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Mystudio selects Shure SM27 for its U.S. Recording Studios
Self-contained studios in shopping centers offer affordable, professional-quality
recording for amateurs and pros.
HOLLYWOOD, CA, July 19, 2010 – When the masterminds behind MyStudio began their quest for the perfect microphone for their nationwide chain of self-contained recording studios, they knew it would be a challenge. They needed a single mic that could be mounted in the ceiling to provide professional sound quality for a variety of performers, from young novices to accomplished musicians. And because the performers can range in height from under three feet to more than six feet, the mic had to provide the same stellar sound quality regardless of the performer’s proximity. Shure’s SM27 was the answer.
“Finding the right mic was crucial,” says Shelly Yakus, former vice president of A&M Studios and current vice president of MyStudio. “We only use one mic in our studios, and we need it to function at three feet away from the average performer. You have no idea what a challenge it was finding a mic that could provide consistent sound quality across the board in a tiny space that’s basically the size of a kitchen table.”
MyStudio engineers tested more than 30 mics in their studios over a period of several months. “Price was not a factor,” notes Yakus. “We tried everything from the most expensive microphone on the market to the cheapest. Hands down, the Shure SM27 gave us the best result – nothing else was even close. We’re now using it exclusively in every one of our studios.”
For $20, MyStudio enables anyone to create a professional-quality audio and video recording up to five minutes long in a private studio environment. Five plug-in ports inside the studio enable musicians to record a variety of instruments, including electric guitars, bass, drums, and piano. And it’s not only for musicians – other popular categories include voiceover auditions and stand-up comedy demos.
“Many of the performers who record with us are just blown away by the sound quality they’re getting from the SM27,” adds Yakus. “These are people used to being in high-end recording studios, and they’re leaving our 10-by-10-foot studio very happy with their end results. Obviously the Shure mic plays a significant role in that.”
MyStudio currently has locations in Phoenix, Arizona; Hollywood, California; and Miami, Florida, with two new studios opening this summer. The company plans to continue its expansion across the country as well as internationally, with the Shure SM27 as the mic of choice in all locations.
About MyStudio ® HD Recording Studio
MyStudio is a self-contained, state-of-the-art, audio/video recording studio that offers true professional recording studio-quality audio and HD broadcast-quality video with an ease, economy and convenience never before available. MyStudio eliminates the high cost and technological and logistical barriers inherent in the creation of high-quality online video content thereby opening up a new world of opportunities for the creation of user-generated video content by amateurs and professionals alike.
MyStudio can be used to create videos for music, modeling, comedy, dating, job resumes, auditions, personal messages and greetings. A recording session for up to five minutes costs only $20. Using Hollywood-style green screen technology, MyStudio users can choose from over 1,000 HD virtual backgrounds for their videos or they can upload their own custom backgrounds. In addition, MyStudio offers thousands of licensed karaoke tracks from EMI Music Publishing thereby allowing consumers to legally create music videos for public viewing on-line. Within minutes of recording, videos are automatically uploaded to the MyStudio.net website, which offers free member profile pages and video sharing in a social networking environment. At MyStudio.net , members can enter contests, receive free DVDs of their videos, download MP3 audio files, access embed codes or print high-resolution photos from their videos.
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Shure KSM313 saves the day on James Taylor-Carole King Tour
FOH Engineer David Morgan Uses Shure Ribbon Mics to Capture
Danny Kortchmar’s Signature Guitar Sound
NILES, IL, July 15, 2010 — One of 2010’s most successful tours is the Troubadour Reunion, a pairing of acclaimed singer-songwriters James Taylor and Carole King, which has been drawing sellout crowds to arenas across the country. The tour boasts an equally legendary FOH mixer David Morgan, who was asked to create a warm, intimate sound, despite working with a large stage and an in-the-round setting.
“The music on this tour is incredible,” Morgan states, “But it’s been very challenging from an engineering perspective. James and Carole are playing afternoon soundcheck shows for charity, so there’s literally no time for experimenting when audio problems arise.” That was exactly the case in Morgan’s attempts to capture the guitar sound of Taylor’s venerable guitarist Danny Kortchmar.
Playing through a pair of Fender Deluxe reproduction amps with 12-inch speakers, Kortchmar had originally planned to elevate his rig on stands. But because that set-up was deemed an obstruction to the audience’s line of sight, the guitarist had to place the amps on the floor. Even with the amps rocked back, the direct speaker sound was hitting Kortchmar in the knees, not the ears.
“To get the articulation he needs to hear, Danny had to change his tone, which actually thinned his sound,” Morgan explains. “To Danny, the amps sound normal, but the new setup sounded a bit harsh in the microphones. I had been using KSM27s on the amps, and that’s a good, fat-sounding microphone. But suddenly I found myself using a lot of EQ, trying to get that signature sound Danny is known for. It was problematic, especially with the lack of free time to explore other options.”
The solution turned out to be savagely simple: the KSM313 ribbon microphone from Shure. “I needed a warm, fat sound with a lot of articulation, so a ribbon mic was one obvious option. I had heard good things about the KSM313, but I had never so much as talked into one, so it was kind of an unknown,” he relates. “But as soon as they came out of the box and went onstage, the sound I needed was there. I put them up in Chicago and they’ve been there ever since. ”
Morgan deploys one KSM313 on each of Kortchmar’s two cabinets, using the front side of the mic and positioning them as close to the grille as possible to take advantage of their mild proximity effect. Doing that required approaching the tilted-back cabinets from above, with the XLRs pointing upward.
“It worked instantly,” Morgan reports. “I’m using very little EQ, just one or two dB here and there, whereas before I had cuts of 6 dB or more at 2.5k and 7k. With the KSM313, I can now just pretty much put them up and let him play. Now Danny is happy with what he’s hearing, and the fans are getting the sound they want and expect. It’s an incredibly elegant solution to what had been an ongoing problem.”
When the James Taylor-Carole King tour wraps up in late July, Morgan will be taking the KSM313s with him as he goes to Las Vegas to mix Cher beginning in September.
“The KSM313 was an instant success in a difficult situation on this tour,” Morgan says. “They sound great on guitars and I can’t wait to try them in other applications, especially acoustic instruments like the saxophone and trumpet. I’m really looking forward to experimenting with them.”
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Pavement Reunion Tour fueled by Shure mics
Engineer/Producer Remko Schouten Leaves the Studio, Returns to FOH for 2010 Tour
NILES, IL, July 14, 2010 — If there is such a thing as classic post-punk alternative rock, it is embodied by Pavement. The band, which broke up in 1999, has gotten back together for a much-anticipated reunion tour this year, with dates spanning Australia, New Zealand, Japan, Europe, and the U.S. The reunion includes long-time FOH engineer Remko Schouten.
In the years since Pavement’s breakup, Schouten has been working as an engineer-producer, working out of his own IJland Studio facility in the Netherlands. “I was with them since the summer of 1992, when they first came to Europe,” he recalls. “It was great to see them getting back together, so when they asked me to mix for them again, I put my studio work on hold.”
For Pavement’s world tour, Schouten wanted to ensure consistent quality of sound across the globe, which meant acquiring new microphones. “There are plenty of great microphones out there, but I’ve always been a big fan of Shure mics. And they’ve gotten even better since we were last on the road,” he notes. “Our monitor engineer, Jeremy Lemos, recommended I try the KSM9 for (lead singer) Stephen Malkmus’ vocals, and I totally fell in love with it. It cuts through so well, has a nice shine at the top, and it’s almost impossible to get feedback. It’s almost like a studio sound in a live setting, and everything I’ve been looking for in a vocal mic since I started with the band in 1992.” For backing vocals, Schouten went with the band’s traditional SM58 ®s, with the exception of a Beta 57A ® to create more isolation for drummer Steve West.
Another new microphone in Schouten’s repertoire is the KSM313 ribbon mic. Schouten uses it in combination with an SM57 to mic Spiral Stairs rig, which consists of a Fender Showman played through a closed-back Marshall cabinet. “Spiral does all the rhythm parts and he’s got that background growl, and this combination gives him the extra texture he needs,” says Schouten. “I especially like the thickness of the KSM313. It has that classic ribbon response – nice and thick, with a clear, detailed high end that always shines through. I can imagine using it in a bunch of applications, especially in the studio.”
Two more SM57s handle the audio for Stephen Malkmus’ lead guitar. Using two mics allows Schouten to produce Pavement’s patented guitar tone. “Stephen is a great guitarist, and plays through an Orange amp and closed Marshall slanted cabinet with a lot of punch and distortion,” he shares. “To emphasize that, on some of the heavy bits and choruses, I do what I call my phase trick. I mic two speakers in the cabinet and pan them left and right. I switch one of the channels out of phase as an effect during choruses or heavy passes, which really gives it some depth. It gives you this warped feeling out in the audience, and gives me another dimension without using any weird DSP effects.”
Steve West’s drums are another bastion of Shure mics. “I fell in love with the KSM137. It really cuts through in the 10K area, and the bottom end is nice and thick, like an SM57. Perfect for snare top.” Schouten augments that with an SM57 on snare bottom. Toms are miked with the Beta 98 miniature clip-on mic, and the kick drum is handled by a combination of Beta 52 ®A and Beta 91. Twin KSM44 studio condensers capture the overheads, while a second KSM137 handles the hi-hat.
