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News: GC Pro

15 Posts
—  Bose Panaray® MA12EX system and supporting technologies, as well as an acoustical treatment that cut the reverb time in the mosque in half and restored speech intelligibility during worship, show how GC Pro is the single best resource for any HOW AV need —

—  Project was completed through GC Pro’s Affiliate program, with the help of program member Christian Sound Installations of Valrico, Florida —

WESTLAKE VILLAGE, CA, February 8, 2012 — Like many houses of worship, the Islamic Center of Hernando County, in Spring Hill, Florida, had some specific audio issues: the main hall of the mosque had a reverb time measured at six seconds, enough to reduce speech intelligibility to near zero, and a second prayer room reserved for women had no separate sound system at all and had to rely solely on reflected sound from the men’s prayer hall for prayer leadership. A visit to Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, solved all of the space’s audio problems, thanks to GC Pro’s breadth of technology solutions and the depth of its Affiliate program, which lets GC Pro find exactly the right fit for system installation.

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Last August, Christian Sound Installations of Valrico, Florida, one of the certified Affiliates in the highly successful national GC Pro Affiliate Program, installed a Bose Panaray®  MA12EX full-range modular line array with four speakers in the men’s prayer hall, controlled via a Bose Control Space ESP-88 processor and powered by a Crown XTi 4002 amplifier. In addition, the women’s prayer hall now  has its own sound system consisting of Bose FreeSpace® DS 100SE loudspeakers powered by a Crown XTi 1002 amplifier. A TASCAM CD-200i CD player with integrated Apple iPod® dock serves as the music source for both systems. When praying, the Imam’s lavaliere microphone was often muffled when his head bowed to the floor; a Countryman E6 wireless headset supplied by GC Pro solved that issue. And the main hall’s reverberation problem was eliminated with the  application of acoustical absorption materials to the walls, cutting the six-second reverb time down to three seconds.

Mick Hall, Account Manager at the Tampa Bay-area GC Pro location, says that what they were able to accomplish cost-effectively at the Islamic Center of Hernando County is an example of how keenly GC Pro can help houses of worship solve their AV concerns. The solutions for any AV problem are within GC Pro’s extensive inventory, and ways to implement those solutions are at the ready through the Affiliates program, which allows customers to access the talents and skills of certified acoustical designers, acoustical architects, systems integration companies and other technical services organizations nationwide.

“We have all of the resources necessary to handle any situation, large or small, from renovation to ground up construction,” says Hall. “We have the product and systems solutions and we have the talent, in the form of people like Paul Garner, Owner of Christian Sound Installations, who can integrate those solutions in the best ways possible. That’s what GC Pro has to offer.”

Hall elaborated on how the system was put together: “Traditional mosques are very beautiful and also very live acoustic spaces,” he stated. “The client wanted a system that was small and unobtrusive to  the room décor but powerful enough to be an effective upgrade of the existing ceiling speaker system. The main request of the sound system was that it be capable of substantially amplifying the sound in the space while still remaining open and natural enough to  give the impression of no PA. It was also a requirement that the system  be capable of extremely wide horizontal and controlled vertical dispersion to minimize reflections and artifacts caused by excessive spill on architectural details. Finally, the complete control for the system needed to be as compact and user friendly as possible. The system with Bose MA12EX Panaray speakers in the main room and DS100SE speakers in the anteroom along with the ESP-88 processor and CC-64 remote was an eloquent and high  quality solution to solve all of the integration and performance  criteria.”

For more information, please visit www.gcpro.com.
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WESTLAKE VILLAGE, CA, December 1, 2011 —  Vince Lawrence has packed more into three decades in the music business than some achieve in a lifetime, initially as an artist, entrepreneur and innovator who helped introduce house music worldwide, then as a composer, producer and remixer who has come to effortlessly straddle the worlds of music and brand marketing. Lawrence’s Slang Musicgroup recently turned to Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, as they were upgrading the company’s production studio. Chicago-based Dan Scalpone, GC Pro Regional Manager, South Central U.S., was Lawrence’s primary contact on the project.
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A studio owner for many years, Lawrence, founder and CEO of Slang Musicgroup and a Chicago resident since birth, has amassed an extensive collection of recording hardware and instruments, but with so much now  being produced in the box, the facility’s main computer needed an upgrade. “We wanted to take advantage of some more horsepower in other  programs that we were using outside of Pro Tools,” he says.  “Since we were making the upgrade we said, what else could we do at the  same time, since we were going to take some time off? So we also took the opportunity to isolate some of the noisier equipment."

Scalpone, another longtime resident of Chicago, spearheaded the project for GC Pro. “I gave Vince all the options, and we sat down with the Avid product specialist and had some good meetings and demonstrations to narrow down what he needed. He wanted to update his Apple OS to Leopard, and naturally he had to upgrade Pro Tools, and he wanted to  upgrade his computer. He bought a 12-core Mac and a bunch of hard  drives with a Magma chassis. He also got some extra RAM, plus the  additional cards for Pro Tools.”

Having access to the fastest computer available and 30 GB of RAM is critical  for a studio that runs so many software instruments, not to mention the various applications, such as Logic and Reason, preferred by the team’s composers, according to Lawrence. “We got Vienna Ensemble to use as a bridge so that we could load the other synths into different RAM or even different computers that are elsewhere on our network, so we  could maximize our composition palette. We wanted  to have as many different things running virtually as possible,” he explains.

Slang Musicgroup works on many different types of  projects, including remixing; music for advertising; music licensing for commercials, web, games and other purposes; original music production; artist development; and studio rental to outside engineers and artists. Current remix projects include songs by R. Kelly and Wiz Khalifa, reports Lawrence, also noting that Canadian artist Mira Black, young four-piece Mindless Behavior, and rapper Jim Jones, working with local artist YP, have all visited recently. The Slang Music Group team also wrote the theme for TV’s “Dr. Oz” and works closely with McDonalds, a client for many years, on music-related initiatives.

