound To High School Theatre

20 channels of Sennheiser ew 512 G3 wireless bodypacks and receivers with 10 Sennheiser SKM 500-935 handheld transmitters for live productions

The theatre department at Greendale High School, located in a suburb of Milwaukee, recently upgraded to new evolution G3 series wireless systems from Sennheiser, with the department now utilizing 20 channels of Sennheiser ew 512 G3 wireless bodypacks and receivers with 10 Sennheiser SKM 500-935 handheld transmitters for live productions in its 900-seat auditorium.

In addition to the school’s four annual productions, the Greendale Community Theatre uses the space for three productions a year. A host of music-related events, both from the school’s music department and the community, fill the dates in between.

With the previous wireless systems, “they were having dropouts and interference from day one,” said Sean Dolphin, pro shop manager and installer at Clearwing Productions, the A/V firm that supplied and installed the new systems. “In addition, some of the plastic mic parts were literally falling to pieces and frequency coordination often involved screwdrivers.”

Clearwing’s Bryan Baumgardner went in to Greendale to demonstrate Sennheiser’s new G3 series with the help of Eric Reese, Sennheiser’s area sales manager for Wisconsin and Illinois. Students and members of the community theater showed up, including Pat Doran, auditorium manager for the school and technical director for the community theater.

Baumgardner and Reese showed them that with the new affordable G3 series, they would get lightning fast frequency coordination. The auto-tune feature is speedy, and belt-packs can be synchronized to receivers using an infrared “zap” that, in addition to being fast, is foolproof and stress-proof. They were also impressed by the small size of the belt-packs and the robustness of the wireless signal.

“Their only question was, ‘can we get these in place by next week?’” Dolphin laughed. “It was very fast turnaround. We won the bid, and Eric worked hard to get all twenty of the units to us in a few days time. Then I was over there installing it, tuning frequencies, and strapping belt-packs on kids for tech rehearsal. That’s it, they had one tech rehearsal and then two weeks of Rent.”

While the theatrical performances will primarily use the twenty Sennheiser ew 512 G3 wireless units with the included Sennheiser MKE 2 ew lavalier mics, other events will have access to the ten Sennheiser SKM 500-935 handheld wireless transmitter/microphones.

“The auditorium is now set up to accommodate any type of performance with an impressive level of sophistication,” Dolphin summarized. “And if they need to re-coordinate their frequencies, it will take them literally 10 minutes.”

Sennheiser USA Website

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Optocore Presenting Technology Seminars In Las Angeles - January 18 & 19

Topics to be covered include platforms and technologies – from Ethersound & CobraNet thru to Dante, AVB and SANE – how they differ and where they are best applied

Optocore North Amerca will be hosting a technical presentation this coming January 18 and 19 (2010) in Los Angeles, where company President Marc Brunke will join Bill Coons (Director) and Jeff Priepot (Technical Sales Manager) to share understanding and insight into the company’s technology.

Brunke has been involved in the development of fiber optics and the use of advanced FPGA since 1992, and is the holder of three worldwide patents.

Core topics to be discussed:
• Platforms and Technologies –  from Ethersound & CobraNet thru to Dante, AVB and SANE – how they differ and where they are best applied
• Connectivity and Formats – advancements in optics, opportunities with copper and all those acronyms – AES/EBU, MADI, and AD/DA as well as SRC (Sample Rate Conversion).
• Sync and Word Clock – what works and what doesn’t and how to diagnose symptoms in your system

In addition to the theory will be product presentations of both the classic fiber optically based, 512 channel Optocore network devices, as well as the recently released SANE series of products that allow 64 independent, synchronous channels with ultra low latency, low jitter redundant transmission on CAT-5.

Space for each two-hour session is limited, so the company asks attendees to RSVP in advance to insure a seat.

The presentations will be held held on both January 18 and 19 at noon and 5 pm, at CenterStaging Studios, Studio 3, 3407 Winona Ave, Burbank, CA.

RSVP to .(JavaScript must be enabled to view this email address), at Optocore NorthAmerica. Call 416-287-5723 for additional information.

Optocore Website
 

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Composer, Guitar Virtuoso Vince Lauria Utilizes JBL LSR4328P Monitors On Latest Project

Award-winning film music composer implements JBL monitors at Vinny Castaldo’s Las Vegas recording studio

Guitar virtuoso and composer Vince Lauria purchased JBL Professional LSR4328P monitors to mix and master the music for the new independent feature film, “Nowhere Fast: The Forgotten Story of Approach Control.”

Many of Lauria’s projects are finalized at The Tone Factory, Vinny Castaldo’s Las Vegas recording studio. “Vinny’s studio has very high-end, expensive studio monitors, and when I used to bring my mixes there, they would not sound right,” Lauria said. “But it’s such a huge difference now with the LSR’s. My mixes translate so well from room to room.”

Lauria recently won a Gold Medal award for Best Impact of Music in a Documentary Film at the 2009 Park City Film Music Festival for the feature documentary, “Pigweed Philosopher: The Untethered Zen of Kimball Johnson,” which also recently earned Best Documentary [International] at the London Independent Film Festival.

Lauria also won a 2008 Gold Medal at the Park City Film Music Festival for the feature documentary, “Man Of A Thousand Faces,” executive produced by actor James Hong (“Blade Runner,” “The Day The Earth Stood Still”). The music for both “Man of a Thousand Faces” and “Pigweed Philosopher” was mixed using JBL LSR4328P monitors.

“I love the uncolored sound the JBL’s have, because my mixes are consistent and accurate when I go to a mastering studio,” stated Lauria. “Unlike other brands I’ve used, I don’t have to compensate for the inadequacies of the speakers.”