Overall, Remko Schouten pleased with the drum sound he has achieved. “The combination of mics on the kick lets me get whatever tone I need, and the Beta 98 is beautiful on toms,” he says. “It’s got a narrow pattern, so how you aim it really changes the tone. I place them directly over the rim, about an inch above, aiming at the middle of the skin, and it sounds amazing.”
For Bob Nastanovich’s percussion setup, the miking consists of Beta 98s on the floor tom and snare, with a single KSM137 overhead to capture everything else. His vocals are sung through an SM58.
The final piece of the puzzle is Mark Ibold’s bass rig. For that, Schouten relies on a DI box in combination with a Beta 52A.”It gives me a full, round bottom tone, which is important, because Mark does not like a lot of high end in his sound. I use the DI mainly for the mid tones, to cut it through the mix, and the Beta 52A for that big bottom end. It’s a great combination.”
Remko Schouten said he has been enjoying the tour.. “These new Shure mics sound fantastic and are making my life a lot easier,” he states. “I hardly have to touch the EQ on my Midas H3000 to produce a very fat, thick, and dense but clear mix—with plenty of character!”
Fan reaction to the Pavement reunion has been extremely positive. “It’s pretty amazing,” notes Schouten. “The band sounds fantastic and the fans are loving it. For my part, it’s great to get back out on the road after eight years and a pleasure to mix these guys again. It’s been a great experience.”
The Pavement tour will continue into early October, with a mix of major festival and headlining dates across the U.S. and Europe.
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Shure Takes Center Stage At 2010 CMA Music Festival, CMT Music Awards
NILES, IL, June 28, 2010 – Earlier this month, thousands made their way to Nashville for country music’s largest party, the Country Music Association (CMA) Music Festival, and Shure gear could be found on virtually every stage.
On Wednesday, June 9, country music fans poured into the Bridgestone Arena to watch the CMT Video Music Awards, which featured an opening performance by the event’s host, Kid Rock, using a chrome UR2/SM58 wireless microphone. Joining him for the opening performance were Martina McBride and Hank Williams Jr., who also used UR2/SM58 microphones, as well as Trace Adkins, Kellie Pickler, Randy Houser, Jamey Johnson, and Zac Brown—all using wireless SM58® microphones.
According to Tom Davis, who served as the audio producer for the show, “ We received many positive comments this year, saying that this was one of the best sounding CMT Awards in years, both in the house and the live broadcast,” added Davis. “Putting a live broadcast on the air with 11 live acts and multiple presenters and hosts is always a challenge. Knowing that we can always rely on Shure systems working first time every time is a great comfort.”
Shure endorser Brad Paisley sang “American Saturday Night” through UR2/SM58 wireless while another Shure endorser, LeAnn Rimes, chose a pair of Super 55 wired microphones for an up tempo version of John Anderson’s “Swingin.”
“For her performance, LeAnn requested the two Super 55s…one on a stand and one to be flown in from the ceiling,” said Shamus Bacon, front of house engineer for Rimes. “The ’ceiling’ in the Bridgestone Arena, being about 120 feet, presented a small hurdle for the crew. It wound up requiring one 150-foot section of cable, three 100-feet sections of cable, and then another 125-foot snake to the truck…a total of a 575-foot cable run on a Super 55. The end result was the ‘Sky Mic’ versus the ‘Stand Mic.’ The Sky Mic lost about three db of level and maybe a bit of low-mid, which the guys in the truck added back in and…Eureka! The Super 55s sounded great.”
Several other artists who performed used Shure wireless systems with a variety of different microphones in addition to the SM58®, including KSM9 and Beta 58® handheld transmitters. The house band for the show performed using wired SM58s on all vocals except for newcomer Easton Corbin, who opted for his own wired KSM9.
Rounding out the full complement of Shure gear, a standard assortment of Shure drum microphones were employed for most of the drum kits, including the Beta 52 on many of the kick drums and the Beta 98s on almost all of the toms.
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Shure Joins Coordinated RF Effort at Cowboys Stadium
ARLINGTON, TX, June 1, 2010 – Rising from the Texas landscape as grand as sunrise over the tall grass prairie, Cowboys Stadium is the largest domed stadium in the world. Home of the National Football League’s Dallas Cowboys, the facility is outfitted with a communications infrastructure employing wireless systems supporting everything from the simple exchange of information behind-the-scenes to entertainment for the 80,000 fans that fill the stands on game days.
Playing a central role within a complex and rigidly-controlled RF blueprint, 16 channels of Shure UHF-R® wireless span the stadium all the way from the field through the club levels and up to the main systems control room. Joining the single and dual-channel UHF-R systems dedicated to the task, Shure PSM® 700 systems bring four channels of personal monitoring capabilities to the main bowl system.
Kevin Day, a senior consultant working from the Dallas offices of WJHW, provided a comprehensive audio spec, fulfilling the needs of the stadium. The implementation of the design was managed by Pro Media/UltraSound. With lots of experience with projects of this scale, the Hercules, California-based firm has posted credits on its resume over the course of the last decade that include the modernization of the bowl system at Candlestick Park, the installation of sound systems at Dallas’ American Airlines Arena, and high-profile sonic overhauls of the Honda Center in Anaheim and Kyle Stadium on the campus of Texas A&M University in College Station, Texas.
“Any pro sports arena is an extremely hostile environment when it comes to wireless RF spectrum,” notes Demetrius Palavos, Pro Media/UltraSound’s senior sales and design engineer. “What made this project exceptionally demanding was its proximity to Dallas/Fort Worth International Airport, which is a maximum of about eight miles away. A lot of the airport’s communication towers are even closer.”
To meet the challenge, WJHW chose Shure UHF-R wireless based on the technology’s track record for providing reliability and performance. On the club levels, single channel UR124S/Beta 87A combo systems leave a handheld UR2 receiver and UR1 bodypack transmitter at the disposal of users. Kept at hand for use with the bodypacks, Shure’s cardioid WL185 lavalier microphones also see duty on each of the club levels. Elsewhere in the stadium where wireless needs are greater (such as in the control room system used to capture on-field entertainment and the singing of the national anthem), dual-channel UR124D/Beta 87A combo systems broaden the aural palette using the same UR2-UR1-WL 185 approach. Built using wireless circuitry as robust as that included in the UHF-R systems, PSM 700 in-ear monitoring is used exclusively in the on-field entertainment system.
An active UA845-SWB antenna combiner splits a pair of UA870 paddle antennas for use across the channels in the on-field system. “The distance is a good 250 feet from the 50-yard line up to control booth-mounted receivers,” Palavos relates. “We initially talked about using helical antennas for this part of the project, but the stadium’s RF coordinator felt the Shure receivers and transmitters were already well-equipped for the job, so they wouldn’t be necessary. As it turned out, he couldn’t have been more correct.”
Keller McCrary has occupied the post as the stadium’s RF overlord since the earliest phases of the facility’s construction. Charged with giving painstaking coordination to every RF signal required for any event, McCrary brings a level of skill and authority to his ongoing assignment that Palavos credits as being one of the underlying factors in the rock-solid wireless performance found on the property.
“The other component responsible for our success is found in the Shure gear itself,” Palavos adds. “The electronics in the front-end of these systems does a great job of rejecting any off-band interference that may try to step on us. Having Keller lay down the law on who is going to occupy what frequency is vital. But some systems in use here may transmit extremely hot, or not be engineered that well. In the latter cases, a system may indicate that it’s tuned to a specific frequency, but in reality may be off-center to that frequency. The Shure gear holds its own in the face of this kind of competition and makes any potentially harmful episodes a non-issue.”
Pro Media/UltraSound tuned the Shure wireless systems with the aid of Shure’s Wireless Workbench® software for operation stadium-wide on the H4 bandwidths (518 – 578 MHz). By his own account, Palavos, along with Pro Media colleagues Richard Bratcher and Ted Leamy, “spent quite a bit of time walking around looking for dropouts. Richard exercised a phenomenal amount of patience in getting the club levels just right. All of our efforts were worth it in the end, as operation today is painless. If you go to where Keller tells you to tune and turn on the mic—wham! It works every time. We’ve never had to make any frantic changes, game-day mischief, or need to re-tune. Everything just works flawlessly.”
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Shure Microphones Give Voice to Project RYTMO
“Reaching Youth Through Music Opportunities” Teaches Young Performers With Shure Gear
ANAHEIM, CA,June 7, 2010 – For seven years, the non-profit Project RYTMO (Reaching Youth Through Music Opportunities), has been keeping kids in Anaheim, California off the streets and engaged in music and learning. The free after-school program, funded in part by the state and federal governments, provides a creative, positive, and professional environment for underserved youth who demonstrate musical, technical, and/or business potential in the arts. Shure is proud to play a role in Project RYTMO’s mission of educating, empowering, and equipping young people through music, music technology, and artistic development. Since 2003, the program has served more than 350 at-risk youth, many of whom have been homeless or have had experience in the juvenile justice system.
“As a Company, we take pride in giving back to the community,” says Shure President and CEO Sandy LaMantia. “These kids have shown great promise, and we couldn’t be more pleased to lend our support to this program, which is helping them fulfill their artistic and professional potential.”
