TEAM STUDIO, WASHINGTON, DC'S NEWEST HD PRODUCTION STUDIO, OPENS AT TEAM SOUND & VISION

Advanced Facility Provides Quick Path to Air for Political Campaigns,
Cost-Effective Solution for Producers of Broadcast, Corporate and Web Media

WASHINTON, DC: TEAM Sound & Vision www.teamgroup.tv, Washington, DC's most comprehensive production and post production facility, has announced the opening of TEAM Studio. Fully equipped for HD and SD, the 30' x 50' studio provides the region with an expertly supported, cost-effective solution for a wide range of media production needs.

Conveniently located at 4455 Connecticut Avenue, N.W., TEAM Studio is ideal for political campaigns requiring a fast-response resource, as well as broadcast, corporate and Web programming producers. The studio is in the same building as TEAM's 21,000 square foot post production facility and is designed to easily accommodate news programs, interviews, CEO/corporate presentations, discussion roundtables and much more.

Overseen by the highly experienced production team at TEAM, the studio features three Sony HD/SD cameras with Fujinon lenses, and is adjacent to a fully outfitted control room ready to take the studio live for network broadcasts or satellite media tours, or switched programming "live to tape". Following image capture, TEAM's talented post production group can composite green screen shots or polish the program. Content can also be immediately encoded for uploading to a corporate website or to stream live.
TEAM's audio designers can add the right music, sweeten and mix, while their efficient staff organizes all deliverables.

"TEAM Studio is a facility that skillfully supports the needs of political groups, as well as corporate and multimedia producers looking for an affordable solution to enhance their media offerings," says Peter Davis, of TEAM Sound & Vision. "It was built with both broadcast and broadband deliverables in mind."

"In addition, TEAM's comprehensive post production offerings make us an extremely valuable resource for our studio clients. We can easily look ahead and take design, and video/audio post elements into consideration before the shoot, making for a seamless process from beginning to end, with everything under one roof if desired."

The studio was designed and constructed to meet the high standards of Peabody Award-winning news and public affairs content provider Channel One Network. Following that network's move from the Washington, DC area, TEAM added many highly desirable features to the facility that makes it an unparalleled resource for studio-based production, service and support. Additional highlights of TEAM Studio include:


• Extremely adaptable configuration, including a 15' by 11' green-screen hard cyc built into one corner.
• Studio approximately 30' by 50'
• HD/SD capable
• Full range of camera, audio and lighting equipment with available jib
• Lighting Grid at 10' 6" high and in 4' by 4' sections
• 48 Channel ETC Dimmer System
• Control Room is 18' by 19' with window view to the studio
• 15' by 11' Green-Screen Hard Cyc
• Black curtain for limbo shoots


ABOUT TEAM:

TEAM, based in Washington, DC, stands as one of the most comprehensive production and post-production companies on the East Coast. It applies its "Create, Make and Manage" philosophy to its expertise in traditional television production to new media, emerging technologies and beyond. Its Creations division is a full service television production, distribution and rights management company. Its Sound & Vision division encompasses Post Production, the Spirit Creative design boutique, Field Production, Sound Design/Mixing, and Engineering. The unique People division offers people management and staffing solutions to the broadcast, cable and corporate communications industries. For more information, please visit http://www.teamgroup.tv, or call 202-363-1000.

All referenced product names are trademarks of their respective owners.

Media contact:
Kevin Fetterplace - Mojo Working International
Kevin@Mojoworking.com
(001) 646 359 3961

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FLYING MACHINE CAPTURES DOUBLE GOLD AT 2008 PROMAX/BDA AWARDS FOR INTERNATIONAL NETWORK PROMOTIONS

Creative Branding Boutique Wins Top Awards in Poster Campaign,
3-D Promotional or Sales Kit Categories

NEW YORK, June 24, 2008: The creative branding boutique Flying Machine www.flyingmachine.tv has won two World Gold BDA 2008 Awards following its standout work in the category of "Poster Campaign and 3-D Promotional or Sales Kit" Categories.

The wins recognize Flying Machine's striking approach to supporting ESPN International's brand as the "worldwide leader of sports" programming. To reflect the scope and content of ESPN's broad range of live and original programming, including premier sporting events throughout the world, Flying Machine created two premium takeaways for its marketing team to present to media associates around the world.

In the first takeaway, a series of four custom illustrated posters were commissioned to showcase the intensity of sport. Each poster was designed in a stylized ink-dot look with drawn elements placed over, demonstrating the intensity of individual athletes and their sport. Each limited edition poster was made from a custom hand-made screen on premium stock, for distribution to the organization's major marketing associates. A simple ESPN logo was placed in the corner of each poster, contributing to a timeless look that made them suitable for framing and placement in any office.

The posters were enhanced by a set of 40 "trading cards" packaged in their own custom box, introducing each segment of ESPN International's programming. A breakaway from the traditional marketing programming guides and packaged in a custom box, the 40 cards resembled the traditional sport trading cards of childhood memories. The front featured the ESPN logo and highlight photo from each event, while the back provided programming information in a "stats" style. Printing on a silver laminated stock and using a six-color process, followed with a glossy varnishing, enhanced the cards' interest and value. The quality of the design and photos on each card encouraged clients to look through each card, rather than browsing through the typical book

"From concept to production, the objective was to create a campaign that would draw an immediate reaction," says Micha Riss, Partner and Creative Director of Flying Machine. "This is an example of what fantastic teamwork with a savvy client can accomplish. It's great when the project goes smoothly, and to get recognized at 2008 Promax|BDA certainly adds to the experience."

About Flying Machine:
Flying Machine isn't an advertising agency, a branding firm or a design house. It is nothing if not everything. It is a melding of experienced creatives across all brand platforms who know that branding problems are rarely one-dimensional, and usually require a knowledge base that can easily shift between ever-changing mediums, whether that be print, motion or design. With years of experience in the large agencies, one thing became clear - a small agile creative boutique could thrive effectively executing on client demands. With an open door policy, between clients and our creative teams, Flying Machine can go from concept to execution before the average goliath agency has even approved the brief.

For more information please call (212) 226-7733 or visit the Flying Machine website at www.flyingmachine.tv.

All referenced product names are trademarks of their respective owners.

Media contact:
Kevin Fetterplace - Mojo Working International
Kevin@Mojoworking.com
(001) 646 359 3961

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MOLSON AND AGENCY TAXI NEW YORK CHILL OUT AT NUTMEG AUDIO POST FOR 5.1 HDTV SOUND DESIGN AND MIXING

NYC's Creative Audio Post House Taps HD Experience to Brew Up a
Satisfying Surround Mix

NEW YORK, June 24, 2008:

The Assignment:

Courtesy of Molson Canadian, the sounds and sights of Canada are now coming to viewers in full HDTV. Nutmeg Audio Post (www.nutmegaudiopost.com) helped bring out the culture of the Great White North with a detailed 5.1 HDTV sound design and mix for Molson and agency TAXI New York in a humorous new :30 spot.

Creative Juices:

In "Canadian Winter", two buddies order up Molson Canadians in a bar, but the moment the top is popped, the bar undergoes an unusual transformation. Snow and ice are suddenly everywhere, and all things Canadian come out of the woodwork: Elk amble in the background, an otter passes by on the bartop, a woodpecker flies in and pecks on a column, the Canadian flag unfurls, two hockey players crosscheck into the stools, and a wayward waitress slips hard on the ice.

Nutmeg Senior Audio Engineer Rob Fielack carefully did the sound design and mixed the spot in his 5.1 suite. "The trick with this spot is that there's a lot going on visually," Fielack says. "All these interesting events are happening fairly simultaneously, because it's a :30 spot. So the challenge here is density issues. What do you do when you have multiple audio events going on at one time?"

It's in the Mix:

Fielack applied a sharp ear to a sound design foundation that had already been laid in by Final Cut video editor Carlos Arias, pulling off a precise sonic balancing act as he dropped in his own elements. "It was a bit of a juggling act," Fielack acknowledges. "There were some sounds we needed to feature, and others we needed to pull back on so things would get a chance to sing properly. There's cold arctic winds, people playing pool in the background, and all the activity of a wildlife preserve on top of that. So there was a lot of attention to detail needed."