In addition to the upgrade to Pro Tools 9, and shortly to Pro Tools 10,  new software at the studio also includes Native  Instruments Komplete & Maschine, Spectrasonics’ Omnisphere and  Arturia’s collection of  VST instruments. “Plus a few other interesting  synth goodies that I’ll  keep to myself for the moment,” laughs Lawrence.  With the installation  of Apple’s Leopard OS, he upgraded the studio’s Waves plug-ins (Mercury  bundle) and added the Abbey Road Studios bundle.  The processing plug-in collection was further expanded with iZotope’s  Stutter Edit,  Elysia’s mpressor and the SPL Tube Vitalizer. The upgrade  included a  single item of outboard processing hardware, an API 2500  stereo  compressor.

With  producers and musicians all working in the  facility’s large control  room, noise was an issue, so Lawrence also  purchased a 20-unit IsoBox  rack from Sound Construction. “Lowering the  noise floor while keeping  critical gear in the room was one of his  objectives,” reports Scalpone.

Slang  Music Group is also working with several artists  on Atlantic Records, says Lawrence. Somehow the team has also found time  to create a five-CD  set of loops and one-shot samples, Chicago Fire,  for Sony  Creative Software’s Acid application. “It’s a good basic  toolkit for  anybody who wants to make good sounding house music and  electro,” he  says.

There  is no denying that Slang Music Group is busy:  “Our posted hours are 9  a.m. to 3 a.m. Not that I’m here for all of  them,” Lawrence  acknowledges, “but we’re willing to book a session  between those hours.  We really want to help out as much as we can, so  there’s a pile of  stuff going on around here.”
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WESTLAKE VILLAGE, CA, October 20, 2011 —  Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on  the needs of professional users, and the exclusive U.S. distributor of  the famed Ocean Way Monitoring Systems, is pleased to announce the introduction of the HR-3 High Resolution Reference Monitor System.  Intended as a high-definition reference point to sonically judge and  discern intricate musical balances for final mixes, the Ocean Way HR-3  monitors will satisfy the most discriminating audiophile, yet still be capable of meeting the most demanding dynamic range and accuracy required by studio professionals. What separates the HR-3 from other high-end audiophile loudspeakers, apart from its use by professionals, is its capacity to provide virtually unlimited dynamic range while maintaining absolutely matched uniform frequency response between channels.
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Designed by Allen Sides, the GRAMMY® Award-winning  engineer, producer and mixer  who founded Ocean Way Recording, the new  HR-3 monitor system is  the culmination of almost 40 years of his  experience designing high resolution studio speaker systems for his many  studios and a wide variety of commercial installations, including  George Lucas’ Skywalker Ranch scoring stage; Trevor Horn’s Sarm Studios in London; and Walt Disney’s Hollywood Records, as well as private installations for musical artists like Gwen Stefani, Dave Grohl and Beck.

The two sides from 1k to 20k typically fall within 1dB  of each other, creating absolute symmetry in regards to stereo imaging.  The HR-3’s uniform dispersion, coupled with very smooth off-axis  response from its 15-inch mid bass driver, allows for a very wide  listening window, helping to eliminate the narrow “sweet spot” effect.  The HR-3’s twin 12-inch subwoofers also produce extended and detailed  low end to 20Hz.   The unit’s power handling is an impressive 800 Watts continuous for  the  twin sub bass woofers, 400 Watts continuous for the  mid bass  woofers  and 100 Watts continuous (650 Hz and up) for the high frequency driver.  The HR-3 is capable of producing a maximum SPL of  over  110 db at six  (6) feet, 20 to 20kHz.

The Ocean Way HR-3 (in addition to the HR-2) was deigned to bridge the gap between superb audiophile speakers and accurate professional studio monitors. There is nothing currently  manufactured anywhere in the world at any price that looks, sounds or  performs like the Allen Sides Signature Series monitors.  The monitors integrate brilliant  horn designs, never fully realized from the late 1950s, with exceptional wide bandwidth, low distortion drivers and a tri-amplified  / equalized electronic package second to none.

Like all Ocean Way monitors, the HR-3 is specially engineered to reveal  things in users’ best recordings and mixes they may have never heard  and provide dynamics they may have not thought  possible. Every nuance is clearly and starkly evident. From a recording engineer’s standpoint, these are invaluable assets, allowing for the best recording and  mixes possible, and from the audiophile’s standpoint, their best  recordings will sound simply exceptional.

The Ocean Way HR-3 specifications are impressive:
- Frequency response +/- 2dB, 20Hz – 20kHz
- Symmetry between channels +/- 0.5 dB, 1k to 20kHz
- Maximum SPL – Over 110 dB at 6 feet, 20Hz to 20kHz
- Maximum Power Handling Capacity:
- High Frequency Driver Max 100 Watts continuous, 650 Hz and up
(Note: 1 watt in at 1k measured at 3 feet produces 108 dB)
- Mid Bass Woofer max 400 Watts continuous
- Twin Sub Bass Woofers max 800 Watts continuous
- High Frequency horn with a 90-degree by 40-degree dispersion has a 500Hz cutoff
- Crossover points: 650Hz and 80Hz, 18 dB per octave

Component description:
- High Frequency driver has a 19,000 gauss magnetic  structure and   titanium diaphragm with aluminum voice coil, two-inch  throat
- Mid Bass woofer is 15-inch and has an 11,000 gauss magnetic structure with an aluminum voice coil
- Sub Bass woofers are twin 12-inch and have 11,000 gauss magnetic structures

Weights and size:
305 lb, 28" width x 29" max depth x 46" height, each cabinet

About Ocean Way Recording and Allen Sides
Allen Sides, the GRAMMY® Award-winning engineer, producer and mixer who founded Ocean Way Recording, developed these  renowned speaker   systems. His studios and his Ocean Way Monitoring  Systems have since helped artists like The Rolling Stones, Eric Clapton,  Eminem, Janet   Jackson and Radiohead, to name a few, create milestone  music recordings. Through an exclusive arrangement with GC Pro, the  famed   Ocean Way Monitoring Systems can now be custom tailored and  installed in commercial recording facilities, private studios, home  theaters and a   variety of other critical listening environments.
Mr. Sides designed, built and owns Ocean  Way Studios Hollywood, Ocean   Way Studios Nashville, Ocean Way Studio  St. Barth’s at Eden Rock and   Record One Studios Sherman Oaks. Together,  these constitute the most   award-winning and successful music studios in  the world. Mr. Sides has   also personally recorded over 500 albums, many  of which have become   audiophile classics. Albums recorded in Mr. Sides’  studios have sold in   excess of 1 billion copies. Mr. Sides brings a new  dimension and   understanding to what is possible in high-end speaker  design, and the   Impact is the realization of this experience.