Project RYTMO offers nine-week sessions for young people between the ages of 14 and 22, with classes including songwriting, digital recording, music history, and live audio production. Students are also taught life skills such as goal setting, project planning, leadership, and professionalism. Most importantly, says Project RYTMO founder and executive director Joey Arreguin, the program gives young people in at-risk environments a healthy, positive outlet for their energy and creativity.
“Music is the tool we use to engage our young people during those critical hours of the day when they wouldn’t otherwise have something to do,” Arreguin explains. “We give them a positive, creative outlet where they can express themselves.”
One of the program’s big challenges is finding professional-quality gear for the students to use in class. When Project RYTMO first began, says Arreguin, there was a lack of quality in the students’ performances and recording. Without professional audio gear, the students were getting muffled and distorted results. Shure was one of several manufacturers that Arreguin’s team reached out to for assistance , and while it might not seem like much…a few SM58® microphones have gone a long way toward improving the quality of the kids’ projects.
“The Shure products are vital to the success of our program,” says Arreguin. “Our students are hungry to learn how to operate professional gear. We’re using the Shure mics for student performances and recording in the studio, and we’re consistently impressed with the sonic quality and clarity. Shure microphones epitomize the high quality that we want RYTMO students to strive for in class and in life.”
Many Project RYTMO graduates have gone on to start their own record labels, video and audio companies, perform live shows, or produce music for themselves or other artists. Arreguin is now looking to expand Project RYTMO into other parts of California and has just entered into a partnership with the Berklee School of Music in Boston that will enable eligible young people to participate in online learning and even apply for music scholarships.
For more information on Project RYTMO, visit www.rytmo.org .
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Shure helps play World's Highest Rock Gig
Performance Atop Mount Kilimanjaro Summit Raises Awareness for Children’s Charity
LONDON, UK,May 24, 2010 – Indie-Rock band Sound Driver is midway through a very unusual world tour. The musicians are visiting some of the world's most iconic venues as a way of raising awareness for children’s charity The Smile Train. To date they've played at the Sydney Harbour Bridge and even broke a World Record on Mount Kilimanjaro. Upcoming stops on the “Chasing Rainbows” tour include The Great Wall Of China, Niagara Falls, and Dubai's Burj al Arab hotel.
Successfully negotiating such a demanding schedule requires gear that's compact and lightweight for easy portability, but also solid and reliable enough to deliver quality sound, no matter what the conditions throw at you. So when it came to wireless in-ear personal monitoring, wireless microphones, and all of the tour's PA needs, tour manager David Spillane knew that he needed gear with a track record for both quality and reliability.
Shure has been one of the main sponsors of the Chasing Rainbows Tour, providing all five band members with wireless in-ear personal monitoring (PSM600 receivers and transmitters) systems to ensure superb sound quality, no matter what the venue. The wireless systems have proven to be crucial to the band’s performances.
Shure also provided a UHF-R® wireless system for lead singer Chad Marriott - something he finds essential due to its superb sound quality.
For reproducing the sound, QSC K8 active loudspeakers have been a smashing success. The rugged loudspeakers were compact and light enough for the band to carry up Mount Kilimanjaro, yet powerful enough to deliver full, crisp sound courtesy of the 1000W Class D amplifiers that power the QSC K8's dual drivers. 
"Shure is a globally recognized brand,” noted Spillane. “Along with the global nature of The Chasing Rainbows Tour, this makes them a perfect brand partner. Shure products always perform at the level we expect - and even more so with the extra demands of this tour."
"We're delighted to have been able to help the band with this incredible achievement," said Peter James, Managing Director of Shure Distribution UK. "It's challenging enough to just climb Kilimanjaro, but gigging when you reach the summit takes an extra special effort and massive determination. Shure and QSC products are tested to extremes so we were happy to provide the band with microphones, PA, and monitoring gear that were up to the task."
About the tour:
Over the last ten years The Smile Train has provided more than 500,000 free surgeries for children and has helped in 77 of the world's poorest countries. With the help of the resources and reach of the global travel industry and the generosity of the music industry, Sound Driver is hoping to bring its music to an international audience and raise awareness and more funds to help The Smile Train carry on changing the world one smile at a time.
The Chasing Rainbows Tour was launched in October 2009 and has included stops at the Palais des Festivals in Cannes, the Sydney Opera House, the Great Wall of China, and the summit of Mount Kilimanjaro.
For more information:
www.smiletrain.org
www.chasingrainbowstour.com
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PG Recording Mics -
Positive Reviews in Abundance
Popular Mechanics editors chose the PG27-USB for the "Top 18 Products at CES 2009: PM Editor's Choice Awards."
In addition it was also awarded the CES Innovations 2010 Design and Engineering Award Honoree in the High Performance Audio product category.
"By far, the PG27USB is the most 'usable' USB mic I have ever tried. Everything comes together with great sound, zero latency monitoring and (did I mention) great sound." - Mark Jensen, NewMediaGear.com
"The Shure PG27, X2u, and PG42USB are all great products that excel in their design, quality, and performance. I am awarding these fine products from Shure an outstanding rating of 9 out of 10 in our MyMac.com Rating System." - Mark Rudd, MyMac Magazine
"The PG42USB sounds fantastic! ...it sounds like any regular studio mic connected to a studio mic pre-amp. It is by far the best sounding USB mic I've heard to date." - Barry Rudolph
"Shure's new USB-conscious products are still exciting for people who, like myself, value both mobility and affordability in audio recording technology and aren't willing to jettison quality along the way."
- Michael Garfield, Performer Magazine, February 2010 Issue
"There are a lot of home recording products out there, and a number of USB mics, but to see Shure getting involved, especially aiming the product at a lower-price-range amateur-level audience, well, that's pretty damn sweet." - Gizmodo
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Micheal Renaud Chosen as Grand Prize Winner for Shure Canada Sing to Win Contest on Facebook
MONTREAL, QC - After many months of speculation and after viewing hundreds of talented Canadian singers, Shure is proud to announce that it has chosen Mike Renaud from Eastern Passage, Nova Scotia to be the GRAND PRIZE WINNER of the SING to WIN Contest.
Mike wins a brand new Shure PG42USB microphone with PowerTracks recording software. “I greatly appreciate being chosen as the Grand Prize winner, especially with all the talented people that submitted videos. I’m totally looking forward to using the Mic and recording software”, said Mike upon hearing the news.
John Balash, Marketing Director for Shure Canada, adds, “As Canada’s premier microphone brand, we felt it was our responsibility to create a platform that could identify, connect and promote Canada’s up-and-coming singing talents with a fun and interactive contest. Michael’s soulful vocals were appreciated by the judging panel from the start, and his outstanding renditions unquestionably earned him the Grand Prize.”
Mike Renaud is a 25yr old musician from Eastern Passage, Nova Scotia. He has been playing since the age of 17, self-taught on guitar and piano as well as vocals. Mike is currently the lead singer for the band LevyStep ( www.myspace.com/levystep), based out of Halifax. Over the past year he has been writing original material which will be on an EP album that should be ready for release by mid-summer 2010.
“My experience as a musician thus far has been nothing short of amazing,” says Mike, “I look forward to being able to create music that is personal, meaningful and unique. Hopefully in years to come our music will be played on the radio and will have the opportunity to tour and showcase what it is that we do. “
Shure would also like to take this opportunity to thank the impressive number of contest participants, especially SING to WIN Monthly Contest Winners Alyssa McQuaid (Red Deer, AB), Wayne Tennant (Montreal, QC), Lynzie Kent (Toronto, ON) and Leah Daniels (Toronto, ON).
Balash adds, “We were so overwhelmed with the positive response the contest generated, with so many talented singers across Canada, that we are proud to announce that we will be extending the contest with new themes and prizes. Stay tuned to the SING to WIN Facebook page for upcoming news.”
For more information on Mike Renaud and his band LevyStep:
(www.youtube.com/mikeyrenaud)
(www.myspace.com/levystep)
For more information on the Shure Canada SING to WIN Contest, please contact:
John Balash
Marketing Director
SF Marketing
John.balash@sfm.ca
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Gord Bamford Joins Shure Family
Canadian Country Recording Artist partners with Shure
MONTREAL, QC , 24/02/2010 – SF Marketing is very excited to announce the addition of country recording star, Gord Bamford to Shure’s distinguished Canadian artist roster.
Gord Bamford lives, eats and breathes country music. As many kids dream at a young age Gord considered pursuing a career in professional sports, but he quickly realized that music was his true calling.
Luisa Cabrita, Shure Product Manager at SF Marketing states:
- “Gord is such a great musician. He is what country music exemplifies. We love the diversity of our artists and It’s extremely exciting to have Gord Bamford as part of our Shure family”.
Gord released his first album, “God’s Green Earth” in 2000, and in 2004 with the help of Tim Taylor, Steve Fox and Byron Hill, released his second album entitled, “Life is Good”. The album included the top 20 singles "Heroes," "My Heart's a Genius," "All About Her," "Life Is Good" and "I Would for You”.