Nutmeg's HD listening environments were the ideal place for Fielack and TAXI New York's Executive Creative Director Wayne Best, Writer Erik Fahrenkopf and Art Director Anthony DeCarolis to go to work. "The 5.1 Surround mix is where the real fun begins," he says. "We took full advantage of the sub in these mixes. I was able to use it to accentuate when the hockey players hit the bar, and when the waitress slips and falls. The elk is a big animal, and I was able to give them the weight an animal like that deserves. This 5.1 mix was exactly what a Surround mix is intended for, making everything much more 3D."

The 5.1 HD experience and total client support of Nutmeg make NYC's creative audio post house the right place for the challenges of "Canadian Winter". "The people at TAXI New York do spots that really challenge me as an engineer," Rob Fielack concludes. "Each time I work with them, they raise the bar a little higher. This time we were asked to convince the listener that they're truly hearing a Canadian wildlife scene in a bar � that's exciting for me and I feel we pulled it off well."

Credits:

2008 TV "MOLSON" TAXI NEW YORK
"CANADIAN WINTER"

CLIENT: Molson
PRODUCT OR SERVICE: Beer
AGENCY: TAXI New York
CHIEF CREATIVE OFFICER: Paul Lavoie
EXECUTIVE CREATIVE DIRECTOR: Wayne Best
CREATIVE DIRECTOR/COPY WRITER: Erik Fahrenkof
ART DIRECTOR: Anthony Decarolis
AGENCY PRODUCER: Rikki Furman
EXECUTIVE AGENCY PRODUCER: Erika Best

PRODUCTION HOUSE: Harvest Films
PRODUCTION HOUSE DIRECTOR: Baker Smith
PRODUCTION HOUSE PRODUCER: Bonnie Goldfarb

VIDEO POST FACILITY / EDITING COMPANY: Final Cut NY
EDITOR: Carlos Arias
ASST. EDITOR: Anchor Mak
COMPOSITOR / ONLINE: Semerad

AUDIO POST FACILITY: Nutmeg Audio Post
SOUND DESIGNER/MIXER: Rob Fielack

FIRST BROADCAST DATE: 04/08
LENGTH OF COMMERCIAL: 30/15

ACCOUNT DIRECTOR: Dan Gonda
ACCOUNT MANAGER: Alistair Schoonmaker
AGENCY PLANNER: James Fox


About Nutmeg Audio Post:
Nutmeg Audio Post is New York City's comprehensive audio post facility that puts creativity first. Founded in 1979, it is home to an elite staff of mixers and support staff committed to providing world-class audio post production and sound design for HDTV and SDTV, film, radio, online and interactive media. For more information, please visit http://www.nutmegaudiopost.com, or call 212-921-8005.

Media contact:
Kevin Fetterplace - Mojo Working International Kevin@Mojoworking.com (001) 646 359 3961

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NUTMEG AUDIO POST, AGENCY CRISPIN-PORTER + BOGUSKY WIN 2008 RADIO-MERCURY AWARD FOR COKE ZERO SPOT

NYC's Creative Audio Post House Part of Team Recognized for
Humorous :30 Radio Commercial

NEW YORK/LOS ANGELES, June 4, 2008: Nutmeg Audio Post www.nutmegaudiopost.com, New York City's creative audio post house, was part of a winning team at the 2008 Radio-Mercury Awards. Nutmeg collaborated on the humorous Coke Zero :30 spot, "Lawyer's Victim", with agency Crispin Porter + Bogusky, to create a winner in the Radio-Mercury Awards "General" category.

Nutmeg Senior Engineer Rob Fielack did the VO record, edit and mix for "Lawyer's Victim", where an ambulance-chasing lawyer pledges to help drinkers of Coke Zero who may have experienced "taste confusion", which is the state of being "recklessly refreshed by the real taste of Coke". The "victims" of Coke Zero are invited to call him, "at 1-877-SUE-ZERO today", presumably to get a big settlement in motion.

"It's an honor to be a part of another Radio-Mercury award-winning spot from Crispin Porter + Bogusky," says Fielack. "They have an extremely bright creative team, and I appreciate that they encourage their audio engineers to help in directing voice talent in the spirit of getting the best performance possible. Creatives like Dave Schiff don't keep all the 'creative' toys to themselves in this regard, and the work clearly benefits from this approach. They're not afraid to be collaborative and their success, I think, reflects that."

In addition to "Lawyer's Victim", Nutmeg Audio Post worked on two other finalist spots in this year's competition: Starburst "Colors" for TBWA\Chiat\Day and Burger King "Quitter" for CP+B. "The Radio-Mercury Awards set the standard for excellence in radio commercials," says Jon Adelman, Director of Operations for Nutmeg Audio Post. "The competition in this year's show was strong, and we're extremely proud to be recognized along with Crispin Porter + Bogusky and Coke Zero for this standout spot."

CREDITS:

Client: Coke Zero
Agency: Crispin Porter + Bogusky
Writer: Dave Schiff
Producer: Executive Integrated Radio Producer: Jill Kershaw
Producer: Integrated Radio Producer: Nicolette Guidotti
Creative Director: Dave Schiff
Creative Director: Assoc: Alex Burnard
Production Company: Nutmeg Audio Post
Engineer: Rob Fielack
Talent: Gary Yudman


About Nutmeg Audio Post:
Nutmeg Audio Post is New York City's comprehensive audio post facility that puts creativity first. Founded in 1979, it is home to an elite staff of mixers and support staff committed to providing world-class audio post production and sound design for HDTV and SDTV, film, radio, online and interactive media. For more information, please visit www.nutmegaudiopost.com, or call 212-921-8005.

Media contact:
Kevin Fetterplace - Mojo Working International Kevin@Mojoworking.com (001) 646 359 3961

About the Radio-Mercury Awards:
The Radio Creative Fund (RCF), a non-profit corporation funded by the Radio industry, governs the Radio-Mercury Awards. Presented annually by the Radio Creative Fund (RCF) the Radio-Mercury Awards encourage, recognize, and reward excellence in Radio creative. The annual Radio-Mercury Awards competition draws entries from advertising agencies, production houses, Radio stations, and educational institutions across the country. The Radio-Mercury Awards were established in 1992 to encourage and reward the development of effective and creative Radio commercials. Approximately 17,000 commercials have competed for nearly $3 million in prizes. To listen to all of the Radio-Mercury Award winning spots and for more information, please visit www.RadioMercuryAwards.com

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SPIRIT CREATIVE SPONSORS SILVERDOCS AFI/DISCOVERY CHANNEL DOCUMENTARY FILM FESTIVAL

Washington, DC's Most Comprehensive Production and Post Facility Contributes Colorful :30 Animated Spot to Campaign for International Festival

WASHINGTON, DC: The unmatched storytelling power of the documentary is the star at Silverdocs, the AFI/Discovery Channel Documentary Festival being held June 16-23. This year's event will benefit from the exposure provided by a stylishly colorful :30 animation spot from festival sponsor Spirit Creative www.spiritcreative.tv Washington, DC's production boutique.

Spirit Creative designed a fast-moving animated piece that brings the 2008 festival's theme of "Think for Yourself" fully to life. David Glanz, Spirit Creative Motion Graphics Designer, played off of each line of the script, making the words central characters that set off a fun-to-watch whirl of events. As the opening line, "Maybe you're the one who bets the house on the underdog..." appears on the screen, the words dance, blur, give birth to lines and shadings, set the picture on its ear, and then move everything in an unexpected new direction for the next sequence. The interplay of textures, attractive colors, typography and imagery make an extremely entertaining setup for the 2008 Silverdocs. (click here to see the spot)

"Working with Spirit Creative is such a creative and rewarding experience," says Cindy Miller, Festival Producer for Silverdocs. "The spot clearly captures the independent voice of the Festival and highlights this year's theme of "Think for Yourself." The challenge of telling a story within 30 seconds was easily overcome by the synergy of the Spirit Creative team with compelling results. We are very pleased -- it's an awesome spot."