 

 

 

 

 

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Guitar Center Professional Announces New Features and Functionality for Neve Genesys Mixing Console

 

—  Based on direct feedback from leading engineers/producers, Neve continues to expand its Genesys Console with enhanced functionality and many new features —

 

WESTLAKE VILLAGE, CA, October 18, 2011 —  Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users, is pleased to announce new features and functionality for the Neve Genesys, a custom-crafted, expandable analog recording console that incorporates digital workstation control. Exclusively distributed in the U.S. by GC Pro, the Genesys was designed to address the new realities of the modern professional audio industry for music, postproduction and gaming, while building on Neve’s 40 years of accumulated technical heritage.
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New features being unveiled at AES include:
  • New and updated Routing Implementation (L-C-R/Stereo)
  • Pro Tools track arm/disarm control from the console surface
  • Apple Logic Pro Integration:
    • Control of up to 6 Banks of 8 faders each (48 Channels)
    • Extensive control of Pans/Sends
    • DAW Metering
    • Ability to 'Flip' Pans/Sends onto Faders
    • Channels Encoder in DAW simulates V-Pot
  • EQ/Dynamics processing can be placed in any order in  the audio path using the keyboard/mouse with a graphical representation of the audio chain
  • EQ/Dynamics Link/Copy/Paste feature
  • Digital Line Enable on Channels with AES/FireWire
  • Ability to Lock Monitor Level
  • Improvements for Gangs/Trims, MTC operation, FireWire clock sync

 

About the Neve Genesys
With its unmistakable Neve qualities of exquisite design, peerless craftsmanship and legendary Neve sound, the Genesys is a comprehensive, cost-effective solution to the challenges of audio in the digital age. The base configuration offers 16 channels of mic/line  preamps, 16-channel DAW monitoring, 32-channel analog summing at mixdown, DAW control for Pro Tools, Logic, Nuendo and more, 8 auxiliary buses, 8 group buses, 2 main outputs, 4 effects returns, comprehensive metering, 5.1 monitoring, 2 cue mixes, talkback services and an internal power supply. What sets the Genesys apart is its remarkable combination of features and affordability — an affordable Neve analog console with Neve’s legendary sound and digital control at a cost of less than $50,000 enables the widest possible range of professionals to make a genuine Neve console the heart of their studios. Furthermore, the Genesys has the ability to upgrade as studio owners’ requirements change — it can be expanded to over 60 channels in a straight or articulated frame, with options including motorized fader automation, recall, mastering-grade A/D and D/A converters, digitally controlled EQ and dynamics, remote mic amp control and much more.

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

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— Brooklyn recording studio and live venue turned to GC Pro for products and technical expertise —

WESTLAKE VILLAGE, CA, October 5, 2011 — Converse Inc. recently opened the doors to its new Brooklyn-based recording studio and live performance venue facility, Converse Rubber Tracks. A community-based studio designed to generate interest in recording among young and aspiring artists, the facility is fully outfitted  with state-of-the-art equipment and instruments sourced by Guitar  Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users. GC Pro also provided their technical expertise and consulted on the studio’s wish list to make sure the studio would be equipped with the right high-end recording equipment and gear, to make Rubber Tracks a true resource and opportunity for emerging musical acts. Account Manager Billy Walker from Nashville’s GC Pro location worked alongside GC Pro Affiliate program member Horacio Malvicino and Malvicino Design Group of Forest Hills, New York, who provided acoustical design and treatment for both parts of the facility.GC.jpg
The live room at Converse’s new Brooklyn-based recording facility, Rubber Tracks, fully outfitted with state-of-the-art equipment and instruments sourced by GC Pro.

GC Pro sourced gear for both the recording studio and the complex’s live performance venue. For the venue side, they provided a complete QSC Line Array, including QSC KLA-12,  KLA-181 and K8 Loudspeakers; an Allen & Heath W316:2DX Wizard Mixer; and a full complement of cables, mics and rigging equipment. On the studio side, GC Pro supplied a vast array of products, including an Ocean Way HR3 Tri-Amplified  Monitor System (designed by multi-GRAMMY® Award-winning  producer/engineer Allen Sides, and for which GC Pro is the exclusive dealer); a Digidesign Pro Tools|HD2 PCIe Accel system; a Neve 1073DPA Stereo Mic Preamp;  Apple Mac® Pro 6 Core Computers; plug-ins from Waves and Universal Audio; a Lynx Aurora 16 analog/digital converter; a selection of microphones from such brands as Neumann, Sterling, Royer, AKG, Shure, EV and others; and much more. Additionally, acoustical treatments and fabric-wrapped panels from  Auralex® Acoustics, Inc. were employed to help control the sound in the studio. This included 15 of their ELiTE C24 ProPanels and four CT45 ProPanels.

"GC Pro really delivered for Rubber Tracks," said Brad Worrell, Studio Manager of Rubber Tracks.  "We had strong ideas about what we wanted and they were really  supportive of that. It was never about ‘product placement’, just about about  ensuring that the studio was optimally outfitted. On the instrument side, Guitar Center went above and beyond the basics we’d initially listed. I'll never forget the day that a truck showed up with literally a pallet of Marshall amps. Being able to work day in and day out with young artists in this atmosphere is as exciting for us as it is for them and we are extremely happy with everything in Rubber Tracks supplied by GC Pro and Guitar Center."

Horacio Malvicino, Managing Director of the Malvicino Design Group, who worked closely with GC Pro and Brad Worrell, stated, “It was very special to be part of an  initiative of this kind. Rubber Tracks is a great space with an outstanding  location and has an incredible staff. This has been one of the most rewarding experiences that I’ve had as a studio designer and consultant in a long time. Rubber Tracks and Converse are providing invaluable help to bands that are trying to break into the music business.”

