Archive for April 23rd, 2013

ACTUA FILMS RELIES ON STUDIO TECHNOLOGIES LIVE-LINK REMOTE CAMERA INTERFACE UNITS FOR SNG AND PRODUCTION TRUCKS

Live-Link Provides Streamlined Setup and Reliable Service for Breaking-News Applications

GENEVA, SWITZERLAND, APRIL 23, 2013 – Actua Films, a facility service provider for local and international TV stations, corporations and TV networks with offices in Geneva and Paris, relies on the Studio Technologies Live-Link Remote Camera Interface System for its satellite news-gathering (SNG) and production trucks. The company provides services ranging from a fleet of trucks deploying camera crews for news and sporting events across Europe, to editing facilities for post production, 4K and HD feature film/documentary production, through its sister company, PointProd. Actua employs the Live-Link system for breaking news and time-sensitive interview applications, where high reliability and a speedy setup are imperative.

“As HD production continues to gain traction, we needed to provide a remote camera system that would take us a step ahead in terms of features and ease of use,” says Patrick Coenen, chief technical officer for Actua Films. “While we looked at offerings from many manufacturers, the Live-Link system best addressed our specific needs. Studio Technologies brought us a solution that was compact and easy for the engineers to use. We have received positive feedback from our clients using the system in the field and are very happy to have the equipment.”

Before using Live-Link, an Actua Films truck would pull up to a site and the setup crew would need to pull both fiber-optic cable and conventional copper cable to handle on-air, talent cueing, and communications audio. Not only did this complicate the deployment process, but the use of multiple systems had the potential for operational problems. With Live-Link, crew members now only have to pull in one fiber assembly, reducing the deployment time and greatly simplifying the equipment list.

“A lot of locations in Europe are already pre-cabled in fiber, so we can hook Live-Link up at the venue patch to the truck, go inside, plug a fiber cable into the cable patch to the camera and go right into broadcast,” adds Coenen. “As Live-Link production audio, comms and IFB are all carried by the SDI data stream; this system really cuts down on our setup time, making us ready to go in an instant, which is very valuable to our operations. We have used Live-Link for Premiere League coverage in France, with sideline interviews for BN Sports, and the Olympic Games in London for TV Record in Brazil, for example. For the TV Record job, we only had one hour to do the live standup reporting. Now that Live-Link has made us faster and more efficient, this kind of time constraint has become much more feasible.”

Designed to handle news, sports, and other day-to-day remote interfacing needs with ease, the Live-Link Remote Camera Interface System offers a comprehensive fiber-optic-connected solution for transporting digital video, audio, intercom and data between a remote camera location and a truck or control room over four single-mode fibers. The point-to-point system consists of a portable camera end unit and either a portable or rack-ready control room unit. Both use industry-standard connectors that are clearly labeled for a fast, intuitive setup process for ENG and OB vans, SNG vehicles and production trailers. The system is also an ideal infrastructure solution for airports, studio complexes, arenas and campus environments.

Live-Link systems interconnect using two single-mode optical fibers. They support standard 3G/HD/SD-SDI digital video signals and provide four mic/line inputs with selectable gain and +48 volt phantom power. Also included are two line-level audio paths for IFB or general-purpose use, two-channel party-line intercom interface with 28-volt beltpack power, 2-wire to 4-wire auto-nulling hybrids for excellent intercom audio, Ethernet, RS-232 and RS-422 for camera control and GPI/GPO for tally support. Live-Link units are available in several configurations, with the new Live-Link 07X addressing the emerging 4K production workflow.

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New Dashwood Editor Essentials Plugin Available for Adobe After Effects, Premiere Pro and Final Cut Pro

Takes care of routine editing tasks, saving time and energy

Boston, MA – April 23, 2013 – Noise Industries, developer of visual effects tools for the post-production and broadcast markets, today announced the availability of Dashwood Editor Essentials, a plugin for Final Cut Pro, Motion, Adobe After Effects and Premiere Pro. Dashwood Editor Essentials is a collection of plugins that automate routine tasks such as unsqueezing an image or converting LOG to REC709 without a LUT, saving editors time and effort. “As a professional editor I have designed and saved many project templates for repetitive tasks over the years, but I know how difficult it is to keep track of them and how frustrating it can be to ‘reinvent the wheel’ every time you start a new project on a new edit suite or a different NLE,” says Tim Dashwood, founder of Dashwood Cinema Solutions. “Editor Essentials is my solution to this problem. By simply installing it on any Mac editing system, all editors using Final Cut Pro, Motion, Premiere Pro or After Effects on that system can access its tools. I’m very excited to introduce this package to my editing peers at a price anyone can afford.”