"Every year, the AFI Silver Theater and Cultural Center along with the Discovery Channel put on an amazing festival in Silverdocs," says Adam Corey, Creative Director for Spirit Creative. "We believe that the documentary continues to be instrumental in promoting awareness to the general public, telling stories that can range from raw and real to artfully-crafted.

"Spirit resides within the production and post facility TEAM Sound & Vision, which has been fortunate in the past year to work on numerous high-quality documentaries, for works such as The Matador, The Morgan Lacrosse Story, Come Walk in My Shoes, and many more. These documentaries and so many more are true labors of love, which is why it's a privilege to play a role in supporting the nation's premiere documentary festival, Silverdocs."


The 2008 Silverdocs AFI/Discovery Channel Documentary Festival runs from June 16-23. For the full schedule and lineup, please visit www.silverdocs.com.

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Nutmeg Audio Post Sign to Mojo Working International

One of New York's most prestigious audio post-production facilities - Nutmeg Audio Post - has signed to Mojo Working International for a full communications campaign through 2008 as Nutmeg move extensively into the HD market and mark it's 29th year in business.

Mojo Working founder Kevin Fetterplace comments: "We are delighted to have such a prestigious facility join our family. With nearly 30 years of innovation and a huge range of clients - Nutmeg is the epitome of what a business needs to be to survive in the ever changing of audio post-production. We join the company as they undergo another element in their ongoing evolution and we couldn't be happier to be playing a role in it."

Nutmeg's Jon Adelman adds: "We are very pleased to have Kevin Fetterplace and his team at Mojo working with us. We are a leader in the industry with an extremely talented, award winning staff and I couldn't think of a better company then Mojo to help tell our story".

For more on Nutmeg Audio Post, please go to:
www.nutmegaudiopost.com


Media contact: Kevin Fetterplace at Mojo Working International
Kevin@Mojoworking.com
(001) 646 359 3961

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World's Top Record Producers Head to New York to celebrate New York's Top Recording Studio 30 Years!

World's Top Record Producers Head to New York to celebrate New York's Top Recording Studio 30 Years!

Friday 5th October is one of the most special days in America's recording history, it's the day when New York's very own Avatar Studios celebrates 30 years of providing the songbooks and the background of our lives.

Avatar, which was originally launched as The Power Station in what was then the no-go area of Hells Kitchen has since turned out some of the best selling records of our time from artists as wide-ranging as Bon Jovi (who's second cousin Tony started the facility and where Jon once worked as an assistant engineer) The Rolling Stones, Aerosmith, Billy Joel, Madonna, Ozzy Osbourne, Sister Sledge, Sting and John Mayer (who recorded "Continuum" at Avatar) David Bowie and many hundreds more.

You almost certainly have a track recorded at Avatar in your collection - it would be almost impossible for you not to.

To help celebrate this amazing landmark, Avatar has teamed up with the world's premier recording industry magazine - Mix - who also share a 30 Year Anniversary this year and together they are throwing a party on Friday night with a guest-list that reads like a who's-who of the American recording industry. These are the guys who have created the sounds that we have rocked to romanced to and danced to for three decades and include:

Tony Bongiovi (Aerosmith, Bon Jovi, Talking Heads, Ozzy)
Neil Dorfsman (Sting, Paul McCartney, Rolling Stones, Dire Straits)
Tony Visconti (David Bowie, Moody Blues)
Nile Rodgers (Duran Duran, Chic, Diana Ross, Bowie)
David Foster (Streisand, Celine Dion, Rod Stewart, John Lennon)

Also on the guest list are:

Phil Ramone (Billy Joel, Paul Simon, Manilow, Streisand)
Steve Lillywhite (U2, Peter Gabrriel, Morrisey, Dave Matthews)
Chris Thomas (Beatles White Album, Elton John, Pink Floyd)
Hugh Padgham (Police, Sting, Phil Collins, Melissa Etheridge)
Rick Rubin (Johnny Cash, Rred Hot Chilli Peppers, Tom Peter
Roy Thomas Baker (Queen's Bohemian Rhapsody, Journey, Cheap Trick, Cars)
Jam and Lewis (Janet Jackson, Michael Jackson, Mary J Blige)


And here is just a very small sample of some of the records made at Avatar/Power Station:

Bryan Adams Summer of '69
Bryan Ferry Avalon
Bruce Springsteen The River
Hungry Heart
Born in the USA
Dire Straits Money for Nothing
Brothers in Arms
Bonnie Tyler Total Eclipse
Chic Le Freak
Cyndi Lauper True Colors
David Bowie China Girl
Let's Dance
Madonna Like a Virgin
Peter Gabriel Sledgehammer
Robert Palmer Addicted to Love
Eric Clapton Running on Faith
Rolling Stones Start me up
Sting Desert Rose
Power Station Get it on
Billy Joel The Bridge
Diana Ross Upside Down
John Mayer Continuum



For interview/photo opportunities please contact:

Kevin Fetterplace at Mojo Working International
Kevin@Mojoworking.com
(001) 646 359 3961

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TEAM SOUND & VISION DESIGNS DRAMATIC PROMO CAMPAIGN FOR TLC'S

TEAM SOUND & VISION DESIGNS DRAMATIC PROMO CAMPAIGN FOR TLC'S "DIANA: LAST DAYS OF A PRINCESS"

Innovative Editorial & Graphics at DC's Most Comprehensive Production and Post Facility Deliver a Highly Emotional Message

WASHINGTON, DC, August 29, 2007: One of the landmark events of the
20th Century " the tragic death of Princess Diana " resonates even more strongly ten years later. The elite editorial and graphic talent of TEAM Sound & Vision worked closely with TLC to ensure that the promotional campaign for their special "Diana: Last Days of a Princess" was as effective as it was unforgettable.
For TLC, the promos were a reminder of the value of TEAM work: measurable results. "The "Last Days" promos created at Team Sound & Vision generated a lot of buzz with consumers, and in fact we exceeded our ratings estimates," TLC Producer Jennifer Pennybacker adds. "Technically, this promo was an enormous challenge, but it was pure genius how successful TEAM Sound & Vision's Ian Rummer was with the idea of compositing film footage on the walls of the tunnel -- he spent hours meticulously mapping and laying out just the right shots. It's this type of can-do attitude and commitment to a creative idea that makes TEAM Sound & Vision and its people exceptional."
Ian Rummer, Senior Editor at Team Sound & Vision, and Pennybacker built off a surprising musical foundation to draw attention to "Last Days", a tasteful fact-based drama that was called "The Diana film to watch" by the New York Times. In both the :60 and :30 versions, a beautifully sparse version of David Bowie's classic "Modern Love" selected by Pennybacker is the backdrop for a haunting night ride into the tunnel of Diana's fatal car crash. As the pace changes from disorienting and chaotic to languid, scenes from Diana's life (and the show) begin to play out like movies projected on the tunnel walls, all paired with select sound bites from the special.

"The death of Princess Diana is one of those major moments in history when everyone remembers where they were when they heard the news," observes Rummer. "With these promos, we wanted to transport people back to the way people were feeling at that point in time. Working with TLC, our objective was to demonstrate the drama of the show while connecting it with fresh perspectives coming from the real people that were close to her."

"TLC went on location and filmed footage of the tunnel where the fatal car crash occurred, using variable light, overcranking and undercranking," Rummer explains. "It was like floating through that space, and it gave us the opportunity to make the promos more impressionistic, a window into her last days where her life is flashing through her eyes as she goes through this tunnel and hears this music."

The subtle yet powerful graphics were created by TEAM Sound & Vision's award-winning broadcast and multimedia design boutique, Spirit Creative, and were so well received that the design was carried over to TLC's online and communications efforts. "The right graphics are the finishing touch for a project like this," says James Crothers, Motion Graphic Designer for Spirit Creative. "Working together with Jen and Ian, we decided that something elegant and epic was needed. The animated text we hit on played into a very soft flow that tied this emotional presentation together perfectly."