Gord has shared the stage with many great artists such as Tim McGraw, Kenny Rogers, Don Williams and the legendary George Strait. In both 2005 and 2006, he was nominated at the Canadian Country Music Awards (CCMA) for Independent Male Vocalist of the Year, Independent Song of the Year, and the Chevy Trucks Rising Star Award.
His third album, “Honkytonks and Heartaches” was released in 2007 and included Gord’s first top ten single on the Billboard charts, “Blame it on that Red Dress”. This album solidified his position on the Billboard charts with 4 Top Ten singles and 6 Top 15 singles and earned him a 2008 Juno nomination for Country Recording of the Year. He also earned the 2008 CCMA for Top New Male Talent, Record Producer of the Year (with Byron Hill), and Video of the Year for “Blame It on That Red Dress”.
Recently, “Honkytonks and Heartaches” was named Album of the Decade by Country Music News.
Gord is currently preparing the release of his fourth studio album entitled “Day Job” which is due out in April 2010.
Gord is embarking on a cross-country tour promoting “Day Job” , with opening dates for Martina McBride scheduled for the Maritimes. Look for Gord in a Canadian city near you through spring and summer 2010. For more info on tour dates please go to www.gordbamford.com
Once the product launches, Gord will be using the newest Shure Personal Monitor System, the PSM®900. He will also be using the following Shure equipment:
Lead Vocals – UR2/KSM9 handheld transmitter
Guitar – UR1M wireless bodypack
Dobro Guitar – BETA98H/C
Kick – BETA52A, BETA91
Snare – SM57-LC
Toms – BETA98D/S
Hi-Hat – SM81-LC
Overheads – SM81-LC
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Alexisonfire Heating Things up with Shure
Ontario breakthrough band inks deal with Shure
MONTREAL, QC , 16/02/2010 – SF Marketing is very excited to announce the addition of Alexisonfire to Shure’s illustrious family of artists.
Alexisonfire rose up out St. Catharines, ON in late 2001 and defiantly made inroads into the mainstream market with their first full-length release in 2002, receiving Gold Certification by the CRIA (sales upwards of 50,000) . Their sophomore album WATCH OUT! debuted at #6 on the Top 200 Soundscan Chart, certified Platinum (sales upwards of 100,000) and helped earn them “New Group of the Year”, at the 2005 JUNO awards (Canada’s Grammies). In 2008, 3 rd album CRISIS debuted at #1 on the Top 200 Soundscan chart, garnered three 2007 JUNO award nominations, won an MMVA (MuchMusic Video Award) and ceritifed Platinum the same year. Their current album OLD CROWS / YOUNG CARDINALS debuted at #2 in Canada on the Top 200 Soundscan Chart and has already reached Gold certification. The album has met with immense international success where it was released through Dine Alone in Canada, Australia, South Africa, and South East Asia, Vagrant in the US and RoadRunner in the rest of the world.
Alexisonfire lead a great wave of indie/rock bands that have revolutionized Canadian music. 
SF Marketing and Shure are thrilled to have the opportunity to work with such great talent. Shure Product Manager Luisa Cabrita expressed her excitement about the band:
- “Having a band like Alexisonfire on the Shure roster is a testament to the quality of our artists and products, and by adding this prominent band to our list we have solidified our image as a leader in the pro audio market”
The band has recently been nominated for 4 Canadian Independent Music Awards including the nomination for Favorite Album of the Year for Old Crows/Young Cardinals and Favorite Live Artist. The band will be touring Australia, Canada and the US throughout spring 2010.
Alexisonfire will be using the following gear from Shure while on tour:
Vocals - SM58
Kick - BETA91, BETA52A
Snare - SM57
Hi-Hat - SM91-LC
Overheads - KSM32/CG
Guitar Amps - KSM313, SM57, SM7B
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Great Big Sea Take a Dip with Shure
Newfoundland and Labrador band partners with Shure
MONTREAL, QC , 16/02/2010 – SF Marketing is thrilled to announce that Great Big Sea and Shure have partnered to add GBS to the Shure’s roster of prestigious endorsers.
Renowned for their folk-rock style, Great Big Sea has managed to win the hearts of countless Canadians by drawing inspiration from the rich cultural heritage of Newfoundland and Labrador.
Having roots in Irish, English and French tradition, both the island and Great Big Sea have been graced with a true myriad of artistically rich influences to create music which soothes the soul and ignites emotions.
Their track record is most impressive and through the release of their various albums, they have managed to reach Gold rankings on five albums, platinum on four records and have had an album, Sea of No Cares, reach the first spot on the Canadian Charts position in 2002. They have also had three other albums reach the top five Canadian Charts position.
According to Luisa Cabrita, Product Manager for Shure, “It’s not everyday you get the chance to work with a band like GBS. They can only elevate the standing of the brand and it is a true honor to have such talent using our gear!”
GBS have embarked on their current US Tour with the following Shure gear:
Vocals – BETA58A
Kick – SM91, BETA52A
Snare – SM57, SM81
Hi-Hat – SM81
Toms – BETA98D/S
Overheads – KSM37/SL
Accordian – BETA98D/S
Bodhrán – BETA98D/S
The band will also be outfitted with Shure’s upcoming PSM900 In-Ear Monitor systems once the product is released later this spring.
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The Who Rock Super Bowl XLIV with Shure
Rock Legends Rely on Shure Microphones and New PSM® 900 Personal Monitor Systems for Classic Halftime Show Performance
MIAMI, FL,February 9, 2010 — A big part of the Super Bowl telecast is the halftime show, which has become a major production in its own right, with the biggest names in music performing their hits live on a gigantic yet temporary stage. “It’s really an incredible production,” says Simon Higgs, monitor engineer for The Who. “I mean, what’s really amazing is the stage set-up, which has to be put in place and assembled in minutes. And, everything working on the first go – sound, lights, and pyro. That’s quite a show in itself!”
The Who are, quite simply, rock legends. Among the iconic images in rock history are lead singer Roger Daltrey swinging his Shure SM58® like a lariat, and guitarist Pete Townshend’s dramatic windmill guitar riffs. “The Who have worked with Shure microphones for over 40 years,” notes Bob Pridden, the band’s audio consultant/producer. “Getting ready for the Super Bowl, one thing I knew I could count on was that Shure wouldn’t let me down on Sunday night.”
In addition to a full stage of Shure microphones, The Who used four channels of the new PSM 900 personal monitor system in their performance. Lead singer Roger Daltrey, guitarist Simon Townshend, and drummer Zak Starkey, along with monitor engineer Simon Higgs, used the PSM 900. “We had the chance to try PSM 900 prototypes on the (autumn 2009) Daltrey tour,” notes Higgs. “Roger and I both think they sound incredible, and they have been absolutely flawless for us. So we were keen to use them for the Super Bowl.”
Longtime Super Bowl audio vendor ATK Audiotek was again present to support the audio mission, with wireless guru James Stoffo as Entertainment RF Engineer and Thomas Pesa to handle monitor system design. “Normally, I would be quite hesitant to use any new product at an event like the Super Bowl,” says Pesa. “But the band really wanted to use them, so we gave it a try in rehearsals and found it to be rock solid. And since we had on-site technical support from Shure and James Stoffo, we went with the band’s request. And I’m happy to say everything went off without a hitch.”
Out of more than 1,000 total wireless frequencies being coordinated by the NFL, James Stoffo was responsible for around 100 intercom, microphone, and in-ear channels being used by the musical acts and their support. “This was my first time using the PSM 900 at a major event, and it performed flawlessly,” he notes. “I’d be happy to see this system on any of my shows as the go-to in-ear system.”
Monitor engineer Higgs is a big fan of CueMode, a patent-pending feature in the PSM 900’s compact P9R bodypack receiver. “Basically, CueMode lets me hear any monitor mix with a button-push. It saves me so much time and trouble, and really shows this system was designed for monitor engineers.” Using CueMode, up to 20 mixes can be directly accessed via the up/down buttons on the receiver. The PSM 900 system also features Shure In-Ear Monitor technologies such as variable RF output, digital stereo decoding, Scan and Sync, automatic RF Gain Control, dedicated RF Mute, MixMode capability, and Audio Reference Companding.
All microphones on The Who’s stage were Shure hardwired. Ranging from Roger Daltrey’s classic SM58®, wrapped in trademark white gaffer tape for strain relief, to new models like the KSM313 ribbon mic and KSM44 studio condenser on Pete and Simon Townshend’s guitars and Pino Palladino’s bass. Zak Starkey’s drum kit used the SM91A boundary mic in kick drum, Beta 98s on toms, Beta 56®A on snare, KSM137 on hi-hat, and a combination of KSM32s and KSM44s overhead. Backing vocals are by Pete Townshend, Simon Townshend, and John “Rabbit” Bundrick; all sung through Beta 58A® microphones.
One burning question often asked after events like the Super Bowl is, “How live was that performance?” The Who’s audio consultant, Bob Pridden, explains. “There is an amazing amount of planning that goes into this. In fact, we were asked to record the medley live in the studio by January 1, so they could plan the timing on the pyro and other production elements. I can assure you that every instrument and microphone on stage was live. But the producers have backing tracks in place from our rehearsals last week, because you can’t risk losing a vocal. So the answer is, The Who played their Super Bowl show 100 percent live.”