The FxFactory-powered Dashwood Editor Essentials include the following 15 plugins:

Camera Gamma – Easily convert LOG to REC709 without a LUT or create custom presets. Presets are included for common Log to REC709 conversions for Arri Alexa, Blackmagic Design Cinema Camera, Canon C100/C300/C500, Sony Cinegamma4, S-Log and S-Log2.

Luma & RGBA Levels – Control input/output levels & shift gamma using the same parameters found in Photoshop. Individual channel controls are available for Red, Green, Blue and Alpha or adjustment of the overall Luma Levels. Histogram display is available in most hosts.

White Balance – Shift white balance warmer or cooler in degrees Kelvin or compensate for green/magenta light sources. The plugin also includes presets for common Wratten colour correction filters like 80A, 81A & 85.

4×3 to 16×9 – Manipulate 4×3 aspect ratio footage for presentation in widescreen formats. Scale and crop footage or utilize the special “non-linear stretch” mode for interviews to maintain vertical resolution and roundness on the subject while stretching non-essential areas. Special modes are also available for custom pillarbox or out-of-focus background.

Anamorphic – The Anamorphic filter unsqueezes footage shot with various anamorphic lenses including standard scope 2X, specialty 1.5X, 1.25X, as well as the rare 1.33X adapters from Panasonic or Century Optics. The Anamorphic filter can unsqueeze, crop and scale 2.39:1 aspect ratio from all 16×9 sensors as well Arri Alexa Studio’s 4×3 sensor.

Letterbox Pillarbox – The Letterbox Pillarbox filter will apply the selected aspect ratio to any format while allowing the image to shift the behind the mask. The mask can be any colour and the edge softness can be adjusted.

Obscure Shape – Obscure areas of image with blur or pixelization using rectangles or oval shapes, or highlight an object and blur the surrounding area. An 8-point custom shape creator is also available. All shapes have soft-edge control and can be tracked to moving footage in Apple Motion or Adobe After Effects.

3D Axis – Rotate and Position 2D footage or other elements in 3D space on the X,Y,Z axis and animate with keyframes. The 3D Axis filter can also be used to straighten forced perspective.

Mesmerize – Simulates a distortion similar to a rotating anamorphic lens like the Kish Mesmerizer, typically used for point-of-view “psychedelic” shots in films.

Level Horizon – Straighten the horizon and correct fisheye lens distortion from wide angle lenses and cameras like the GoPro.

Quick Slate – Quickly create program slates for commercials, music videos, series episodes, or long-form videos.

Countdown Leader – A SMPTE-style countdown leader that ends on zero or a 2-pop. The countdown can be stretched to any length.

Frame Leader – Generator designed to create frame leaders with either letterbox/pillarbox crop area or frame lines. All the common aspect ratios are supported.

Dead Pixel Fixer – Repair footage acquired by video cameras with a dead or blown pixel.

Pricing and Availability
Dashwood Editor Essentials is available today and can be purchased from the Noise Industries web site for $49 USD. A tutorial video is available at http://www.youtube.com/watch?v=a6l25VX2fsY.

Press Kit with Images, Screenshots and Logos:
http://www.noiseindustries.com/downloads/press/dashwoodeditoressentials.zip

About Tim Dashwood
Tim Dashwood is the founder of Dashwood Cinema Solutions http://www.dashwood3d.com/. Dashwood is an accomplished director/cinematographer, editor and stereographer. His diverse range of credits include music videos, commercials, feature films and 3D productions for 3net, DirectTV, Discovery Channel and the National Film Board of Canada. He also previsualizes fight/stunt action scenes for productions such as Kick-Ass, Scott Pilgrim vs. the World and Pacific Rim.