###

ABOUT TEAM:

TEAM, based in Washington, DC, stands as one of the most comprehensive production and post-production companies on the East Coast. It applies its "Create, Make and Manage" philosophy to its expertise in traditional television production to new media, emerging technologies and beyond. Its Creations division is a full service television production, distribution and rights management company. Its Sound & Vision division encompasses Post Production, the Spirit Creative design boutique, Field Production, Sound Design/Mixing, and Engineering. The unique People division offers people management and staffing solutions to the broadcast, cable and corporate communications industries. For more information, please visit www.teamgroup.tv, or call 202-363-1000.

Media contact: Kevin Fetterplace - Mojo Working International
Kevin@Mojoworking.com
(001) 646 359 3961

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LAVRY ENGINEERING INTRODUCES THE LAVRYBLACK AD10:

LAVRY ENGINEERING INTRODUCES THE LAVRYBLACK AD10:
HEIGHTENED INNOVATION, FLEXIBILITY IN STEREO A/D CONVERSION

Digital Alias-Free Emulation™ Modes Offer the Choice Between
Ultra-Transparent Clear, Tube, Transformer or Complex

www.lavryengineering.com/AES 2007 BOOTH #249: Groundbreaking pro audio manufacturer Lavry Engineering Inc.has announced the latest addition to its product line, the stereo LavryBlack AD10 A/D converter. Ideal for a wide range of recording and broadcast applications, the LavryBlack AD10 builds on founder Dan Lavry’s reputation for extreme transparency with a number of innovative new features for highest-quality sound, flexibility and ease of use.

LavryBlack AD10 sees the introduction of Lavry Engineering’s unique Digital Alias-Free Emulation™ modes. With this exclusive system, in addition to Clear mode users can select the input characteristic of Tube, Transformer or both (Complex). "The AD10 marks the first time that a Lavry Engineering unit has offered this type of option," explains Dan Lavry, President of Lavry Engineering. "With AD10, very high accuracy and transparency remain the starting point. However, the engineer can also alter the original signal if they choose."

In addition to a myriad of functions, the LavryBlack AD10 is accessible via user-friendly interface controlled by a single toggle switch. This switch utilizes multiple displays for heightened efficiency within the compact _ RU enclosure. Other highlights of the LavryBlack AD10 include:

• Internal Crystal 44.1, 48, 88.2, & 96 kHz sampling rates
• Ultra-stable internal and external clocking
• Greater than 117dB Dynamic Range (unweighted), 120dB (weighted)
• Less than .0009% THD+N (20HZ-20kHz)
• External Word Clock or AES sync for 32-100kHz operation
• 24 bit AES/SPDIF and optical outputs
• XLR professional level analog inputs (+4dBu)
• _" instrument line level analog inputs (-10dBV)
• Accepts balanced or unbalanced analog signals
• 14 segment digital meters w/Peak Hold
• Meter display gain setting in 1dB steps

Introduction of AD10 extends Lavry’s Black Series which began with the highly popular DA10. This stereo D/A converter set new standards in performance and quality at a cost-effective price point.

Lavry Engineering also offers the GOLD STANDARD for conversion. LavryGold AD122-96MKIII, DA-924 (Supreme Imaging) and 3000S, Lavry’s Swiss Army Knife.

LavryBlue products include 2,4,6,8 channels of Modular A/D D/A conversion system and two- or four-channel MicPre.
###

Visit Booth #249 to see the AD10 and the full line of Lavry Engineering products at the 123rd AES Convention in New York City, October 5-8, 2007.

About Lavry Engineering:
Lavry Engineering, located in Poulsbo, Washington, was founded by digital audio expert Dan Lavry in 1993. The company specializes in products for professional audio, broadcast, audiophile, and surround markets designed to satisfy the growing demand for hi-res digital audio performance. Lavry Engineering’s Gold, Black and Blue product lines offer a range of systems accommodating a wide range of budgets and applications. For more information, please visit www.lavryengineering.com.
All referenced product names are trademarks of their respective owners.
Media contact: Kevin Fetterplace at (001) 646 359-3961 or via e-mail at kevin@mojoworking.com.


LAVRY ENGINEERING INTRODUCES THE LAVRYBLACK AD10:
HEIGHTENED INNOVATION, FLEXIBILITY IN STEREO A/D CONVERSION

Digital Alias-Free Emulation™ Modes Offer the Choice Between
Ultra-Transparent Clear, Tube, Transformer or Complex

www.lavryengineering.com/AES 2007 BOOTH #249: Groundbreaking pro audio manufacturer Lavry Engineering Inc.has announced the latest addition to its product line, the stereo LavryBlack AD10 A/D converter. Ideal for a wide range of recording and broadcast applications, the LavryBlack AD10 builds on founder Dan Lavry’s reputation for extreme transparency with a number of innovative new features for highest-quality sound, flexibility and ease of use.

LavryBlack AD10 sees the introduction of Lavry Engineering’s unique Digital Alias-Free Emulation™ modes. With this exclusive system, in addition to Clear mode users can select the input characteristic of Tube, Transformer or both (Complex). "The AD10 marks the first time that a Lavry Engineering unit has offered this type of option," explains Dan Lavry, President of Lavry Engineering. "With AD10, very high accuracy and transparency remain the starting point. However, the engineer can also alter the original signal if they choose."

In addition to a myriad of functions, the LavryBlack AD10 is accessible via user-friendly interface controlled by a single toggle switch. This switch utilizes multiple displays for heightened efficiency within the compact _ RU enclosure. Other highlights of the LavryBlack AD10 include:

• Internal Crystal 44.1, 48, 88.2, & 96 kHz sampling rates
• Ultra-stable internal and external clocking
• Greater than 117dB Dynamic Range (unweighted), 120dB (weighted)
• Less than .0009% THD+N (20HZ-20kHz)
• External Word Clock or AES sync for 32-100kHz operation
• 24 bit AES/SPDIF and optical outputs
• XLR professional level analog inputs (+4dBu)
• _" instrument line level analog inputs (-10dBV)
• Accepts balanced or unbalanced analog signals
• 14 segment digital meters w/Peak Hold
• Meter display gain setting in 1dB steps

Introduction of AD10 extends Lavry’s Black Series which began with the highly popular DA10. This stereo D/A converter set new standards in performance and quality at a cost-effective price point.

Lavry Engineering also offers the GOLD STANDARD for conversion. LavryGold AD122-96MKIII, DA-924 (Supreme Imaging) and 3000S, Lavry’s Swiss Army Knife.

LavryBlue products include 2,4,6,8 channels of Modular A/D D/A conversion system and two- or four-channel MicPre.
###

Visit Booth #249 to see the AD10 and the full line of Lavry Engineering products at the 123rd AES Convention in New York City, October 5-8, 2007.

About Lavry Engineering:
Lavry Engineering, located in Poulsbo, Washington, was founded by digital audio expert Dan Lavry in 1993. The company specializes in products for professional audio, broadcast, audiophile, and surround markets designed to satisfy the growing demand for hi-res digital audio performance. Lavry Engineering’s Gold, Black and Blue product lines offer a range of systems accommodating a wide range of budgets and applications. For more information, please visit www.lavryengineering.com.
All referenced product names are trademarks of their respective owners.
Media contact: Kevin Fetterplace at (001) 646 359-3961 or via e-mail at kevin@mojoworking.com.


LAVRY ENGINEERING INTRODUCES THE LAVRYBLACK AD10:
HEIGHTENED INNOVATION, FLEXIBILITY IN STEREO A/D CONVERSION

Digital Alias-Free Emulation™ Modes Offer the Choice Between
Ultra-Transparent Clear, Tube, Transformer or Complex

www.lavryengineering.com/AES 2007 BOOTH #249: Groundbreaking pro audio manufacturer Lavry Engineering Inc.has announced the latest addition to its product line, the stereo LavryBlack AD10 A/D converter. Ideal for a wide range of recording and broadcast applications, the LavryBlack AD10 builds on founder Dan Lavry’s reputation for extreme transparency with a number of innovative new features for highest-quality sound, flexibility and ease of use.