Reflecting on the experience the day after Super Bowl XLIV, monitor engineer Higgs says, “Basically, it was a rock solid performance with great sound…just what you would expect from The Who, and what The Who always expect – and get – from Shure.”
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Lady gaga, Jeff Beck, Imelda May and Shure at the 2010 Grammy Awards
Lady Gaga
Multiple GRAMMY® nominee and two-time winner Lady Gaga opened the 2010 Awards telecast with a rousing, theatrical rendition of her hit single “Poker Face” using a Shure UHF-R® wireless system with a gold-plated UR2/SM58 handheld transmitter. She then switched to a chrome-plated UR2/SM58 and joined the legendary Sir Elton John for a duet which began with “Speechless” from her album The Fame Monster and then transitioned to his classic hit “Your Song.” (Photo by Larry Busacca/Getty Images for NARAS)
Les Paul Tribute (Jeff Beck and Imelda May)
“Music would not be as it is today without Les Paul,” said singer Imelda May following the 2010 GRAMMY Awards, where she joined legendary guitarist Jeff Beck for a tribute to the late Les Paul. “To perform this track with such a genius as Jeff Beck, possibly THE best guitarist in the world, was a huge thrill and honor…I will always be very grateful to him for asking me to do this and I will never forget the night for as long as I live.”
The two performed “How High the Moon,” a song made famous by Les and his wife Mary Ford back in 1951. Both used Shure UHF-R ®wireless systems with May singing into a UR2/SM58 transmitter. (Photo by Robyn Beck/AFP/Getty Images)
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Shure Extends Rebate for 700 Mhz Wireless Systems in Canada until June 30, 2010
NILES, IL, January 18, 2010 — Shure Incorporated today announced that the company is extending its Canadian rebate program of up to $1,200 for the trade-in of 700 MHz frequency band (698-806 MHz) wireless systems, regardless of who manufactured it, until June 30 th, 2010.
Based on the US Federal Communications Commission’s (FCC) order that the operation of wireless microphones, in-ear monitors, and related equipment in the 700 MHz band will not be permitted after June 12, 2010, Shure Incorporated reiterated its commitment to assist wireless system users with the transition.
“We’re pleased that the FCC has issued a firm transition date for 700 MHz wireless equipment,” said Mark Brunner, Senior Director Global Brand Management. “In anticipation of the post-DTV transition UHF landscape, Shure has been moving its product lines away from the 700 MHz band for the better part of a decade, and in recent years we have increased our information outreach to the user community, including very attractive trade-in rebate programs. Complying with this firm date will still be challenging for some users, but we remain committed to making the transition as easy as possible for them under the circumstances. It’s time for one final push to prevent interference with the new users of the spectrum.”
To comply with FCC regulations, users of wireless systems operating in the 700 MHz band must retire those products before June 12, 2010. Continued operation may cause interference to Public Safety communications or other licensed services. Shure has not sold equipment operating in the 700 MHz band since 2007, although many of these units remain in service in theaters, schools, meeting facilities, and houses of worship. More information about the Shure components that operate in the 700 MHz band can be found at www.shure.com/700
Customers may submit rebate forms to SF Marketing Inc. – Shure’s Canadian distributor, with the purchase of any UHF-R®, ULX®, MX690/SLX4L, PSM®700 (H3, L2 bands), or PGX wireless system.
To help customers with the transition and to better understand the changes to the RF frequency regulations, SF Marketing has a team of experts who are available to answer questions and to provide solutions to technical challenges associated with the new legislation.
For a complete summary of the terms and conditions of this rebate program, to learn which products are eligible for the rebate program, and to obtain a rebate form, visit http://www.shurecanada.com/ProAudio/EN/index.html and click on the “Trade-in & Trade-up” banner in the center of the page.
Any questions regarding the rebate program in Canada can be directed to SF Marketing Inc. at 514-780-2070.
Additional details relating to the FCC’s order and its implications for wireless systems users can be found at www.fcc.gov.
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Shure Ribbon Mics Chosen for Dave Grusin Recording
Engineer Eric Schilling Opts For KSM313 and KSM353 Ribbons.
NILES IL,January 14, 2010 — When recording engineer Eric Schilling was asked to work on a live recording for artist Dave Grusin, he saw it as an opportunity to try Shure’s new KSM353 and KSM313 ribbon microphones in several critical instrument applications.
“It was a live concert recording for a CD release on Concord Records,” Schilling explains. “The first half was a full orchestra, which was followed by a big band set. It was a pretty complex show.”
Dave Grusin’s career as a composer, arranger, and pianist has included a lot of soundtrack work, including eight Oscar®-nominated scores and original tracks. He also has composed the theme songs for various TV shows, including Good Times , Maude , and St. Elsewhere . A co-founder of famed jazz label GRP Records, Grusin has also won seven GRAMMY® Awards among his many jazz recordings.
The live concert recording was a career retrospective, paying homage to Grusin’s body of work. The orchestral set featured soundtrack music from movies like Tootsie and On Golden Pond , while the big band set included Grusin arrangements of songs from West Side Story , George Gershwin, and Henry Mancini.
The show took place in Miami’s Arsht Center, a venue designed for classical acoustic music and known for its great sound.
“It’s a beautiful venue,” says Schilling. “The stage is big – very broad and with a lot of depth to it, which makes it a great place to record. The producer was Phil Ramone, and we did a lot of planning together on how we were going to mic the show. It was a great opportunity to try the new Shure ribbon microphones.”
The Shure ribbon mics, models KSM353 and KSM313, are distinguished by their use of a patented material, Roswellite, for the ribbon. Roswellite is extremely strong, with low mass, high conductivity, and shape memory, enabling the mics to handle significantly higher levels and more challenging conditions in terms of wind blast, plosives, and phantom power, while retaining the characteristic warmth associated with ribbon microphones.
“I’ve always loved the sound of a good ribbon mic on trombones, and that’s where we put the KSM353,” notes Schilling. “I used one of them for the top two trombones. We used sort of a neat trick that Phil Ramone suggested, which was to turn it sideways and put it right between the players, which is an excellent way to take advantage of its figure-8 pattern. It was great because it eliminated drum bleed, which could have been a problem because this was a big open stage with no physical separation between sections.”
A second KSM353 was used for the bass trombone in a more conventional deployment.
Schilling also found a spot for the smaller KSM313 during the big band set. “That mic is fantastic on guitar cabinets,” he notes. “It has some interesting qualities. Where the KSM353 behaves exactly the same between the front and back sides, if you look at the polars, the KSM313 is a little brighter on the back side of the capsule. For this show, I thought the amp was a little bit dark in character, so I just turned the mic around and used the back side. So that turns out to be a useful tool for an engineer.”
With just a few weeks experience, Schilling is still in the process of putting his Shure ribbon mics through their paces. “I’ve experimented a lot with these two mics, trying them in a lot of different places, and they both have a really nice warmth, with none of the nasal quality I’ve found in some other ribbons. And they can both handle high SPL with no problem. In fact, I’ll be trying them in a couple positions where you normally wouldn’t use a ribbon, like on drums and percussion, just to see what they can do.”
Asked about his overall reaction to the KSM353 and KSM313, Eric Schilling’s summary was succinct and positive. “They’re really versatile. In fact, so far I haven’t found any application where they don’t shine,” he enthuses. “I couldn’t have been more pleased with the way the Shure ribbon mics performed in the Dave Grusin live recording. Frankly, if I had more of them available, I would have used them.”
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Shure Canada Launches Nationwide SING to WIN Contest on Facebook.com
Montreal, QC, November 1st, 2009 – SF Marketing, the exclusive distributor of Shure products in Canada, will be launching a nationwide singing contest from November 16th, 2009 to March 1 st, 2010. Entitled the Shure Canada SING to WIN Contest , this contest will be hosted on an exclusive ad page on facebook.com. 
“We recognize facebook.com to be the nation’s top social networking site, and we are very excited about using this site as the main stage to launch our nationwide singing contest and promote our industry-leading products”, said John Balash, Director of Marketing for SF Marketing.
Open to Canadian residents only, ages 18 and over, participants must log into www.facebook.com and type “Shure Sing to Win Contest” in the “Search” field. Once on the contest homepage, participants must sign up as a Fan and then upload videos (up to 10) of themselves singing (either an original or cover song, no longer that 5 minutes in length). They can either post an existing video from Youtube.com or upload a video directly to the Shure SING to WIN Contest ad page.
Winners will be chosen every month, and will win a Shure Swag package, including an SM58/x2u bundle (retail value $305 Cdn.). The Grand Prize Winner, chosen the first week of March 2010, will win a PG42 USB Side-Address Condenser Microphone (retail value $429 Cdn), along with a PowerTracks ® Pro Audio recording software from PG Music (retail value $55.00 Cdn.).
A nationwide advertising campaign promoting this contest will include web advertising on Shurecanada.com and print advertising in EXCLAIM!, Canadian Musician, Canadian Music Trades and Muzik Etc. magazines. SF Marketing will also communicate this contest via its extensive Canadian dealer network.
About SF Marketing: SF Marketing Inc. is a leading Canadian marketing and distribution company dedicated to delivering products, services and support to the professional sound, lighting, musical instruments, consumer electronics and custom integration markets. They are also the exclusive Canadian distributor for Shure Inc.