About Noise Industries, LLC
Established in 2004, Boston, Massachusetts-based Noise Industries is an innovative developer of visual effects tools for the post-production and broadcast community. Their products are integrated with popular non-linear editing and compositing products from Apple and Adobe. For more information about Noise Industries, please visit: http://www.noiseindustries.com.

Press Contacts
Anya Oskolkova
Zazil Media Group
Anya@zazilmediagroup.com
(p) 617.817.6559
(skype) anya.oskolkova

Megan Linebarger
Zazil Media Group
Megan@zazilmediagroup.com
(p) 617.480.3674
(skype) megan.zazil

####

Filmworkers and Vitamin Sign with Heart, Brains & Nerve for Midwest Representation

CHICAGO—Filmworkers has contracted Nathan Skillicorn and his company Heart, Brains, & Nerve to serve as its sales representative in the Midwest. Skillicorn will represent Filmworkers and its affiliate, the hybrid production studio Vitamin for advertising projects.

Although Filmworkers and Vitamin are well established in Chicago and have strong relationships with local advertising agencies, Skillicorn sees tremendous opportunities for growth both by expanding those ties here and by reaching out to other markets. “Both Filmworkers and Vitamin have strong brands, great resources and excellent talent,” Skillicorn says. “Agencies that have worked with them, love them; agencies that haven’t, will.” more

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Tool Hires Executive Producer Danielle Peretz

Tool is pleased to announce the addition of Danielle Peretz as its newest EP. An award-winning professional with many years of creative, business and management experience, Peretz has led teams around the world on an impressive variety of projects in the advertising, film, and music worlds.

Peretz joins Tool from Anonymous Content, where she produced commercials, branded content, music videos, and documentary films using in-house management and talent. Her career has been punctuated with great leaps forward in technology. She introduced the patented DVD multi-channel MX technology to record labels, production companies, music managers, and music video and feature film directors. She also worked on acquiring content for the launch of the first high-definition music video channel and was at the vanguard of the HD revolution.

Peretz has overseen highly regarded work for Levi’s, Ubisoft, Old Navy, Budweiser and Ritz Carlton. Her deep roots in the music industry include music videos for Madonna, B.B.King, NIN, Beck, Green Day, Lenny Kravitz, R.E.M, Michael Jackson and Janet Jackson to name a few. This resume has earned Peretz honors from the MTV VMAs and a Palm d’Or at Cannes.

About Tool:

Bicoastal Tool is an award-winning production company, representing top live-action directors and interactive directors for advertising projects. From funny… visually engaging… and/or interactive, Tool’s diverse roster of unique talent creates unforgettable commercial and digital content across all platforms.


Visit Tool
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In-Store Entertainment Provider PlayNetwork Unveils Extravagant 30-Monitor Matrox-Powered Video Wall as Main Attraction of London Lingerie Store

MONTREAL — April 23, 2013 — Matrox Graphics today announced that Matrox Mura™ MPX Series video wall controller boards were selected to drive two installations at a high-profile London lingerie store, including a sky-scraping, attention-grabbing two-story video wall. In-store multimedia solutions provider PlayNetwork was contracted to enhance the in-store shopping experience of customers. To read the complete story, visit PlayNetwork Takes Digital Signage to Whole New Level with Matrox Mura Video Wall Controller Boards.

JML Works at the Speed of Advertising with Facilis TerraBlock SAN

UK-based consumer brand and television shopping specialist JML specializes in retail and promotions for home television shopping. The company offers an extensive catalogue of products supported by in-store video promotions and nationwide ad campaigns. Over the last few years, JML has produced and broadcast several advertisements for international audiences – including 30-second spots for Belvia, Shark and Mantis, and a series of ‘Chatmercials’ for ITV – the UK’s largest commercial television network.


Its dedicated in-house team of designers, production staff and a 3D artist is responsible for creating all of the company’s content for broadcast on shopping channels such as JML Direct, JML Living and JML Cookshop. The team relies on a solid post production workflow with Facilis TerraBlock at its core to turn around content in time for air. All content is ingested into Avid® Media Composer® 6 through AMA and archived to a XenServer and Spectra Logic T50e tape library. After transcoding, projects are offlined/onlined on TerraBlock, and motion graphics are integrated using Adobe® After Effects®. Once finalized, projects are laid to tape for delivery and archived.