LavryBlack AD10 sees the introduction of Lavry Engineering’s unique Digital Alias-Free Emulation™ modes. With this exclusive system, in addition to Clear mode users can select the input characteristic of Tube, Transformer or both (Complex). "The AD10 marks the first time that a Lavry Engineering unit has offered this type of option," explains Dan Lavry, President of Lavry Engineering. "With AD10, very high accuracy and transparency remain the starting point. However, the engineer can also alter the original signal if they choose."

In addition to a myriad of functions, the LavryBlack AD10 is accessible via user-friendly interface controlled by a single toggle switch. This switch utilizes multiple displays for heightened efficiency within the compact _ RU enclosure. Other highlights of the LavryBlack AD10 include:

• Internal Crystal 44.1, 48, 88.2, & 96 kHz sampling rates
• Ultra-stable internal and external clocking
• Greater than 117dB Dynamic Range (unweighted), 120dB (weighted)
• Less than .0009% THD+N (20HZ-20kHz)
• External Word Clock or AES sync for 32-100kHz operation
• 24 bit AES/SPDIF and optical outputs
• XLR professional level analog inputs (+4dBu)
• _" instrument line level analog inputs (-10dBV)
• Accepts balanced or unbalanced analog signals
• 14 segment digital meters w/Peak Hold
• Meter display gain setting in 1dB steps

Introduction of AD10 extends Lavry’s Black Series which began with the highly popular DA10. This stereo D/A converter set new standards in performance and quality at a cost-effective price point.

Lavry Engineering also offers the GOLD STANDARD for conversion. LavryGold AD122-96MKIII, DA-924 (Supreme Imaging) and 3000S, Lavry’s Swiss Army Knife.

LavryBlue products include 2,4,6,8 channels of Modular A/D D/A conversion system and two- or four-channel MicPre.
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Visit Booth #249 to see the AD10 and the full line of Lavry Engineering products at the 123rd AES Convention in New York City, October 5-8, 2007.

About Lavry Engineering:
Lavry Engineering, located in Poulsbo, Washington, was founded by digital audio expert Dan Lavry in 1993. The company specializes in products for professional audio, broadcast, audiophile, and surround markets designed to satisfy the growing demand for hi-res digital audio performance. Lavry Engineering’s Gold, Black and Blue product lines offer a range of systems accommodating a wide range of budgets and applications. For more information, please visit www.lavryengineering.com.
All referenced product names are trademarks of their respective owners.
Media contact: Kevin Fetterplace at (001) 646 359-3961 or via e-mail at kevin@mojoworking.com.

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AVATAR STUDIOS TURNS 30: LEADING WITH

AVATAR STUDIOS TURNS 30: LEADING WITH
A VISION FOR ELITE RECORDING

From Power Station Roots to Today’s Most Prized Music Environments,
NYC’s Premier Studio Continues to Deliver an Exceptional Recording Experience

NEW YORK: Three decades of success in New York City’s fiercely competitive recording industry is worth celebrating, and in 2007 Avatar Studios (www.avatarstudios.net) is doing just that. In the year of its 30th Anniversary, Avatar’s status as the ultimate recording destination is firmly in place.

"Avatar has thrived in today’s challenging environment through the mastery of five critical crafts," says Kirk Imamura, President of Avatar Studios. "Since its inception in 1977 as The Power Station, this facility has been focused on the creation of great acoustics spaces; the appropriate use of each space to execute excellent recordings; maintaining and inventing the distinctive equipment we use; the constant training and retention of top engineers and support personnel has always been a top priority, as well.

"Those come together to hone the fifth, most essential practice: honing a creative center where artists can arrive knowing that nothing will get in the way of their best work. In this way, Avatar connects them directly to their musical vision, and brings unforgettable music to the ears of the world."

From the moment that Tony Bongiovi and Bob Walters opened the doors at 53rd Street in Hell’s Kitchen on the acoustically unparalleled Studio A, the bar for recording quality worldwide was raised significantly. Since that cornerstone year, to its rebirth as Avatar Studios in 1996 and on through to today, the list of monumental artists who have created timeless hits there speaks for itself.

A very short list of the facility’s clients includes David Bowie, the Count Basie Orchestra, Bruce Springsteen, Miles Davis, The Rolling Stones, Kiss, Aerosmith, Bob Dylan, Bon Jovi, Bryan Ferry, Madonna, Dire Straits, Stevie Ray Vaughn, Ozzy Osbourne, Bryan Adams, Robert Palmer, The Power Station, Duran Duran, Cyndi Lauper, Billy Joel, Eric Clapton, Norah Jones, Steve Winwood, Peter Gabriel and countless others. To see the astounding extended list of artists, films, TV shows, and Broadway shows that have visited Avatar, go to avatarstudios.net/aboutus/index.html).

Once inside the calmly inspirational atmosphere of Avatar, artists and music professionals have an extensive range of choices for creating content, ensconced in a highly professional complex designed to meet the evolved musical needs of today’s media landscape. Available facilities include:

Studio A – considered one of the greatest recording rooms in the world, the legendary Studio A is based around a custom Neve 8088 - the last 8088 ever built by Neve. The live room is approximately 48 feet wide by 52 feet long, with a ceiling height of 35 feet at its highest point (2,496 square feet). This space stands as one of the most famous and desirable reverberant spaces on the planet.

Studio B -- based around a Solid State Logic 9000J 72 input console, it pairs with an intimate live room which is approximately 20 feet wide by 30 feet long, with a ceiling height of 15 feet at its highest point (618 square feet).

Studio C – one of NYC’s best-kept secrets, Studio C is based around a Neve VRP 72 input console. The gorgeous live room is approximately 24 feet wide by 40 feet long, with a ceiling height of 24 feet at its highest point (980 square feet). The room can be divided into three spacious isolated sections, including a room styled after Motown Studios.
Studio E – the newly launched Pro Tools suite. Ideal for affordable mixing, editing and mix-to-picture, it is equipped with a Pro Tools HD Accel System, a 37-inch HD-Ready Sharp Aquos flat panel LCD television, and a Lipinski L-707 speaker system.
Studio G – features a Solid State Logic 4000G+ Special Edition, 56-input console. The control room is approximately 400 square feet with a 10-foot ceiling, leading out to a 323 sq. ft. live room with a ceiling height of 12 feet at its highest point.

Studio R – Avatar/Power Station veteran Roy Hendrickson’s Penthouse Mix Suite is built around a Yamaha DM 2000 digital console and an expanse of coveted, classic outboard gear. Located on the fourth floor, it opens out to rooftop access and an inspiring view of the Manhattan skyline.

Mastering -- Mastering services are provided by Fred Kevorkian in his room located on the 3rd floor. Kevorkian is one of the industry’s most sought-after mastering engineers, with album credits including Ryan Adams, The White Stripes, Dave Matthews Band, Debra Harry, Phish, Iggy Pop, The Walkmen, Cassandra Wilson and many, many more.

By expanding on a long-standing tradition of elite standards, technical innovation and unencumbered artistic expression, the 30th Anniversary of Avatar Studios sees it moving forward firmly in step with the ever-changing musical landscape. "A major studio in NYC isn’t just in the record business anymore – it’s in the music business – which works closely with film, TV, interactive entertainment and emerging media," Kirk Imamura observes. "Avatar has thrived by staying at the center of developments in every one of these areas.

"In celebrating our 30th Anniversary, all of us who are here now owe a debt of gratitude to the talented and passionate people that came before us," Imamura continues. "It’s a privilege to be a part of Avatar Studios now, applying our skills towards a facility that is not just valued today, but will be valued tomorrow and far into the future."