“This relationship with Rubber Tracks is the perfect opportunity for two like-minded  brands to provide musicians a chance to work alongside a team of experienced  engineers and create original music,” noted Richard Ash, GC Pro Business  Development Manager for the Eastern Region. “We helped them put together their gear list, advising them on the types of systems they should be acquiring and getting the right monitors – that kind of thing. They had a great sense of what they needed for the project, and they turned to us to help move it to the next level. What we all ended up with is a very cool facility – just a great space for young bands to be creative.”

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



About Guitar Center Professional/Guitar Center
Celebrating its 10th anniversary this year, Guitar Center Professional is the outside sales division of Guitar Center that focuses on the needs of professional users.  Its clientele includes recording studios, audio engineers, producers, recording and touring musicians, live sound venues, post production facilities and more. 

Emphasizing extraordinary individualized service via local account managers, GC Pro offers expert consultation and a comprehensive selection of the world’s  finest equipment for music and audio professionals. More information on GC Pro can be found by visiting www.gcpro.com.

Guitar Center  is the leading United States retailer of guitars, amplifiers, percussion, keyboards and pro-audio and recording equipment.  Our retail store subsidiary  operates 221 Guitar Center stores across the United States. In addition, our  Music & Arts division operates 101 retail stores specializing in band and  orchestra instruments for sale and rental, serving teachers, band directors, college professors and students.  We also are the largest direct response  retailer of musical instruments and related products in the United States  through our wholly owned subsidiary, Musician’s Friend, Inc., and its catalogs  and owned or operated websites. More information on Guitar Center can be found  by visiting the Company’s website at www.guitarcenter.com.

The Guitar Center logo is a registered trademark of Guitar Center, Inc. Other brand or product names may be trademarks of the respective companies with which they are  associated.

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— Five new high-end audio post studios are a key part of the facility’s expansion, and GC Pro sourced most of the new hardware and software and provided consulting and guidance to integrate the new equipment seamlessly with Outpost’s existing gear —

 

WESTLAKE VILLAGE, CA, September 14, 2011 —  Outpost Digital, a leading New York City audio and video post production company whose clients include Dodge, Champion, ESPN, Cingular, IKEA and others, recently completed a significant expansion of its facilities on Manhattan’s lower West Side. Thirteen new post suites were added in newly available space on the same floor as the company’s existing facility, five of which are full-service audio post studios. This substantial expansion required careful consideration of new technologies and products that would keep Outpost on the leading edge but also integrate easily and smoothly with existing equipment that the company planned to install in the new studios. Outpost found a great resource in  Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users.

 

The team from GC Pro’s Manhattan location was able to help Outpost make informed decisions and create a plan that brought the new rooms on line quickly and efficiently, and GC Pro helped them choose equipment including an Avid Pro Tools|HD 3 Accel system, Blue Sky MediaDesk 5.1 MKII and Prodesk 2.1 MKIII Active Monitoring systems, Studio Tech StudioComm 78/79 7.1 Surround Controllers and Bryston 3BSST2PRO power amplifiers.

 

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Michael Yorky, Account Manager at GC Pro in New York, understood that Outpost’s expansion needed the kind of service for which GC Pro has become known. In addition to depth of inventory and great prices, Yorky arranged additional support services for Outpost, such as complimentary on-site factory calibration of the Blue Sky monitors, and in other cases arranging Skype video calls between vendors and Outpost staffers. “One of the advantages GC Pro can bring to a client is our long and deep relationships with our vendors,” says Yorky. “We go beyond being a one-stop shop – we have our clients’ backs with this kind of vendor support.”

 

Randy Main, Chief Engineer at Outpost Digital, offers other examples of how GC Pro was the perfect resource. He cites how Yorky spent time on site, watching and coming to understand Outpost’s workflow patterns and needs. As a result, he suggested the acquisition of the Lynx Aurora 16HD DA/AD converter with an LT-HD Expansion card.  The Lynx Aurora 16 DA/AD provides full support for Pro Tools with the expansion slot as well as acting as DA/AD for other applications. “He fulfilled our needs perfectly. We were able to combine our vision for our Pro Tools applications and facility-wide applications into a comprehensive system,” Main explains. “Michael really understood what our workflow was about.”

 

He also lauded the fact that GC Pro allowed Outpost to test drive demo systems on site, to see how well they would fit into their workflow. “We went through several choices of control surfaces for the Pro Tools systems, and that ability to test them before making a decision meant we always made the right decisions,” Main says. “We got great advice, great equipment and great prices. So going with GC Pro was the right decision, without a doubt.”

 

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

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WESTLAKE VILLAGE, CA, July 25, 2011 —  After years of carting his collection of outboard gear from one studio to the next, Nashville-based freelance mixer Geoff Pillar opened his first recording studio earlier this year with assistance from Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users. Electric Thunder, which opened in January 2011, features a fully automated 16-channel Neve Genesys analog recording console, which Pillar purchased from GC Pro, the exclusive U.S. sales channel for the custom-crafted, innovative desk.

“Chad Evans is my rep, and he’s great. I can go to him for just about anything I need. Not only does he know the product, but I know he’s worked in studios before, so I trust a lot of his recommendations,” says Pillar. He reports that GC Pro also recommended wiring specialists and other contractors to help complete the studio in addition to supplying equipment.

The Neve Genesys, which is fitted with eight channels of dynamics and EQ, is the focal point of the Electric Thunder control room, which measures 30 feet by 15 feet and is served by three mid-size isolation rooms plus two vocal booths for tracking and overdub sessions. Pillar comments, “The Neve Genesys is great. It’s got tons of gain and good headroom and you can really push it like a large format console. The Genesys really seems to shine on everything, especially on piano and electric guitars.”
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An Avid Pro Tools|HD2 system handles recording and playback and is paired  with two Lynx Aurora 16 AD/DA converters. A Universal Audio 2192 master audio interface provides clocking for the Lynx units. Reference monitor choices include a pair of ProAc Studio 100s, Event Opals or classic Yamaha NS10s.

Pillar, who has been accumulating outboard equipment for over a decade, offers Electric Thunder clients a broad palette of signal processing options. Notable pieces include a pair of original Neve 1073 modules, LA-3As, Calrec PQ 15s, Focusrite ISAs and Universal Audio 1176s. A Gates Sta-Level compressor takes pride of place: “These are the original classics, and they get used a lot here,” he points out. A vintage British-made Chilton QM1 discrete, germanium transistor-based analog recording console is available to provide additional tonal variations.