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Shure Ribbon Mics hit the stage with Steve Martin at IBMA Awards
NILES, ILLINOIS, November 9, 2009 — One of the deepest layers of America’s musical fabric, bluegrass music, is known for its detail and realism. It’s no surprise, then, that Shure KSM313 Dual-Voice Ribbon Microphones were chosen to capture live performances at the recent International Bluegrass Music Association awards show in Nashville. 
Cliff Miller from SE Systems in Greensboro, North Carolina, was the Audio Coordinator for the show and specifically requested Shure KSM313 ribbon microphones.
"When I first heard about the new Shure ribbon microphones I was curious to try it out on banjo,” Miller says. “The KSM313 has an amazingly warm sound and great rejection in front of floor wedges when angled away from the monitors."
Among those performing was actor-comedian and veteran banjo player Steve Martin and his current tour mates, the Steep Canyon Rangers. Steve Jones, Martin's Front-of-House Engineer, has been using the KSM313 on the road and on major TV performances.
“The [KSM]313 is a great microphone…warm, transparent,” said Jones. “I like the gain before feedback and the flexibility in the bi-directional tonal options with this mic. And, the mounting bracket is extremely flexible.”
After the awards show, Martin and the Steep Canyon Rangers performed a special show at the famous Station Inn.
"The mic sounds great,” said Martin. “It's just the kind of sound I've been looking for."
For More Information:
Shure KSM313 Dual-Voice Ribbon Microphone: http://www.shure.com/ProAudio/Products/WiredMicrophones/us_pro_ksm313_content
Steep Canyon Rangers: www.steepcanyon.com
International Bluegrass Music Association: www.ibma.org
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Shure signs Billy Talent to Long-Term Endorsement
MONTREAL, October 16, 2009 - SF Marketing Inc., the exclusive distributor of Shure product in Canada, is proud to announce that it has signed Juno Award winners Billy Talent to a multi-year endorsement agreement, adding to its distinguished roster of Canadian Shure endorsers.
The band released their fourth album, entitled Billy Talent III, in July 2009, which quickly topped the Canadian iTunes charts. Currently in the midst of a European tour, the band will return home for an extensive Canadian tour beginning in March 2010. 
The quartet has been performing together for 16 years, and is still going strong with a loyal, enthusiastic, and sizeable fan base.
“I can honestly say that I've tried tons of different kinds of mics and none can compare with Shure...the best...period!" said Ben Kowalewicz, lead singer.
Billy Talent tours with the following Shure microphones:
Vocals: Beta58A
Kick: Beta91, Beta52A
Snare: SM57
Toms: Beta98D/S
Hi-hat: KSM109/SL
Overheads: KSM32/SL
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Shure Extends Rebates In Canada For 700 Mhz Wireless Systems Until December 31st, 2009
NILES, IL, July 1, 2009–Shure Incorporated today announced that the Company is extending its Canadian rebate program of up to $1,200 for the trade-in of Shure 700 MHz frequency band (698-806 MHz) wireless systems and related components and for any other manufacturers’ qualifying 700 MHz frequency band wireless systems and their related components until the end of the calendar year – December 31, 2009.
“Due to the current economic crisis, there are some dealers who have not been able to take advantage of this program yet, and we want to do what we can to help them,” said Mark Humrichouser, General Manager of Shure’s Americas Business Unit. “In addition, the response to the rebate program has been overwhelmingly positive so far, which is also why we’re extending the rebate until the end of the year.”
Customers may submit rebate forms to SF Marketing Inc. – Shure’s Canadian distributor, with the purchase of any UHF-R®, ULX®, MX690/SLX4L, PSM®700 (H3, L2 bands), or PGX wireless system.
To help customers with the transition and to better understand the changes to the RF frequency regulations, SF Marketing, has a team of experts who are available to answer questions and to provide solutions to technical challenges associated with the new legislation.
For a complete summary of the terms and conditions of this rebate program, to learn which products are eligible for the rebate program, click here. All questions regarding the rebate program in Canada can be directed to SF Marketing Inc. at 514-780-2070.
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Coachella 2009: Paul McCartney & Robert Smith
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Shure Raids Wholesale Shops And Warehouses In China, Seizes Counterfeit Earphones
May 21, 2009 — Shure Incorporated today announced that it has struck another blow against suppliers of counterfeit Shure products. Following an investigation initiated by Shure, officials of the Baoshan Office of the Shanghai Administration for Industry and Commerce (AIC) conducted raids on wholesale stores and warehouses of Han Si Appliance Co., Ltd and Run Zheng Digital Ltd on Baoshan Road. Both locations are in the Zhabei District of Shanghai.
“Counterfeiters are constantly working to duplicate the Shure logo and other product markings as well as the general appearance of the products,” said Anita Man, Managing Director of Shure Asia. “Due to the popularity and reputation of the Shure brand, they know that consumers are interested in an item that bears the Shure name.”
In the two raids, large quantities of counterfeit Shure E2c and E4c earphones were seized as well as counterfeit earphones of other brands, including Audio-Technica and JVC. These raids have been officially reported and published on the public website of the Shanghai AIC. The penalties to be imposed by the Shanghai AIC are still being determined.
“The Shure brand carries with it a promise of quality and performance,” said Sandy LaMantia, President and CEO of Shure. “Counterfeit Shure products do not live up to that promise, and that damages the value of our brand. We are fiercely committed to working with international agencies and with other brands to fight the spread of counterfeit products and halt this kind of criminal activity.”
“Shure encourages customers to purchase our products only from authorized Shure dealers,” added Man. “These sellers can be found in the ‘Where to Buy’ section of www.shure.com/asia. Customers should be highly cautious of Shure products that are priced unreasonably low at retail outlets online.”
In addition to anti-counterfeiting actions in China, Shure has also been continuing forceful efforts in other parts of Asia, Europe, South America, the Middle East, Africa, and the United States to cease intellectual property violations.
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Shure Microphones Featured in Rock Band 2 Video Game
May 6, 2009 — For decades, Shure microphones have been a mainstay of rock and roll stages, from the
largest arenas and stadiums to the smallest bars and clubs. Now they’re also appearing onstage in the virtual world, compliments of the Harmonix and MTV Games’ best-selling, critically acclaimed music video game Rock Band 2.
“How could anyone create a game like this and not include the SM58® and SM57? That would be like a peanut butter and jelly sandwich without the bread,” said Chad Wiggins, Shure’s Wired Products Category Manager. “We definitely feel that having our mics in Rock Band 2 adds a degree of authenticity for all of the people who’ll play it as they dream of being Roger Daltrey belting out ‘Pinball Wizard’ or any one of dozens of other rock stars. It’s very cool to be included.”
Shure microphones featured in the game include the legendary SM58® and SM57, along with the Beta 57A®, Beta 87A, and KSM9…the same microphones used by legendary artists and bands like The Black Crowes, Cheap Trick, Billy Idol, Queens of the Stone Age, and The Who.
“As players earn virtual cash and are able to upgrade their virtual instruments and other gear, the ultimate microphone they can buy in the game is the KSM9,” added Wiggins. “It’s as if the other microphones are one through ten and the KSM9 is like going to eleven. You know you’re a Rock Band 2 expert when you’re using that microphone.”
Originally launched on November 20, 2007, Rock Band is the multi-million unit selling, genre-defining music game platform that enabled music fans and gamers to interact with and discover music like never before by choosing guitar, drums, vocals, or bass to start a band and rock the world. Developed by Harmonix, the world’s premier music video game development company, and published by MTV Games, the Rock Band platform has had a positive impact on the overall promotion and sales of music, benefiting artists included in the game directly through royalties associated with game sales and indirectly by contributing to the sale of more songs and albums. The Rock Band online music store recently surpassed 40 million paid downloads since the game’s launch in late November 2007 and more than 600 tracks are available to date via disc and download purchase (see complete list of tracks at http://www.rockband.com/dlc).
“We believe that working closely with our musical instrument partners is crucial to our mission to deliver the most authentic music experience possible,” stated Greg LoPiccolo, Vice President of Product Development, Harmonix Music Systems. “Whether it’s picking out your P bass™, finding the right finish and hardware for your drums, or choosing the best microphone for your singer’s style, having real world instruments included in the world of Rock Band 2 is essential.”
Rock Band 2 is rated “T” for Teen with descriptors of lyrics and suggestive themes by the ESRB. For more information on Rock Band and Harmonix Music Systems, visit www.rockband.com.
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It’s A Clean Sweep Onstage For Serj Tankian And Shure Wireless
AUCKLAND, NEW ZEALAND, April 21, 2009 — System of a Down frontman Serj Tankian recently
took the stage with the Auckland Philharmonic Orchestra (APO) to reinterpret his first solo album, Elect the Dead, a pairing that presented the arrangements quite differently from those heard on the record.
"My belief is that music is a universal medium," Tankian said not long ago, perhaps offering at least a glimmer of insight into his performance with the APO. "It's a wave. It's an energy. And, it's a way for us to communicate. I think music comes from the universe, and it's not something that songwriters create. At best, we're skilled presenters."
Performing live, Tankian has swept the clutter of cables out of his life, choosing Shure wireless products for everything from his guitar and vocals to in-ear personal monitors.