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About Avatar Studios:
AVATAR Studios is a 33,000-square-foot multi-room facility on Manhattan's west side dedicated to providing a complete, top-quality audio recording services solution to the music industry. The studio houses four premier recording rooms containing a Neve 8088, SSL-9000J, Neve VRP and a SSL-4000G+. AVATAR's Pro Tools Editing Suite is designed to accommodate client needs outside of a traditional control room setting. Also, with the recent addition of mastering services, AVATAR can handle every phase of a recording project, from pre-production, tracking and overdubbing to editing, mixing and final mastering, all within your budget. Recent projects recorded at AVATAR Studios include works by Eric Clapton, Norah Jones, Franz Ferdinand, Donald Fagen, Muse, The Mars Volta, John Mayer, Peter Cincotti, Dashboard Confessional, Sonny Rollins, Joe Lovano, Roberta Flack and more.
For more information, please visit www.avatarstudios.net, or call (212) 765-7500,
Media contact: Kevin Fetterplace – Mojo Working International
Kevin@Mojoworking.com
(001) 646 359 3961

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PROFESSIONAL AUDIO DESIGN CELEBRATES 15TH ANNIVERSARY

PROFESSIONAL AUDIO DESIGN CELEBRATES 15TH ANNIVERSARY
OF SERVING THE GLOBAL MUSIC COMMUNITY

Landmark Year for the Home of ‘Dream Design Deliver’,
Integrating Everything from Personal Studios to World-Class Facilities

ROCKLAND, MA: 2007 is a milestone year for Professional Audio Design (PAD), as the premier studio integration specialists celebrate their 15th Anniversary. Since its founding by Dave Malekpour in 1992, the company has emerged as a leader in providing audio professionals with the most comprehensive combination of technical services and equipment available, from custom monitoring, console refurbishment and complex turnkey Pro Tools systems to ground-up designs for personal and world-class studios.

"It’s been extremely gratifying to see PAD grow from a company with one technician to a major player in the professional audio landscape," Malekpour says. "In 15 years, we’ve become an amazingly flexible resource for our customers. Whether they need one piece of outboard gear or a full-fledged studio unlike anything that’s ever been done, they count on PAD’s ‘Dream Design Deliver’ philosophy to make it happen."

After 15 years of expertise and guidance, the PAD client roster is nothing short of a who’s who for the music industry. A partial list of highlights includes Aerosmith, Green Day, Wu Tang Clan, Timbaland, Wycleaf Jean, Alicia Keys, Neil Finn, Matt Sorum, Nelly, Bennett Studios, Ministry, Quad Studios, Hit Factory, Southern Tracks, Shaggy, and many more.

"After integrating and designing over 2000 studios, PAD has a deep knowledge of what works and our clients benefit from that experience," notes Malekpour. "We spend a lot of time understanding what our clients want and help them to think it through. Our team and inventory are set up to help audio professionals avoid the pitfalls of putting together a DAW system or installing a large-frame analog console themselves. That expertise is irreplaceable, and it’s what makes our 15 years in business so valuable to our clients, now and in the future."

PAD’s commitment to a complete client experience is reflected in its wide range of technical services, which not only include console refurbishment for SSL, Neve, API, Euphonix, Trident and more, but custom wiring, studio design services, and turnkey DAW systems that arrive fully synched and ready for production. Custom monitoring in collaboration with industry legends such as Augspurger and Dynaudio/Munro is also performed onsite in PAD’s highly active shop in Rockland, MA.

"We back up our extensive service offerings with the philosophy that PAD is a relationship-based company," Malekpour says. "Our clients know that as long they’re in business we’re going to support them, with expertise that’s available to them over the phone or onsite if need be.

-more-
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"Working so closely with our clients is the aspect that has really kept the last 15 years so exciting – they’re constantly pushing the envelope of what they want to do and therefore what PAD can do for them. Helping our clients to be successful and make great music is exhilarating. There’s nothing like hearing a record you really love and knowing that it was produced in a room that we helped to create."

With thousands of studios outfitted or created with the help of his 15-year old firm – and thousands more to come – Dave Malekpour points to his dedicated team as the cornerstone of PAD’s longevity. "The most important element of all for our continued success is the people that make up PAD," he concludes. "We’re very proud to have attracted such talented, passionate people with a shared commitment to quality. From the owner to the service tech to sales to the shipper, everyone takes a great deal of care in all of our relationships – there’s a shared appreciation for being in the music business, doing something we love."

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About Professional Audio Design

Professional Audio Design (PAD) was founded by David Malekpour in 1992 as the premier provider of audio technology, installation, service and training to music and sound professionals at every level. The company’s deep experience in systems integration has made it a central resource for world-class recording studios, personal studios, post, broadcast, educational facilities and more. PAD’s expert staff provides warranted refurbishing and technical service for large format consoles from API, Euphonix, Neve, SSL and more, as well as complete wiring and installation, custom monitoring, and turnkey audio suite packages. For more information or to speak with a PAD professional, visit www.proaudiodesign.com, or call 877-223-8858.

Media contact: Kevin Fetterplace at (001) 646 359-3961 or via e-mail at kevin@mojoworking.com.

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Manhattan Transfer Miami and Continental Film and Video Labs Form Strategic Alliance for Spirit HD

Manhattan Transfer Miami and Continental Film and Video Labs Form Strategic Alliance for Spirit HD
MIAMI, FLORIDA (July 23, 2007) -- Manhattan Transfer Miami (MTM) and Continental Film & Video Labs have signed a strategic alliance in order to offer film and video clients a complete package of services, from production through postproduction. To cement the relationship, MTM is installing the first Thompson Grass Valley Spirit® HD telecine in the southeast region in a spacious, purpose-built suite that will be staffed around the clock by the two companies.

The new relationship offers endless synergies to the combined client base of the two companies, according to MTM’s General Manager, Bob Corti. "Ninety-five percent of our work is commercials. We have not previously pursued feature work because that typically goes to the lab, so that is what we hope Continental will bring to the table. There is very, very little overlap in our respective client bases, so their portion of the business dovetails nicely with ours."

"We are able to offer a package of services which not only include our traditional film-related services but now new post production services by way of our association with Manhattan Transfer Miami," stated Steve Krams, Continental’s President and Owner. "Now, clients can come in here and, from the front end to the back end, we can provide all the services they need - and MTM can do the same.

Together, we are able to now compete favorably in the market with the latest technologies that Thompson Grass Valley has available by way of the Spirit HD."

The Spirit HD, which facilitates the transfer of film content for motion picture postproduction and other applications, such as the re-mastering of movies for HDTV, will be installed in a new suite, due for completion in mid-August, at MTM’s Coconut Grove facility.
"We took two suites and combined them to make a very big, spacious, comfortable suite," said Corti.

He continued, "We already have HD capability in the rest of the facility. We have HD-capable Avids, HD Audio, Discreet’s HD Smokes and Flames, so this is the final piece of the puzzle for us." The next-generation Spirit HD offers improved picture quality and resolution over the previous generation of Spirit machines, and offers an easy upgrade path to 2K, 4K or datacine operation in the future.

Continental currently offers film lab and standard definition transfer services and is a 24/7 operation. "People will drop their film off at night and pick it up in the morning, then they do their transfers either during the day or evening," explained Krams. "Continental is providing support HD equipment such as HD Monitoring, Teranex and Aaton Keylink just to mention a few of the items", Krams notes that the company has a film lab in Orlando as well as North Miami. "So we’re going to feed whatever we can from Orlando through here, also."

Krams is also President of chain of movie theaters known as Sunstar Theaters and Magna-Tech Electronic Co., which manufacture master recorders, dubbers and High Speed Electronic Projection Equipment. "So we’re in exhibition, equipment manufacturing, and in post production now!"

About Manhattan Transfer Miami:

Manhattan Transfer Miami is a talent-driven company committed to providing a first class service and providing a unique opportunity for our clients to work with a diverse group of talented individuals and a wide range of state of the art equipment in an intimate environment.

Manhattan Transfer Miami is the primary choice for post-production in the South East and Miami areas with services that include film transfer, audio, editorial, design, effects and animation (through Deep Blue Sea) Creative Editorial (though Circolo) and production services (through Manhattan Transfer Production Group).
For more go to www.mtmiami.com

About Continental Film and Video Labs:

Continental Film Miami & Orlando is Florida's oldest and most respected Film and Imaging Lab.

The Company is dedicated to providing the highest quality Film Processing and Electronic Imaging Service. It services both the feature film industry, and industrial and commercial market.

The blend of resources it has developed over the Last 40 years has given it a reputation for quality products delivered by a diverse and multi talented group of individuals that comprise an award winning company and team.