The mic locker at Electric Thunder includes Audio-Technica 4047s, Sennheiser 421s and MKH 40s and Shure SM 57s. But more likely than not Pillar will reach for his Japanese-made Sanken CU 41 mics first. “They get used on just about anything from vocals, to piano, to drum overheads,” he reports.

Pillar  comments, “It took me about six months to get everything exactly the way I wanted, solid to the point where I wanted to bring clients in. I wanted to be able to offer a facility that is comfortable and affordable and that has great gear and great ears. It is very inviting and relaxing here, and people know what to expect when they leave. Clients can be sure that their work will translate very well if they take it  somewhere else.”

Of his original business plan, he says, “My basic goal was to cater to up-and-coming artists and be able to mold what I have to offer to peoplewith different budgets and price ranges. I wanted to be able to work on good music and get a good product out for bands that don't have a lot of money as well as acts that have label backing.”
Having previously concentrated on independent mix projects, Pillar is enjoying the diversity of the work coming through the door of his new business venture: “As a studio owner, I am able to take part in a lot of projects that I might not have had exposure to had I still been an independent  freelancer. I get to meet all sorts of bands and artists I wouldn't have otherwise had a chance to meet.”

There has certainly been no shortage of work since the doors opened including a session with noted Nashville producer Rogers Masson, he reports. “All of my clients have come through word of mouth and projects just keep coming through the door.”

That said, Pillar looks forward to attracting more long-term projects: “I want to get more instruments and bands in here and cut full albums. I’d  like people to camp out for a month and do a record and make Electric  Thunder their own. If I can keep the momentum going that I’ve got now, it will be great!”

For more information, please visit www.gcpro.com.
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WESTLAKE VILLAGE, CA, July 13, 2011 —  Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on   the needs of professional users, recently provided a complete design and   build solution for GRAMMY®-winning producer and songwriter Emile   Haynie’s new production facility in Manhattan. GC Pro Account Manager   Niyi Adelekan, based at GC Pro’s New York City office, oversaw the   project, supplying and consulting on the equipment. Adelekan worked   alongside GC Pro Affiliate program member Horacio Malvicino and   Malvicino Design Group of Forest Hills, New York, who provided   acoustical design and treatment as well as systems integration services.

“GC Pro took care of just about everything,” reports Haynie, who won a GRAMMY for his work on Eminem’s 2010 album release, Recovery,   and also works with Kanye West and Kid Cudi, among others. “I couldn’t   be happier with what Niyi and Horacio did. They made it really easy  for  me. When you’re a record producer and you’re about to spend a ton  of  money on equipment, you have to make sure it all goes together. They   really understood what I do and the way that I work, and helped walk  me  through the process and pick out the right equipment.”

The  studio design and equipment choices were driven by  his production and  songwriting process, explains Haynie, who relies on a  large collection  of vintage keyboards when building tracks. “I want to  be able to lay  something down on the keyboards, hit Record and not have  to think about  routing and patching. And if somebody gets an idea, they  need to be  able to cut vocals immediately. As a producer you can get  caught up  with having to do too much technological stuff when you just  want to be  creative.”
At  the center of Haynie’s set-up is a Solid State Logic  Matrix console.  “I really wanted to get the cleanest possible signal  path that I could  from the keyboards to Pro Tools, and I feel like I got  that – my stuff  going in has never sounded this good,” he comments.  Monitoring, another  critical element, is handled by pair of Genelec  1038B Three-Way Active  Monitors plus a Genelec 7071A Dual 15-inch Active  Subwoofer. “They  sound amazing,” he says. “And I hear low end in a  whole new way now!”

Haynie  had initially considered purchasing preamps that  would add color to  his keyboard sounds. But, he says, “All my keyboards  are vintage, so  that’s all taken care of. Niyi suggested API 3124+  four-channel preamps  because he’s had a lot of luck with people tracking  keyboards through  them, and they work great.” When he does want to add  color, Haynie has  various options available, including a Universal Audio  LA-610 recording  channel, Thermionic Culture Vulture stereo valve  distortion and  SoundToys plug-ins.
Haynie  had met with various studio designers but had  been frustrated that  they didn’t quite understand his vision for the new  facility, which is  located in Far West Chelsea. Then, he says, Adelekan  introduced him to  Malvicino: “Horacio understood my vision and my  aesthetic. The way  everything looks is really important to me, and he’s  got a really good  design sense. He knew what I wanted to do and what  budget I had. He  came through for me big time!”

According  to Haynie, the main control room is  approximately 800 square feet.  “It’s enormous,” he enthuses. “I wanted  to have tons of space and tons  of seats so everybody could come in and  be a part of the session and  not be uncomfortable. I wanted somewhere  that sounded really good and  looked amazing where I could sit and write  and be inspired. And I  wanted to have big windows and be able to see the  sun.”
As  it turns out, Haynie is not the only one thrilled with  the new studio:  “You can’t imagine how many people have been in and  said this is their  favorite place to work in New York.”
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WESTLAKE VILLAGE, CA, June 30, 2011 —   For the tenth year in a row, well over 60,000 excited music fans   descended upon Manchester, Tennessee, for the Bonnaroo Music and Arts   festival, held June 9-12, 2011. Celebrating its tenth anniversary this   year, Bonnaroo 2011 was filled with memorable moments from its dozens of   performing acts, including Eminem, Arcade Fire, My Morning Jacket, The   Black Keys, Widespread Panic and many more. Backstage, many of the   festival’s acts were asked to lay down tracks in a purpose-built   recording studio, outfitted with the help of  Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on   the needs of professional users. The recorded tracks were mixed and   mastered immediately and transferred to the radio tent next door for   broadcast on radio stations nationwide.

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The  studio, appropriately dubbed “Hay Bale Studio”  after the dozens of hay  bales positioned on the exterior for sound  rejection, was again  operated by Nashville’s  The Toy Box Studio,   and Toy Box’s producer/recording engineer Lij was at the helm for the   sessions. The whole backstage studio/radio area was overseen by   Asheville, North Carolina-based  Music Allies.   In the weeks leading up to the festival, the studio’s gear equipment   list was compiled by Lij, his assistant engineers, and GC Pro’s   Nashville-based Account Manager Chad Evans, who was also on site along   with other GC Pro personnel.