"I like to move around a lot onstage, so being wireless is extremely important," he explains. "I've got it on my in-ears, and making that transition was amazing. As a singer, you can't hear a certain frequency of your own voice onstage, especially with a really loud band. System was deafening. The Who might have the loudest stage volume, but I think we came in a close second or third. Using Shure PSM® 600s helped me define the instruments and hear my own voice better in my mix, so even if I sang low I could still hear myself within that whole huge stage volume swelling up all around."
Beyond his PSM® 600 system, Tankian confides that he has used and still uses a lot of Shure mics, ranging from the venerable SM58® and SM57 on up to the KSM9. KSM44s are a favorite too, and saw use on Elect the Dead on his guitar cabinets.
With growing numbers of aspiring musicians looking to Tankian as a role model and for inspiration, the artist feels that "As far as performances go, I always say you have to be yourself onstage, and you have to project that sense of self beyond your physical surroundings into a bigger space. You have to make people feel something that's true to you and them as well. You have to have that connection, and that's what a performance is."
Currently, Tankian is at work on a second solo album due out later this year.
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Shure Acquires Crowley And Tripp Ribbon Microphones
April 6, 2009 – Shure Incorporated, the venerable manufacturer of microphone legends like the SM57 and SM58®, today announced the acquisition of Crowley and Tripp Ribbon Microphones from Soundwave Research Laboratories of Ashland, Massachusetts. Under a definitive agreement, Shure now owns all intellectual property, microphone process equipment, product designs, and other important assets related to the Crowley and Tripp line. Shure will manufacture ribbon microphones in its Wheeling, Illinois, facility using the revolutionary, patented Roswellite™ shape-memory acoustic ribbon material developed by Soundwave Research.
“Ribbon microphones have always been prized for their warm sound quality, but older designs are delicate, which has limited their applications,” said Scott Sullivan, Shure’s Senior Director of Global Product Management. “With the acquisition of the Crowley and Tripp product line and their Roswellite ribbon technology, Shure is extending the use of ribbon microphones to the stage in addition to their use in the studio.”
“We are very pleased to have the opportunity to work with the leading manufacturer of microphones to further the development and commercialization of improved ribbon microphones,” said Soundwave Research President Robert J. Crowley.
“Bringing new technologies like Roswellite into the marketplace is an important goal for our company,” added Sandy LaMantia, Shure’s President and CEO. “Our customers expect continuous improvement. For more than 84 years, Shure has been dedicated to manufacturing the finest microphones in the world and developing innovative audio technologies for our customers.”
“This new ribbon technology enables us to combine the characteristic ribbon sound with the durability for which Shure products are famous,” said Chad Wiggins, Shure’s Wired Microphone Products Category Manager. “Our customers know they can use their Shure microphones in every conceivable scenario, from the most subtle vocal performance to high-SPL instruments, like a kick drum. Now they can take advantage of the unique sound signature of a ribbon microphone no matter what their application is.” Shure will manufacture ribbon microphones exclusively in the U.S.
Shure will also assume responsibility for ongoing service and support for existing owners of Crowley and Tripp ribbon microphone products.
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New Shure Podcast Answers Top Five Most Frequently Asked Questions
March 27, 2009 - Shure Incorporated answered its top five most frequently asked questions in the January edition of their ShureCast, the Company's educational podcast series. The show is the 18th episode in the series, which provides useful information about audio technology for professionals and consumers.
"Our podcasts have been very well-received," said Mark Brunner, Shure's Senior Director of Public and Industry Relations. "Several thousand people are downloading each new episode and their popularity has continued to grow."
Previous episodes include the history of the SM57 and SM58, Microphone Basics, Wireless Basics, Using Audio Effects, Sound Isolation vs. Noise Cancellation, and updates on the "White Spaces" and wireless spectrum availability.
Each episode begins with a simple, straightforward explanation of a particular aspect of audio technology, such as earphone design or microphone placement techniques. Audible examples are often included, so that listeners can hear differences for themselves.
"The wizards in our Applications Engineering group have been busy answering questions from customers for several years," added Brunner. "In fact, the FAQ section on shure.com is one of the most visited sections of our website. We thought the time was right to offer some of that knowledge and expertise in a different medium, so we created this new ShureCast to answer the questions that people are most curious about."
ShureCast episodes are available for free download on iTunes and at http://shure.libsyn.com/.
The Company will release additional episodes on a regular basis.
Shure will also assume responsibility for ongoing service and support for existing owners of Crowley and Tripp ribbon microphone products.
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Shure UR1M Goes Unseen, Delivers Big Sound At 81st Academy Awards
March 12, 2009 - The 81st Academy Awards kicked off on a comedic note, with host Hugh
Jackman joking that a recessionary budget had forced the cancellation of an elaborate opening number. Left to create his own instead, the singing and dancing relied on cardboard set pieces, lawn chairs, and other yard sale props, put together with good effect to parody the films garnering the night's award nominations.
"It was an original bit featuring a cameo by Anne Hathaway," noted wireless guru Dave Bellamy of Burbank-based Soundtronics, "With only two people onstage, we used eight wireless mics. That pretty much set the tone for the rest of the evening, which was extraordinarily RF dependent from start to finish."
Given the task of developing the wireless blueprint for the stellar event, Bellamy used Soundtronics' proprietary and fail-proof Phoenix III antenna system to help tame the confines of the cavernous Kodak Theatre.
Handheld Shure UHF-R® wireless transmitters with SM58®capsules were seen onstage over the course of the show, but lavalier mics managed a bulk of the input from podium to performances, with a total of 44 wireless channels dedicated to the tiny, roving capsules throughout the evening. Of these 44 channels, more than half were used with Shure bodypack transmitters. Shure UR1 bodypacks were used for all of the stationary applications at the podiums, cutting through a high noise floor onstage with 100 milliwatts of power, but for the talent on-the-move, away from the podiums, Shure's diminutive UR1M Micro-Bodypack was used.
"The working theory was to divide the stage and house into as many zones as possible," Bellamy explained. "Using this technique, the goal was to run as little gain as possible. It's a loud stage. The video projection puts out a lot of noise, and so does the lighting. I have to be able to tune that all out. That takes antennas with a lot of gain and directionality, and more power. The more power I have coming off the transmitters, the more I can turn down the gain, and then less noise comes into the system."
Overall sound design credits for the 81st Oscars went to Pat Baltzell, and Audio Director Ed Greene mixed for broadcast. The show's A2s were Debbie and Jeff Fecteau, Ric Teller, and Steven Anderson. Given the role of deciding who was going to wear which mic among the large inventory of lavaliers, Debbie Fecteau mapped a plan accordingly, which was then implemented by the rest of the A2s.
"The small size of the Shure UR1M Micro-Bodypack made it possible for us to just slip the transmitter into a jacket pocket in many cases," Steven Anderson reports. "Time is critical and with this bodypack, we were able to mic the talent and be gone before they even realized we were there."
For one medley of song and dance featuring performers in tuxes and tails, UR1Ms were sewn directly into the tails of the performer's outfits. "In a case like this, no one wants a transmitter sticking out of their wardrobe, it distorts the natural curves of the body," Anderson added. "The UR1M literally disappears, but still works flawlessly. I've even taped them to people's necks with surgical tape and covered them with makeup. For Beyonce's performance here at the Oscars, we sewed one into her top hat."
Tipping the scales at only 2.2 ounces without batteries, the UR1M is the most compact bodypack in the Shure catalog. Tunable in 25 kHz steps between 60 and 75 MHz, the device measures a scant 1.92 inches high by 2.38 inches wide, and is only .66 inches deep.
This year's Oscars aired on ABC. Producers Bill Condon and Laurence Mark rewrote the script as part of efforts to breathe new life into the ceremony, and did their best to keep their work secret, even from the presenters and performers. A new set and stage were designed by David Rockwell as well, while action on the red carpet was orchestrated by Robert Osborne.
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Shure Brings it Home at the 51st Annual Grammy Awards: UHF-R® Still a Mainstay for Live Performance
Opening the GRAMMY® Awards this year with "Get on Your Boots," a track from their
forthcoming album, U2 set the tempo for live performances at this year's ceremonies with Bono stepping into the spotlight using a Shure UHF-R wireless microphone equipped with an SM58® capsule. UHF-R continued to cut a wide swath across the wireless frequency spectrum throughout the evening, with a combination of SM58 and KSM9 handheld transmitters chosen by a lengthy list of performing artists including Jennifer Hudson, Coldplay, Kid Rock, Carrie Underwood, John Mayer, B.B. King, Buddy Guy, Keith Urban, M.I.A., T.I., Kanye West, and Jay-Z.
With frequency coordination provided by Dave Bellamy of Burbank-based Soundtronics Wireless, the GRAMMY telecast braced itself for the operation of 50 RF channels within the cavernous Staples Center. Out of 28 wireless channels dedicated to the 23 musical acts that performed live, 12 were occupied by Shure.
"There are few shows I know of that have a capacity for this amount of RF usage going on at one time," noted GRAMMYs audio coordinator Michael Abbott, the point person in charge of all things sound-related this year. "Dave Bellamy and I talked about which mics we wanted to apply where on the show, and the thing about Shure is it's always my ace-in-the-hole. I know that because of the product design and engineering that I'm able to maximize more Shure mics out there than possibly any other."