The company has 16-35 & 70 mm film facilities along with state of the art electronic imaging capabilities.

So, whether it's a Hollywood Feature or NASA's Space Shuttle - CFL is the natural choice.

For more info go to http://www.flfilmlab.com/index.htm

Media contact: Kevin Fetterplace at Mojo Working International
Kevin@Mojoworking.com
(001) 646 359 3961

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MANHATTAN CENTER STUDIOS AND MANHATTAN CENTER PRODUCTIONS JOIN FORCES TO FORM

MANHATTAN CENTER STUDIOS AND MANHATTAN CENTER PRODUCTIONS JOIN FORCES TO FORM
THE MANHATTAN CENTER

New York City Has a New Media Production Powerhouse

NEW YORK: The Manhattan Center Studios (MCS) and Manhattan Center Productions (MCP) have merged under one leader to be known as The Manhattan Center (www.mcstudios.com), a self-contained production facility and a major contributor to New York City’s entertainment culture. This new organization, combining these two renowned New York production entities, is led by CEO Russell Arnold. MCP’s former President Peter Ross will now act as general counsel for the organization.

"The merger of MCS and MCP creates a new production powerhouse," Arnold says. "By integrating all of these assets, The Manhattan Center now offers a streamlined and complete production center for a broad range of entertainment and media …live events, television, music and post production."

The Manhattan Center is home to one of NYC’s legendary venues, The Hammerstein, originally built as the Manhattan Opera House in 1906 by Oscar Hammerstein I. It is also home to three television studios, a complete High-Definition post-production facility, satellite broadcast capabilities, two world-class recording studios and an orchestral scoring stage which have provided services to a premier client base that includes Warner Brothers, Revolution Studios, Discovery Channel, Island/Def Jam, Dreamworks, Atlantic Records, Harpo Productions, Telepictures, USA Network, NBC/Universal and Capitol Records.

In addition to The Manhattan Center’s outstanding production resources it offers entertainment companies and individuals full service turnkey office suites in a creative community where industry professionals connect daily.

The Hammerstein and the Grand Ballroom are Manhattan’s most adaptable event spaces. These highly versatile venues and all of The Manhattan Center’s studios are continuously transformed to accommodate an extremely wide range of productions for television, stage, concerts, recording, corporate events and more.

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Media Contact: Kevin Fetterplace at (001) 646 359-3961 or via e-mail at kevin@mojoworking.com.
All referenced product names are trademarks of their respective owners.

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AIRPORT WIRELESS ADDS ULTRASONE HEADPHONES

AIRPORT WIRELESS ADDS ULTRASONE HEADPHONES
TO PRODUCT OFFERINGS

Leading Airport Retailer Selects ULTRASONE HFI-550 Headphones with S-Logic
Technology for Natural Surround Sound Effect and Much Safer Listening

FRANKLIN, TN – September 18: ULTRASONE of America, LLC (www.ultrasoneusa.com) announced that its critically acclaimed
ULTRASONE HFI-550 headphones will now be available through leading airport retailer Airport Wireless™ (www.airportwireless.com). The headphones, which feature ULTRASONE’s patented S-Logic™ technology for superior sound quality and significantly safer listening, have been added to Airport Wireless’ high-tech offerings at Atlanta Hartsfield International, Charlotte-Douglas International, Miami International, Newark International, Philadelphia International and La Guardia airports.

"We believe that the ULTRASONE HFI-550 headphones are an excellent fit for the advanced offerings of Airport Wireless," says Cathy Kelly, President of ULTRASONE of America. "The extreme noise isolation, audiophile sound quality, and multiple safety features of ULTRASONE headphones make them ideal for travelers who want the ultimate listening environment. With Airport Wireless’ reputation for outstanding customer service and elite product offerings, ULTRASONE is well-represented."
ULTRASONE has incorporated S-Logic™ technology into all of its revolutionary headphones, a patented system that reduces sound pressure to the eardrums by 40%, while delivering an amazing natural surround sound effect to the listener. Thanks to its patented ULE (Ultra Low Emissions) technology, all ULTRASONE products have lower magnetic field emissions than any other headphones, reducing electromagnetic field radiation – an effect commonly associated with cell phone use, for example - by up to 98%.
The ULTRASONE HFI-550 retails for $189.00.
About ULTRASONE
Based near Munich, Germany, ULTRASONE AG has been manufacturing headphones for the audio market for over 12 years, during which time the company has developed and applied for more than 60 patents for its innovative technology. The company's unique, patented S-Logic™ technology creates natural surround sound without the use of additional electronic devices. ULTRASONE headphones represent a safer listening experience, not only by generating a 40% lower sensitivity for the same perceived loudness but also by offering shielding up to 98% of EMF radiation through the use of patented ULE (ultra low emission) technology. ULTRASONE headphones are available worldwide and distributed in North America by Franklin, TN-based ULTRASONE of America, LLC. For more information about ULTRASONE headphones, go to www.ULTRASONEUSA.com, or call 615-599-4719.
All referenced product names are trademarks of their respective owners.
Media contact: Kevin Fetterplace at (001) 646 359-3961 or via e-mail at kevin@mojoworking.com.

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THE POWER OF TWO: PUMA, LATE NIGHT & WEEKENDS SPRING

THE POWER OF TWO: PUMA, LATE NIGHT & WEEKENDS SPRING
AN INSTANT CLASSIC CAMPAIGN, ‘FRENCH 77’, ON VIEWERS

Puma’s Shoes and Apparel Blossom with Fresh New Set of :15 HD Spots

NEW YORK: Puma is speaking the international language with "French 77", an energetic new campaign where the visuals quickly tell satisfying stories. Wholly created and shot by the uniquely comprehensive shop of Late Night & Weekends (LN&W), the graphically punchy four-pack of :15 HD spots puts Puma style front and center just in time for Spring.

Starring a highly addictive rock track and a host of fresh young faces, "French 77" draws inspiration from another highlight era for Puma, the 1970’s. The spin in 2007 is that the spots build on Puma’s most recent work, a highly successful 360 campaign where live animals and apparel were joined in arresting visual fashion.

"Puma has always been smart about their brand objectives: make people smile, feel inclusive, project a sporty style and do it simply," says Alex Vlack, Executive Producer, LN&W. "We knew we had to build on a campaign with the strong visual impact of animals and their relationship to products, and make it even stronger this time by linking the clothes and shoes to people instead of ants, deer, turtles and wolves."

LN&W’s close collaboration with Puma resulted in a concept where an immediate, visceral connection is drawn between the apparel and the visual world. Driven each time by the same raw, rhythmically upbeat song from the Philadelphia band Mazarin, each :15 spot is set in a bright white universe that plays host to a graphically clever event. In "Cliffs", blue bars drawn from the design on a man’s jacket create a bouncy graphic equalizer that the actors can stand on. The drawstrings of the man’s pink coat serve to shrink a matching pink tennis court in "Rain", drawing him and his partner together. "Zipper" sees a woman zip her yellow jacket zipper up, which brings the man to her as they walk away together. In "Stairs", both actors energetically ascend a row of black discs that turn out to be the perforations in the man’s shoe.

Inspired by Puma’s passion for imagery that would stand out from the crowd, LN&W Director Andrew Zuckerman and DP Paul Cameron went to work in 24p .Using the Panavision Genesis camera and the look-up table, they captured one spot per day in a spirited Los Angeles shoot. "With this campaign, the challenge was to find a way to make the product -- both shoes and apparel -- the star, while incorporating people," Zuckerman explains. "The solution lay in the animation treatments: What we did was take elements from the products—blue bars on a track jacket, a yellow zipper, perforations in shoes, drawstrings on a hooded jacket—and bring these elements into an otherwise blank, white world. So what happens is that you get the immediate connection again: you understand right away that it's the products themselves that are creating the world these people live in.

"Throughout, we felt it was important to get as many real interactions as possible. Since the final spots were going to be so animation-heavy, I wanted contact points and interactions between people to be real whenever we could. A good example of this is in ‘Stairs’. The conceit of this spot is that the models are running up opposite sides of a long staircase that's made from the holes in the featured shoe. We fabricated a staircase with black discs on it that was about fifty feet long – so that with hardly any special effects other than clean-up, you see people walking on these floating discs. You feel like they're really in the space, and I think this helps sell the idea that the design elements of the Puma products are really shaping the world, not just tacked on later."