Last year, Post Production Manager John Lucas saw a need for additional bandwidth and storage space to accommodate a growing project load. In November 2012 he took advantage of the Facilis Customer Loyalty program and traded two older TerraBlocks for new 24D systems through Facilis’ UK Reseller Tyrell. Tyrell worked closely with Lucas’ team on installation and setup to ensure that the upgrade ran smoothly and will continue to provide on-going technical support. Lucas shared, “The TerraBlocks are so simple to use and give us affordable, reliable, superfast bandwidth, as well as greater storage capacity. They’re perfect for a facility like ours.”

“We started using TerraBlock in 2004 and haven’t looked back,” Lucas continued. “One of the greatest benefits of the system is that our 3D artist can be connected via Ethernet to share project volumes when delivering animations to the editors – without having to create separate media volumes or use external HDD’s. We also have 7 Avid suites, and it’s essential that we’re able to use DNxHD185 media at any one time without experiencing a slow down. TerraBlock allows us to do that.”

He concluded, “TerraBlock is a solid, stable and high-performing networked storage solution. In the nine years we’ve been using the TerraBlocks, we’ve never experienced a slow down – even though we’re constantly filling the servers to max capacity.”

About TerraBlock
Facilis TerraBlock is a high-capacity, multiplatform, shared storage system for post-production and content creation. It fosters collaboration, supporting Fiber channel and Ethernet, volume and file-level control.

About Facilis Technology
Facilis Technology, Inc. was founded in 2003 to bring advanced shared storage to television and film post production at a reasonable price. The company designs and builds high-capacity, turnkey solutions that are open, flexible and scalable; enabling content creators to collaborate and work more efficiently. http://facilis.com/

All trademarks, trade names, service marks, and logos referenced herein belong to their respective companies.

Cool Running For Sound Devices on Frozen Planet

744T and MixPre Lend Incredible Audio to Nature Documentary Series

ANTARCTICA, APRIL 23, 2013 — As a location sound recordist specializing in capturing wildlife and natural history audio, Chris Watson has traveled all over the world, enduring some of the most extreme climates and harshest working conditions on Earth to get compelling sound. For his work on Frozen Planet, the BAFTA award-winning documentary series co-produced by the BBC and the Discovery Channel, he turned to Sound Devices 744T Recorder and MixPre Compact Field Mixer for his portable audio recording needs.

Frozen Planet, presented by Sir David Attenborough, is a seven-part series focusing on life and the environment in the Arctic and Antarctic. In order to document how climate change is affecting landforms such as glaciers and ice shelves, and the extent of sea ice, the series required Watson and the production team to capture a comprehensive record of the natural history in the polar regions.

For his work on Frozen Planet, Watson, who was based at McMurdo Station, the National Science Foundation’s United States Antarctic Program base on Ross Island, located in McMurdo Sound, Antarctica, flew to the South Pole and also worked on the continent’s ice shelf and ice plateau, where it was -47.2 degrees Fahrenheit (-44 degrees Celsius) on some occasions, with a wind chill. Despite being exposed to such extreme cold, Watson’s Sound Devices 744T unit performed flawlessly.

“The reliability of my kit is absolutely paramount, especially when working in such remote locations,” says Watson. “If you go to the South Pole and the equipment doesn’t work, you have no way to fix or replace it, and you’ve wasted your time. The construction, portability and reliability of my Sound Devices gear were fantastic. In fact, it was so cold that on several occasions I had to stop before my 744T did.”

For his rig, Watson set up his 744T with a Sound Field ST450, an ambisonic recording instrument. The 744T works directly with ST450, with Watson using all four-line inputs to record the signals in B format. The 744T has a B-format decoder in the headphone amplifiers, which proved especially handy for the Frozen Planet project. Even though Watson was recording to this less common surround sound format, he was able to decode it and listen to a stereo approximation of his recordings. He also recorded in double-mid side (DMS), a surround sound format that uses three microphones and three channels of his 744T to create four or six audio channels in post production.

“The ease of connectivity of the 744T is great,” adds Watson. “When I want to record content, I can burn the files to CompactFlash and the internal hard drive, which gives you the confidence you need when working in these types of places, thousands of miles from any sort of base that your data is secure. I also like the fact that with the 744T you can back up files to an external drive on location as well.”