Among  the gear supplied by GC Pro were a Solid State  Logic AWS 948  Superanalogue Console (courtesy of Fadi Hayek and SSL); a  Pro Tools HD3  system with Apogee Symphony Converters; a full complement  of  microphones from Shure, Mojave and Royer Labs; monitors from ADAM;   Switchcraft Patch Bays; a full cue system; and a backline of instruments   and amps from Fender, Gibson and Nord.
All  in all, over 35 of the festival’s artists recorded  tracks in the  studio, including Ray LaMontagne, Amos Lee, Iron and Wine,  Mumford and  Sons, The Decemberists and many more. The schedule for each  session was  fast-paced, leaving room for a quick setup and soundcheck  leading up  to first-take recordings of three songs, before each act was  guided to  the interview booth, also in the “Hay Bale Studio” trailer, to  make  room for the next act in the tracking room. Within an hour, the   performances had been mixed down to two tracks and prepped for broadcast   from the radio tent next door. Approximately 45 radio stations   nationwide featured these “Bonnaroo sessions” over the weekend. The   multi-tracked sessions were also preserved and archived, as in past   years.

“This  is our third year helping sponsor the studio at  Bonnaroo,” noted  Evans. “This year’s festival was another amazing  experience. We have  developed a great partnership with Lij and crew, and  we’re proud to  contribute. We look forward to continuing to contribute  next year and  beyond, because Bonnaroo is such an important place for  the music  industry and up-and-coming artists.”
For more information, please visit  www.gcpro.com.
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WESTLAKE VILLAGE, CA, June 29, 2011 — Production duo Mike Gonsolin and Vision at  Trend Def Studios in Hollywood, California, have come to appreciate the prompt response of their go-to audio equipment dealer,  Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on   the needs of professional users. Working with Paris Hilton one day and   scoring for a television show the next, it’s not unusual for Gonsolin   and Vision to have an urgent need for a piece of hardware or software,   and the Account Managers at GC Pro's Sherman Oaks location are   invariably ready to respond immediately.

“It’s  such a fast-paced industry, especially because  I’m the head engineer  here and the sole owner, so everything falls in my  lap,” explains  Gonsolin. “A lot of times clients come in and there’s a  certain plug-in  that we don’t have or they want a particular piece of  gear, and we  need to get it right away. GC Pro is just a machine; they  get back to  me that day.”

Trend  Def Studios, located just off of hip Melrose  Avenue, is a one-stop  shop capable of handling writing, production,  tracking, editing, mixing  and mastering. The centerpiece of the very  well equipped facility is  an Avid Pro Tools|HD5 rig with a laundry list  of plug-ins, soft synths  and sample libraries, racks of new and vintage  analog and digital  outboard processing, and a live room fully stocked  with instruments,  amplifiers and stompboxes.

“I  probably have gotten 70 to 80 percent of my studio  through GC Pro,“  reports Gonsolin, who has been shopping with the  retailer for over a  decade. Aside from Pro Tools, the room also features  ADAM Audio S3A  monitors and a Sub10 subwoofer controlled by a Crane  Song Avocet and,  in addition to outboard processing, stacks of sound  modules from  companies such as E-MU, Korg, Moog, Novation, Oberheim,  Roland and  Waldorf. “We have maybe 40 different analog sound modules. We  run the  Shadow Hills Mastering Compressor, we have a Dangerous 2-BUS  analog  summing mixer and a ton of compressors. Although we don’t mix  into a  board we’re known for having extremely analog sounding,  in-the-box  mixes here,” he says.
One  recent purchase is the Antelope Audio Atomic Clock.  By eliminating  jitter and clocking errors, Gonsolin explains, “It gives  you a wider,  truer stereo field and much clearer lows with no mud. I  was blown away  by the performance of it, plus GC Pro let me demo the  unit at my  studio. Another big thing they just sold us was a Furman  balanced power  conditioner for the whole studio. It has completely  eliminated any  noise; we now have the cleanest power I’ve ever heard in  my life. GC  Pro even recommended the guy that did all our acoustical  soundproofing  here as well, Steven Klein, who did an amazing job.”
But  GC Pro has helped with more than just new gear, he  continues. They  have also helped him source discontinued equipment:  “We’ve got a live  room here just filled with amps and stuff like that,  and a lot of times  GC Pro has helped me track down particular amps, some  of which aren’t  being made anymore. He’s always been good about running  through GC  Pro’s used inventory and finding me one that meets the specs  that I  need.”

Trend  Def Studios music clients include Cisco and  Shwayze, Megan McCauley  (Gonsolin and Vision are working on her  sophomore album), Paris Hilton,  The Veronicas, Sam Adams and numerous  others. Several record labels  are currently bidding to sign Gonsolin’s  solo project, Trend Def, from  which he has already placed a song in a  major motion picture, and a  music video has been produced for Trend  Def’s song “Perdition.”  Gonsolin is also currently scoring for  Nickelodeon’s “Supah Ninjas”  show.
For more information, please visit  http://www.trenddefstudios.com/ and  www.gcpro.com/.

Trend Def Studios owner and head engineer  Mike Gonsolin  (seated) and production partner Vision (standing), in  their Hollywood,  California facility. Trend Def Studios has acquired a  majority of  their gear from the Sherman Oaks location of GC Pro.