LN&W called on premier NYC FX house Smoke & Mirrors to handle the critical
3D design and Flame artistry that would make everything come together in post. "’Cliff’ was the most post-heavy spot," Vlack notes. "Since it’s like a giant graphic EQ, the graphics had to move in time with the music. The camera spin was also a very complicated move, but they pulled it off amazingly. Since everything was in HD, every render took four times as long, but it always proved to be worth the wait."

A highly experienced creative and production team, LN&W have quickly built up an impressive body of work since forming in early 2006. In addition to multiple Puma campaigns, the pair has also co-produced and collaborated on the story for the critically praised indie short film High Falls, starring Maggie Gyllenhaal, Peter Sarsgaard, and Ebon Moss-Bachrach with Vlack writing the screenplay and Zuckerman directing. LN&W has also published a book of photographs Zuckerman took as a series related to the film.

Puma and the "French 77" campaign benefited from LN&W’s refreshingly simple structure: a fast-moving and efficient two-person creative agency that customizes a
top-tier team of freelancers for each distinct project. "Puma is a smart company that’s very open to new ways of working, and they picked up immediately on the advantages of collaborating with LN&W," says Vlack. "The interesting thing about LN&W is that it’s just Andrew and me – we have no employee overhead, which means that we can pull in whoever we think is best to work on a campaign’s concepting phase and art direction. It’s a very freeing way for the group to work, and it forms a team that’s working directly with the client at all times, understanding what they want and forging an incredibly close relationship."
"When everyone is happy with the direction, we lead the production of the campaign," Zuckerman adds. "It's very simple. It's not rocket science, and it seems like that's how it should always be. The talent, then, can devote all their energy to the campaign in a way that is sometimes hard when you're working in a huge place that you go to every day. This kind of work model delivered the unconventional thinking that Puma was looking for: it makes everyone—both the freelancers we hire and ourselves — have more fun with each project."
Watching the spirit of the "French ‘77" :15’s unfold, Puma’s penchant for innovation and masteful branding comes through loud and clear. "The spots do exactly what they're supposed to do: make you smile," Andrew Zuckerman says. "When you see them, hopefully you just think, ‘Puma is cool, these people seem happy. I liked that.’"
FULL PRODUCTION AND POST CREDITS HERE
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About Late Night & Weekends
Founded in 2006 by Alex Vlack and Andrew Zuckerman, Late Night & Weekends (LN&W) is a boutique creative agency. LN&W works directly with its client to form original concepts and creative, as well as executing all stages of production. By customizing teams from the ground up for each project, LN&W allows media campaigns to realize their fullest creative potential while moving with maximum efficiency.
For more information, please visit www.latenightandweekends.com.
Media contact: Kevin Fetterplace at Mojo Working International:
Kevin@Mojoworking.com

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Recording Architecture's Roger D`Arcy bares his soul to Post Magazine's editor Randi Altman

1. How are the needs of audio post houses evolving, both from a technological perspective and a human needs/ergonomics perspective?

The technological advances that have affected audio post studio design in the past decade (control rooms rather than voice over studios/booths) are principally the prevalence of surround/5.1 formats, the development of the plasma/LCD flat screens and the diminishing size of digital equipment and mixing desk/control surfaces. The ergonomic implications are that centre speaker, screen and direct eye lines from operator to artist all compete to occupy the same position. Flat screens at least allow more flexibility in positioning/mounting without the need for large, ventilated recesses (See Angellsound - London) - projection onto a (truly) acoustically transparent screen can at least solve the speaker conflict (See Scramble Studios - London) . Smaller consoles allow more space for clients and engineer alike - although there is usually a reciprocal need to plan for and provide much larger machine room areas for the associated and remote computer systems - most welcome in terms of reducing heat loads and noise floor in the control room. The extended dynamic range afforded by digital formats and the lowering of the noise floor does put more pressure on the designer to provide higher levels of sound/vibration isolation to lower frequencies in both control rooms and perhaps even more particularly voice recording spaces.

2. What do these needs mean to what studio architects need to know and have the ability to execute?

A sympathetic understanding of the working practices of audio post clients, a thorough grasp of practical, applied architectural/acoustic principles and perhaps most importantly, a wide experience of different planning/design scenarios and potential building situations/solutions is essential in order for the architect to provide the most cost effective/appropriate design. The client may well require a great deal of detailed guidance and advice in arriving at a given solution - audio post (or any other genre of audio studio) design really should not be undertaken without the input of an experienced acoustic/architectural designer to realise the maximum potential and optimisation of a particular project.

3. How do the challenges differ to architects who are building these studios from the ground up, vs. redesigning an existing facility?

With shape, size and proportion of recording spaces having such a significant effect on room acoustics, the planning of facilities (particularly multi studio) is naturally much more manageable (I hesitate to say easier) with a ground up scenario. Having stated that, the fixed constraints of an existing building can sometimes give a starting point or design determinant to help get the creative process flowing - overcoming a particular physical problem (eg an unfortunately sited column or an inconveniently positioned fire exit) can often generate a potentially more interesting or visually exciting solution than may have emerged from a blank canvas. Ground up can generally deliver a more cost effective solution - working within existing buildings can often be difficult in terms of access/working space and the operations of neighbours may have to be considered. The choice of premises - an appropriate host building or site - is paramount.

5. What do you need to know about a client to tailor a room specifically to them?

As discussed earlier, a broad experience of client working practices within audio post and relevant architectural/acoustic situations will help the designer to interpret specific needs and hopefully guide the client and enable the development of an appropriate and potentially unique solution.

6. What are the big misconceptions that clients have going into the construction of their facilities? Or put another way, what mistakes do they make in conceptualizing the design that a seasoned architect can assist them with?

Perhaps the most common client misconception is the underestimation of space requirements - that is the required space to include sound isolating shells for each studio space, internal acoustic control treatments within those spaces and (and this is the aspect which is almost never considered in the period BEFORE the designer is approached) circulation space - the lobbies/corridors and fire escape routes which need to service the smallest single facility to the largest multiple studio complex. There is often a tendency to total up the preferred internal square footage preferences of the audio engineers or of comparable rooms and to apply this figure net, to the building/site selected. The actual gross floor area requirement can be at least 20% more - and with awkward shaped buildings/column layouts etc even 30% or more.

The second most common misconception is the likely implementation budget - cost plans, again, are often developed BEFORE approaching a designer and in advance of the necessary design solutions being appropriately cost analysed. It is very rare that a client`s budget provides a truly realistic or sufficient allowance for a given requirement - and it is here that the skills and and techniques of the experienced studio architect can perhaps be most expertly brought to bear to develop a balanced solution between technological, physical, budgetry, aesthetic needs and client aspirations.

7. What are some examples of facilities you've done in the US or Europe that you think exemplify your approach to audio post design?

EXAMPLES:
USA: Bongo Productions - Sacramento CA, Rainmaker - Richmond VA
UK: Jungle, Zoo, Angellsound - London
INDIA: Sound City, Q-Labs - Mumbai

8. What do you believe is next for the field?

Typical high levels of client attendance within control rooms in the audio post industry coupled with the preferred acoustic size/proportions discussed earlier mean that room size will not be affected regardless of technological change (there is always likely to be an engineer sitting at work surface whatever the equipment) unless virtual attendance continues to develop and gain industry and social acceptance - the clients in one space/city - the engineer in another - with perhaps the voice over artist(s) in yet another.

9. Finally, why do you like designing for audio post? What makes it uniquely challenging and what makes it uniquely rewarding?

Clients in audio post - maybe due to the need to attract a particular client base or perhaps daily contact with creative individuals at the cutting edge of advertising and media - are perhaps prepared to be more adventurous in terms of interior design and aesthetic considerations than their contemporaries in music recording studios (a surprisingly conservative bunch). As designers, there is often more of a chance to play????.

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