Sound Devices 744T, a powerful four-track, file-based digital audio recorder, has become a staple in the rigs of many feature film and episodic television sound mixers. The super-compact 744T records and plays back audio to and from its internal hard drive, CompactFlash cards and external FireWire drives, making field recording simple and fast. The 744T reads uncompressed PCM audio at 16 or 24 bits with sample rates between 32 kHz and 192 kHz. Compressed audio recording and playback from 64 kbps to 320 kbps is also supported.

The 744T’s time code implementation makes it ready for any recording job—from over-the-shoulder to cart-based production. The 744T employs a no-compromise audio path that includes high-performance Sound Devices’ microphone preamplifiers. Designed specifically for high-bandwidth, high-bit-rate digital recording applications, these preamps set the standard for frequency-response linearity, low-distortion performance, and low noise.

Another key component of Watsons’ rig is the Sound Devices MixPre Compact Field Mixer. While recording pods of Orca whales and Weddell seals under the sea ice, Watson used the preamps on the MixPre independently, feeding the audio into his backup recorder. By using the MixPre as a stereo preamp, he was able to capture these sounds under the sea ice, utilizing the dynamic range of the hydrophones.

“The MixPre has that rich sounding analog quality to it, which I like,” concludes Watson. “It also allows me to get a clean analog front end from the hydrophones, because the signals are so loud. I was actually out about 20 miles off shore and stood on nearly 10 feet of sea ice, and was able to record not only pods of orcas coming up to the sea ice, but also the sounds of the ice shifting and cracking.”

Sound Devices MixPre, like its present successor, the MixPre-D, is a studio-quality two-channel, portable, stereo microphone mixer. Its impressive audio performance and comprehensive features, including pan switches, built-in slate microphone, 1 kHz tone oscillator, and headphone monitoring, make it ideal for the front end of any studio or field production system. Film production engineers value the compact size and ability to withstand extremes in the field. The MixPre combines rugged mechanical and electrical construction, compact size, and high-quality components.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. The fourteen-year old company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

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Genelec 8040A and 8050A Monitors Help Key Code Media Bring It All Together for Univision

— Latino broadcasting giant Univision consolidates radio facilities as it converges traditional media with live streaming, and Genelec monitors provide the sonic superiority that systems designer/integrator
Key Code Media demanded —

NATICK, MA, April 22, 2013 — As part of a strategic consolidation of its radio and television properties and facilities, Spanish-language broadcaster Univision, which has the largest audience of Spanish-language television viewers in the world, is in the process of relocating several of its California-based radio and television stations into a new facility in the Westchester neighborhood of Los Angeles, where 23 new radio studios will also be equipped to live-stream their broadcast content. And each of these production studios will be fitted with 8040A and 8050A Bi-Amplified Loudspeaker Systems from Genelec, the world’s longstanding pioneer in active monitoring. The project will be completed later this year.

“This is a huge undertaking and it needed to have the right equipment at every level,” states Tony Arratia, Account Executive for Broadcast Sales at Key Code Media, an industry leader for turnkey systems for customers in a wide range of entertainment, broadcast, corporate, educational and government production facilities, and which did the end-to-end design, consulting, engineering and integration of the new Univision facility. “Key Code Media is proud to be a dealer for many leading manufacturers of broadcast technologies, and Univision had access to virtually any kind of monitor speaker solution available. When it came to monitors for all of these new radio studios, they chose Genelec.”

Arratia says it was a combination of Genelec’s “sonic superiority,” and the fact that Genelecs and their custom mounting hardware systems made the final installations look seamless and pleasing, that won Univision’s executives and engineers over. “They did a sound test and the 8040A and 8050A speakers won hands down in that department,” Arratia says. “But the Genelecs also had the look – they fit into the rooms seamlessly. When you’re spending millions on a facility, you need more than just great performance, you need the equipment to look good, and Genelec had both of those bases covered better than any other brand of monitor. Univision saw that Genelec monitors would also produce a return on investment faster than any other brand.”

For more information, please visit www.genelecusa.com/.