As a guitar virtuoso, Lauria has numerous instructional textbooks to his name. As a composer, Lauria has collaborated with notable recording artists such as Denny Laine (The Moody Blues, Wings), award-winning film composer Jeffrey Gold and Jazz great Richie Cole.

He composed and performed the Clio Award-winning melody for the Made In The Shade Jeans commercials. Lauria is also producing and engineering a new album with producer Rafael C. Garcia for recording star Donnie Vie of Enuff Z’nuff.

JBL Professional Website

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Friday, December 25, 2009

Ray Kurzweil: How Technology Will Change Humanity In The Next Decade & Beyond

A visionary looks ahead

Happy Holidays!

I recently ran across an interesting article in the New York Daily News, authored by Ray Kurzweil, best known to us in the audio/music business for his creation of a new generation of music synthesizers in the mid-1980s, in which he provides his views and predictions on how technology will change and impact our lives over the next 10 years and beyond.

Kurzweil is also noted as a “top futurist” and has achieved much outside of the synthesizer business, involved in endeavors such as optical character recognition and speech recognition technology, in addition to authoring books on diverse subjects ranging from health to artificial intelligence, and much more.

Anyway, check out his recent article on what the future might hold here in the New York Daily News.

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American Music & Sound Inaugurates Music Creation Division And Is Now Hiring

"The best news of all is that we have created new positions are now hiring for six new Regional Sales Managers. Qualified folks, please send us your resume today!” - Lynn Martin, American Music & Sound

American Music & Sound (AM&S) has announced the creation of a new Music Creation Division consisting of the beyerdynamic, Focusrite, Novation, Fostex, Kurzweil, Nord, Vestax, and Xone brands. 

“Many of our brands share a common thread – the creation or performance of music, “ states Lynn Martin, President of American Music & Sound. “In order to better serve our music creation customers and dealers as well as optimize the reach of our ever expanding family of brands, we have organized these brands together into our new Music Creation Division.

“And, the best news of all is that we have created new positions are now hiring for six new Regional Sales Managers. Qualified folks, please send us your resume today!”

The new Regional Sales Managers will work hand in hand with the company’s current Independent Sales Representatives to help organize, facilitate, and execute all the sales, marketing and product training necessary to increase our level of support and market awareness for our dealer and customer network.

AM&S’ Pro Audio and Musical Instruments Divisions will remain unchanged. 

The Music Creation Division was created in recognition of how the latest generation of audio products is blurring the lines between professional audio and musical instruments. 

“Most of the new products we have been launching have a computer component to them in one way or another,” comments Martin. “These products are enabling folks to create music in totally new ways while simplifying what used to be steep learning curves.

“A whole new group of consumers are becoming musicians and recording or performing through electronic means, and this new set of products serves this emerging market segment perfectly. Our new Music Creation Division is the expert sales channel for Music Creation Products.”

Submit resumes to .(JavaScript must be enabled to view this email address)

American Music & Sound Website

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Thursday, December 24, 2009

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

New System Architect Plug-In allows anyone who has an AKG wireless system equipped with the HUB 4000 Q and System Architect to be prepared for any future wireless implementation

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

The professional digital wireless microphone system DMS 700 is now fully integrated into System Architect.

Users have the ability to setup and monitor multichannel DMS 700 systems with tools such as 1 Click Setup, RF Monitor, Environment Scan and Offline Configuration.

With AKG’s 1 Click Setup, the frequency coordination of DMS 700 multichannel systems can be done with ease with just a single click.

The 1 Click Setup is easy and straightforward and allows for optimal frequency coordination for all of AKG’s wireless systems.

With a single click, the algorithm completes a full frequency coordination by performing an environment/frequency scan, calculating the inter-modulation-free frequencies for each device and programming each device automatically.

The new upgrade allows AKG’s professional wireless systems – including the DMS 700, the WMS 4000/4500 as well as the IVM 4 – to be completely integrated with Harman’s new System Architect 2.1.

The new System Architect Plug-In allows anyone who has an AKG wireless system equipped with the HUB 4000 Q and System Architect to be prepared for any future wireless implementation.

Harman HiQnet is the world’s first connectivity and control protocol that integrates all product categories in the signal chain for professional audio systems of all types, size, and applications. It was developed by engineers from across the Harman Pro Group and is coordinated by the System Development and Integration Group (SDIG), a team of dedicated systems specialists based in Salt Lake City, Utah.

Harman Professional Website
AKG Website

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Wednesday, December 23, 2009

TransAudio Group Debuting New True Systems PT2-500 Modular Mic Preamp At Winter NAMM

New rack offering fits into the modular 500 Series format

The new True Systems PT2-500 mic preamp and DI conforms to the modular 500 Series format.

It features up to 70 dB of high-headroom, low-noise microphone gain.

An exceptionally high-quality direct input (DI) calms edgy piezos and provides a THRU jack for amping or effects.

Switchable phantom power, 80 Hz high pass filter, and polarity reverse give the unit appropriate flexibility, even in its tiny, 500 Series space.

Like all True Systems preamps, the PT2-500 boasts exceptional frequency response - 1.5 Hz to 600 kHz (-3 dB), ensuring that the audible and usable ultrasonic ranges are well within its linear response.

“More so perhaps than any other mic pre manufacturer, True Systems is a natural fit for the 500 Series,” said Brad Lunde, president at TransAudio Group, the U.S. distributor for True Systems.

“Engineers have been asking for the PT2-500 for years as the 500 Series format is quickly becoming the de facto protocol for modular gear.”

MSRP for the new PT2-500 is $695 (US).

True Systems Website
TransAudio Group Website

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