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Blueroom, (http://www.blueroomfx.com/) an industry-leading video post production facility with locations in Hollywood and Manhattan Beach, California, and a satellite facility in Louisiana, has added ADR and Foley recording and editing services to the premium visual effects and editing services it has offered the film and television industry since 1998. New control rooms and recording spaces at the Chaplin Theater on the Raleigh Studios lot in Hollywood and at Blueroom's new Manhattan Beach location (where Blueroom is doing work for ABC's Castle and Private Practice series, as well as the upcoming Iron Man 2 and additional Marvel Entertainment film features, among many other projects) were equipped with state-of-the-art audio technology supplied by and through Guitar Center Professional (GC Pro, http://www.gcpro.com/ ), the outside sales division of Guitar Center that focuses on the needs of professional users. Key purchases included fully-loaded Digidesign Pro Tools HD systems; Yamaha 02R96 mixing consoles; microphones from leading brands including Shure, Sennheiser and Neumann; and Genelec active monitoring systems. "GC Pro was instrumental in helping us add audio services to the company in an efficient and cost-effective manner," says Mike Patterson, Audio Mixer at Blueroom. Patterson cites the assistance given by GC Pro's Richard Ash and Dan Scalpone. "They helped us make some of the big-ticket decisions such as consoles and recording systems, and they were extremely knowledgeable about how systems work, as well as helping us adapt them to fit our needs," he said. He also noted that, in addition to helping research a synchronization solution for the 43-inch and 60-inch video displays, as well as the large projection screen at the Hollywood facility (establishing the appropriate frame-delay value for each type of screen), GC Pro also sourced the product, despite it not being in GC Pro's standard inventory. Blueroom has also begun construction on their new mix room, housing a Digidesign ICON Digital Console, to be completed this spring. This facility will add television, trailer and pre-dubbing work to Blueroom's services. Along the same lines, GC Pro found a solution that gave the studios' red "record" warning lights a pair of yellow sidebars that would let people know when recording was about to begin, and integrated it so that they would illuminate when the Pro Tools system drops into record mode. Patterson concludes, "It wasn't about them making a sale ¿¿¿ it was about how they could make what we were trying to do as good as it could possibly be. They truly understand what we do and that was extremely helpful when designing the new control rooms."
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The new Music Production Technology program at the Mike Curb College of Art, Music and Science at Daytona State College offers one of the most unique educational opportunities in the state of Florida. Two of the finest performance venues in the region are digitally linked to a new state-of-the-art recording studio featuring cutting-edge technology, including surround sound recording and mixing. The program commenced classes in January of this year, and the Music Production Technology Advisory Panel that helped with the development of the facilities consisted of a virtual who's-who in professional audio, including Mike Cronin for acoustic design; mastering engineer Jim Kaiser; independent record/mix engineers Steve Bishir, Chuck Ainlay and Bob Bullock; and Aaron Bowlin from Curb Records. To equip a teaching facility at this level required a supplier with extensive resources, and that's what Daytona State College's faculty found in Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users. GC Pro took the equipment list from Program Developer and Senior Instructor Jake Niceley and filled it exactly, including the Genex GX9000 8trk DSD hard disk recorder, Tube Tech CL 1B Opto Compressor, Purple Audio MC76 limiting amplifier, Empirical Labs Distressors, Manley Variable Mu® Stereo Limiter Compressor, Neve 33609 JD Stereo Limiter/Compressor, Neve 1084 CH Mic Pre/EQ, TASCAM DVR1000 multi-format playback system and an Avid Pro Tools HD3 system with four combined Apple iMac® computer/Avid Mbox Pro student workstations. One of the more exotic pieces of equipment that Daytona State College students enrolled in the Music Production Technology program will work with is the Korby KAT 4 microphone system, handmade in Nashville, which allows instructors and students to switch out removable capsules modeled after classic microphones including the ELAM 251, Neumann U47 and U67, and AKG C 12. They'll also get to work on one of the last Lexicon 960L reverb processors ever made. Even though Lexicon has discontinued manufacture of the processor, since it was on Niceley's equipment list, it was something GC Pro's resourceful sales representatives made it a priority to find. They discovered a demo unit used in a retail environment, checked it carefully for any obvious problems, then sent it to Lexicon, which refurbished it and sent it back with an as-new warranty. "That kind of ability to get you exactly what you want or need is amazing, and it's the reason we went with GC Pro," says Niceley, who adds that GC Pro also came in with the absolute lowest prices in its bids, as well. "The equipment list helps differentiate a school from others, just as it sets a recording studio apart from its competitors. GC Pro made sure that we got everything that we believe we need to provide a first-class education here, one that will give our graduates a competitive edge in the real world. GC Pro's sales people were right on the case, and even after the equipment was installed, they were there for us: they sent a Pro Tools trainer to help us get up to speed on the way that system interfaces with the SSL Duality console we have in the studio. They're a great company to work with."
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GC Pro, the outside sales division of Guitar Center that focuses on the needs of professional users, is pleased to announce the introduction of the new Ocean Way Impact Monitor System. In some circles of the audiophile community, the words "professional monitor" have a somewhat negative connotation. The Ocean Way Impact Monitor System bridges the gap, as it's designed as a high-definition reference point to sonically judge and decide intricate musical balances for final mixes without the loud and harsh characteristics and lack of depth of field found in most professional monitors. Designed by Allen Sides, the Grammy® Award-winning engineer, producer and mixer who founded Ocean Way Recording, the Impact system is the culmination of almost 40 years of his experience designing high resolution studio speaker systems for his many studios, as well as a wide variety of commercial installations, including George Lucas' Skywalker Ranch scoring stage; Trevor Horn's Sarm Studios in London; and Walt Disney's Hollywood Records, as well as private installations for musical artists like Gwen Stefani, David Grohl and Beck. Impact's unique 120-degree dispersion, coupled with having identical flare rates on both HF and LF horns, allows for a very wide listening window eliminating the narrow "sweet spot" effect. The Impact also produces extended and detailed low end to 36Hz. A pair of Impact speakers is extremely accurate, delivering, within 1dB, 1k to 18k frequency response with exceptionally wide bandwidth. The system encompasses low distortion drivers and a bi-amplified, equalized electronic package second to none. This allows absolute symmetry in regards to stereo imaging. Ocean Way Impact monitors will reveal subtleties and nuances in recordings and mixes that may have never been heard before on traditional monitors and provide dynamics not thought possible. From a recording engineer's standpoint, these are invaluable assets allowing for the most accurate playback of recordings and mixes, and from the audiophile's standpoint, their best recordings will sound simply exceptional. The Ocean Way Impact Monitor System specifications are impressive:
  • Frequency response ±2dB, 36Hz to 18kHz
  • Symmetry between channels ±0.5dB, 1k to 18kHz
  • Maximum SPL - Over 110dB at 6 feet, 36Hz to 18kHz
  • Maximum Power Handling Capacity: High Frequency Driver Max 50 Watts continuous 650Hz and up (Note: 1 Watt in at 1k measured at 3 feet produces 106 dB) Bass Woofer max 400 Watts continuous
  • High Frequency horn has a 400Hz cutoff with 120-degree by 40-degree dispersion
  • Bass horn has a 36Hz cutoff with a 120-degree by 40-degree dispersion
  • Crossover point 650Hz and 18dB per octave
Component description:
  • High Frequency driver has an 18,000 gauss magnetic structure and titanium diaphragm with aluminum voice coil, 1" throat
  • Bass woofer is 15" and has an 11,000 gauss magnetic structure with an aluminum voice coil
  • Weight: 250lb.
  • Dimensions: 36"W x 27"D x 44"H
The Ocean Way Impact Monitor System is now available from Guitar Center Professional with a U.S. MSRP of $38,000.
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Kevin Zambrana, President of Zambrana Productions, has been making records for 30 years, and for the last 10 of those he has branched out into live concert production, artist management, live sound, lighting, staging, backline and pro audio equipment rental, reflecting the diversity of the emerging new business model in the music industry. Zambrana has also produced and done sound for live events at Madison Square Garden, Radio City Music Hall, the Beacon Theater, the Copacabana and other major venues, with artists including Tito Puente, Mark Anthony, the Temptations, Ne-Yo, Cyndi Lauper and Joss Stone. "You have to be able to do it all," says Zambrana. Recently, Zambrana turned to Guitar Center Professional (GC Pro), the outside sales division of Guitar Center that focuses on the needs of professional users. "That's why I love working with GC Pro, because they have it all." Michael Yorky, Account Manager at the New York location of GC Pro, arranged the sale of an array of recording and live sound equipment, starting with the centerpiece of Zambrana's recording studio, an SSL AWS900+ SE with Awsomation. Working with GC Pro colleagues Niyi Adelekan and Angelo Vasquez, they put together a comprehensive package that also includes three Focusrite ISA828 8-channel mic pre's, a Digidesign¿¿ Pro Tools HD3 system, an Apple Mac¿¿ Pro Quad Core computer with an Apple 23-Inch Cinema Display HD flat panel monitor, the Waves Diamond TDM bundle, a Yamaha M7CL 48 48-channel live sound mixing console with a Yamaha MBM7CL meter bridge and a Roland Fantom-G8 88 keyboard workstation, as well as Ampeg and VOX guitar and bass amplifiers, and flight cases for touring. "The fact that Michael was able to give me a single source for both pro audio equipment and musical instrument gear really tells the story," says Zambrana, who has known Yorky for 25 years. In fact, he points out that when he decided to add a live sound component to his production company, Zambrana, an analog enthusiast for most of his career, needed to get up to speed on digital audio technology. "Michael led me into the world of digital," he says. "GC Pro has all these incredible resources. My business is designed to be full service, so I need a company like GC Pro that can back me up on any of the things that I do."
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GC Pro, the outside sales division of Guitar Center that focuses on the needs of professional users, is pleased to announce the introduction of the new Ocean Way HR-2 line of high-resolution, close-range, large monitor systems. The HR-2 monitor system is available in three versions, the HR-2A, HR-2B and HR-2C, each providing an extremely accurate uncolored sound field with a wide dynamic range, uniformed response and all have the ability to deliver extremely high SPL's without a trace of harshness.