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Genelec Focuses on Green Initiative in 2013 and Beyond

— With the new M Series of high-performance, environmentally sustainable active monitors and more energy efficient versions of the company’s existing product line in the coming months, Genelec pioneers new ground in the professional audio market sector —

NATICK, MA, April 18, 2013 — Since its founding 35 years ago, Genelec, the world’s longstanding pioneer in active monitoring, has consistently shown itself to be an environmentally conscious company. In 2013 and beyond, the company is reaffirming that philosophy by dedicating itself to a renewed long-term green initiative, which will see the introduction of new products and revised, more energy-efficient versions of the existing product line, in addition to other company policies. Genelec management has always strived to adhere to efficient manufacturing and shipping methods, and in fact the very concept of active monitors is at its core more energy-efficient than passive monitor/amplifier combination setups. Environmental consciousness is also a large part of the culture of Genelec’s homeland Finland, with the country commonly ranking among the world’s greenest.

Will Eggleston, Genelec Inc. Marketing Director, stated, “We believe people do care about the future of the planet, and Genelec has given serious thought about how we can more substantially participate in this philosophy and apply our acoustics and design R&D talents towards the next generation of loudspeaker products. For our new products and updated versions of existing models, as a starting point, we are focusing on ‘voltage-friendliness,’ with regards to latent power consumption as mandated by the European Union. While the scope of the mandates appears mostly consumer-driven rather than pro, Genelec made a conscious decision to apply these standards to our professional products, because in the end it is just better for the environment and the end user.”

A main component of the green initiative is the debut of the new M Series Bi-amplified Active Monitors. The highly energy-efficient M Series takes a new approach to monitor design. The primary focus in developing the new M Series was to proceed with a green mindset without sacrificing the accuracy and reliability for which Genelec has been known for the past 35 years, while offering something new and innovative for project studio customers. The first two models being introduced are the M030 and the M040 Bi-amplified Active Monitors, which employ a Natural Composite Enclosure™ (NCE™) manufactured for Genelec in Finland with wood fiber and recycled material. Another first is that the M Series models feature new class D amplifiers developed in house by Genelec’s R&D/engineering team. The class D amplifiers are highly efficient, low distortion amplifiers that operate cooler and lighter than class A/B amps. They also feature Intelligent Signal Sensing (ISS) with auto power-off after being idle for 30 minutes and auto power-on when a signal is detected. Automatic voltage selection allows the monitors to operate throughout the world.

In the near future, Genelec will be updating its entire existing product line with more efficient power management. Eggleston continued, “Genelec is known for sound quality, and we are in a unique position to set new standards in the audio industry in regards to power consumption. We’ve always been an environmentally conscious company, and as we roll out our updated product line, we have reinforced that commitment for a new era.”

For more information, please visit www.genelecusa.com/.

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Genelec Custom Installation Systems Appoints New Manufacturer’s Representatives

— Genelec adds Current Marketing in Scottsdale, Arizona, and
Audio Video Representatives in Marietta, Georgia, as the latest reps in the
Genelec Custom Installation Systems sales force —

NATICK, MA, April 17, 2013 — Genelec Inc., U.S. distributor of Genelec Custom Installation Systems, announces the appointment of two new manufacturer’s representatives: Current Marketing of Scottsdale, Arizona, and Audio Video Representatives (AVR) of Marietta, Georgia. Bart LoPiccolo, Genelec National Sales Manager, made the announcement as part of Genelec’s ongoing expansion in the custom installation/home theater market sectors. Current Marketing will represent Genelec Custom Installation products in Arizona and Southern Nevada (including Las Vegas), led by company principals Paul L. Epstein and Jerry Cave. Audio Video Representatives will cover the Southeast region, including Tennessee, Mississippi, North Carolina, South Carolina, Georgia and Alabama, led by president Joe Hanson and vice president Al Davis.

The addition of new, dedicated Genelec reps in these regions underscores Genelec’s commitment to meeting the rising market demand with a network of experienced, knowledgeable representatives. Commenting on these appointments, LoPiccolo stated, “We are proud to have added Current Marketing and AVR to the Genelec family. These companies are well-established presences in the market, and their experience and support make them excellent fits for Genelec. The teams led by Paul and Jerry at Current, and Joe and Al at AVR, are very qualified, and they will assist us in increasing brand visibility and market penetration in their territories and also help build lasting relationships with high-end custom install dealers. We look forward to continuing growth as a result of these new partnerships.”

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

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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