The HR-2A is a tri-amplified, 3-way monitor system, electronically crossed over and equalized. The HR-2A's typical frequency response is flat +/- 2db from 20Hz-18Khz. The High frequency utilizes a custom 120 degree by 40 degree 400Hz radial horn with a single HF driver delivering unparalleled even directivity unlike anything else currently available on the market. The mid-bass utilizes a custom front loaded LF horn design with an identical flare rate to the HF horn with a single 15-inch mid bass unit. This provides enhanced spatial imaging as well as a substantial increase to the mid-bass efficiency. The sub-bass utilizes a custom ported cabinet with a single 18-inch LF unit.

The HR-2B is identical to the HR-2A except it utilizes a custom passive crossover between the high and mid bass section eliminating the need for a third amplifier. The performance of the two systems is virtually identical.

HR-2C is a 2-way version of the HR-2B eliminating the sub-bass section and its amplifier. This systems LF response is typically uniform to 35Hz. Otherwise, this system exhibits the same sonic characteristics as the HR-2A and HR-2B.

One of the most compelling aspects of owning the HR-2A or HR-2B system is the purchase and installation approach by GC Pro and Ocean Way. Each system is individually adjusted and aligned by Ocean Way's technical specialists for maximum performance in the customers own work environment. The price of an Ocean Way system includes a pre-evaluation of the studio, as well as complete installation and alignment, all cables, connectors and wiring. In essence, the customer is not just purchasing speakers, they are buying a finished sound. It is important to note that even though the HR-2 A & HR-2B systems have the capacity to overcome most room anomalies, sometimes acoustic corrections to the control room may be required for optimum performance. As part of the installation, Ocean Way's technical specialists carefully evaluate the space the monitors are to be placed in, and make suggestions on the most cost-effective ways to make room corrections with the goal of optimizing acoustics. Because the HR-2 systems sit right in front of the console, essentially like "big" small speakers, most first and second order reflections that often cause major problems for soffet mounted speakers are not usually an issue for the HR-2 system.

MSRP pricing on the new Ocean Way HR-2 line of professional monitors is as follows:

  • HR-2A Tri-Amp System $34,000—Includes: A pair of 2 way cabinets, pair of Sub woofer cabinets, HF drivers, MF drivers, LF drivers, Equalizers, Crossover, HF Amp, MF Amp, LF Amp. All wiring and installation including tuning.
  • HR-2B Bi-Amp System $28,500—Includes: A pair of 2 way cabinets, pair of Sub woofer cabinets, HF drivers, MF drivers, LF drivers, Equalizers, Crossover, High/Mid Amp, LF Amp. All wiring and installation including tuning.
  • HR-2C Single Amp System $20,000* (Installation additional)—Includes: A pair of 2 way cabinets, HF drivers, LF drivers, Equalizers, Full Range Amp. *Installation is additional fee on HR-2C and may require optional riser to meet correct height. Optional Riser $1,800 pair


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