Not to be overlooked or under-heard in this year's GRAMMY microphone milieu was Shure's venerable hardwired SM58, which found a place in front of Alison Krauss and Robert Plant (whose album Raising Sand won five awards before the night was out) and was the choice of Stevie Wonder. In addition, Sir Paul McCartney used a Beta 58 for his performance.
"We probably averaged 30 to 40 inputs per act," FOH music mixer Ron Reaves said, providing an insider's glimpse into the stage content arriving at his console. "In each case, a majority of the mics were hardwired. Vocals were still dominated by RF microphones, but in my opinion, we're starting to see a trend emerge on these shows where there's a little more wire than in the past. Maybe we're trying to condition ourselves to changing conditions within the spectrum, but clearly anything at this event that didn't have to be mobile was stuck on a wire."
Reaves also noted, however, that "there were absolutely no RF failures that I was aware of. If there were any issues, from out front we didn't notice them. The performances went on without a problem. This job is just a joy. In spite of all the enormous logistics and grueling schedule, I had the pleasure of mixing for 23 of the hottest acts on the planet. This was a big moment for them, too. Nobody phones it in for the GRAMMYs."
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Shure Gets Lead Role At Obama Inaugural Opening Ceremony
The HBO open signal presentation of "We Are One: The Obama Inaugural Celebration at the
Lincoln Memorial" served as the nation's televised kickoff of the 56th Presidential Inauguration. Captured live at the National Mall, the event drew hundreds of thousands to our nation's capital to see and hear a stellar lineup of talent, including Bruce Springsteen, Beyonce, U2, Sheryl Crow, Shakira, James Taylor, Stevie Wonder, and others. Sound reinforcement for the star-studded concert was courtesy of Clair Global and was mixed-for-air by veteran television production mixer Ed Greene. Wireless chosen for the event included 16 channels of Shure UR4D systems, using various combinations of bodypack and handheld transmitters, many of which sported SM58® capsules.
Seen and heard in its totality, calling the Clair system an exceptionally ambitious audio undertaking fails to convey the sheer magnitude of its complexity, which spanned two miles from the Lincoln Memorial steps to the Capitol using a combination of the Lititz, Pennsylvania-based company's i5 and i3 enclosures in the main PA and delay towers. With video support traveling the entire distance as well, Clair RF systems engineer Kevin Kapler worked with wireless frequencies on-site, while Ralph Mastrangelo and Mike Wolf shared supervising duties, and Robert Kosloskie stepped-in as crew chief.
"In a town buzzing with the excitement of the inauguration, and awash with radio signals.our RF was rock-solid," Mastrangelo reports. "Our Shure wireless systems gave us a wider palette of frequencies to choose from, and that translated into more freedom in terms of locating the best channels of operation."
The HBO airing of the event was executive produced by George Stevens, Jr. (The Kennedy Center Honors), and produced by Don Mischer (Olympic Ceremonies) and Michael Stevens (The American Film Institute Salutes). With Andrew Fletcher mixing the mall PA, television production mixer Ed Greene (Super Bowl XLIII, American Idol, et al.) worked with Clair to specify mic capsules used with the concert's Shure UHF-R wireless.
"I particularly like the KSM9 capsule," Greene admits. "But given the nature and atmosphere of the concert, Clair felt that SM58s would work better. I deferred to their judgement. We tried them in rehearsals, and they worked just fine. We were very blessed on this event. The wireless coordination was very good, and our systems gave us high quality performance."
As the last stop in the signal chain before the HBO program went to air, Ed Greene's mixing console served as a conduit to capture the aural reality of the event and transmit it to millions of viewers tuning in at home.
"The central responsibility I had," he says of his role in the project, "was to put the viewers at home right at the event make them feel like what they were hearing was from a middle seat in the tenth row. Vocals were in the center, with some divergence left and right just to give them some weight. My mix was a balance of what I heard. I essentially manipulated all of the audio elements so that viewers would feel like they were sitting in the sweet spot of the sound field. I didn't hear what it sounded like as aired, but those who did tell me it worked."
Songs chosen for the cable broadcast were picked by the performing artists that expressed the hope and optimism of the people the inauguration brought together. "This is a great opportunity to capture a historic event in a very meaningful setting," Don Mischer told the Presidential Inaugural Committee (PIC) before the show. "We will have the statue of Abraham Lincoln looking down on our stage and a crowd of hundreds of thousands of people lining the mall a tableau any director would relish."
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Shure Energizes Springsteen At Super Bowl XLIII
Fireworks and a capacity crowd at Raymond James Stadium helped propel Bruce Springsteen and
The E Street Band through a high-energy halftime gambol at this year's Super Bowl, during which The Boss ripped through standards, including "Tenth Avenue Freeze-Out," "Born to Run," and "Glory Days," tossing in the title cut from his new album, "Working on a Dream" among them just to keep an even strain on things. Taking the stage with 32 channels of wireless, Springsteen called upon vocal mics for the performance supplied by Niles, Illinois-based Shure Incorporated in the form of UHF-R® handheld transmitters topped withSM58 ®capsules.
"The most wireless channels we ever had before at this event was 28," notes audio designer and Super Bowl veteran Pat Baltzell. "That's wireless microphones and in-ear monitors, not counting intercom. When we initially started working with Bruce for this year's show, he requested 56 wireless frequencies. As the first point of contact with the band, I had to be the bad cop and tell them that it just wasn't going to happen."
Beyond the broadcast presence of media from around the globe, one of the major contributors to making the Super Bowl one of the world's hottest locations in terms of RF activity is the NFL itself.
"Most people don't realize the formidable number of wireless layers that are required just for the game on the field," Baltzell likes to point out. "Referees need their own channels for communications, as do the teams, which transmit signals from the bench right onto the field into the helmets of players on the defensive and offensive teams. There's only a finite amount of spectrum we all have to share, and when it comes right down to it, this is a championship football game first, and the rest of us are here as visitors and guests. Fifty-six channels of wireless for the halftime show would have been nice, but it simply wasn't feasible."
As in the past, wireless frequencies at Super Bowl XLIII were coordinated by James Stoffo. With Brendan O'Brien put in charge of the band's mix, Ed Greene drew upon O'Brien's palette of sound to manage the broadcast end of the equation, sending 5.1 audio from his console to air on NBC. John Cooper stepped-in at the FOH mix position, while Monty Carlo kept his hands on the faders in monitorworld for all of the band members except drummer Max Weinberg, who relied on separate, dedicated mixing talent of his own.
"In addition to the sheer number of RF frequencies being used in Tampa this year, there were other physical factors working against us," Baltzell relates, recalling some of the other wireless challenges the game faced. "Our antenna placement opportunities were anything but optimal; allowing us little when it came to the kind of spacing you'd need to enhance true diversity performance. Basically we were given one spot for our antenna farm and had to remain there. That's why RF performance had to be good. We needed strong transmission power coming from every corner of the stage and arriving safely at our receivers with every aspect of the original signal intact."
Based on the evidence, the halftime show was a smashing success. In the end, Baltzell cheerfully reported that "everybody was happy, including the band." Onstage, a five-piece horn section joined saxophonist Clarence Clemons on "Tenth Avenue Freeze-Out." A gospel choir backed Springsteen, his wife Patti Scialfa, and guitarist Steven Van Zandt on "Working on a Dream." Currently touring in support of his new album of the same name (his 24th), Springsteen is enjoying a dose of invigorated popularity thanks in part to his appearance for President Barack Obama just before last month's inauguration, and winning a Golden Globe for his song from Mickey Rourke's film The Wrestler.
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New State-Of-The-Art S.N. Shure Theater Opens: Exquisite Form Meets Multipurpose Function at Corporate Headquarters
Shure Incorporated recently celebrated the opening of the new S.N. Shure Theater at the Company's Corporate Headquarters in Niles, Illinois. Shure Chairman, Rose L. Shure, and President and CEO, Sandy LaMantia, participated in the ribbon cutting ceremony and then welcomed Shure Associates and special guests into the new venue.
"We've wanted to build out this space ever since we moved into our new headquarters five years ago," said LaMantia. "Following the completion of the Shure Technology Annex in 2004 and the Performance and Listening Center [PLC] in 2005, we were finally able to turn our attention to this project, which turned out even better than we imagined. It's a beautiful venue that will serve as a lasting tribute to our founder, S.N. Shure, for many years to come."
In his comments during the ceremony, LaMantia said to Mrs. Shure that he hopes the new theater "exemplifies all that Mr. Shure embodied," which it is likely to do, as the lobby outside the theater features an interactive exhibit designed to teach visitors and new Associates about the values, beliefs, and life of S.N. Shure. It even provides audio, so that Mr. Shure's voice can be heard.
Designed by Krueck + Sexton Architects, construction began in March 2008 on the 4,000 square-foot, 143-seat theater, which was designed as a state-of-the art venue for audio and video presentations, product demonstrations, and live music performances.
The theater's audio visual systems include:
- Meyer Loudspeakers: CQ1 (mains), HP700 Sub-Woofer and UPJ Surround
- a Dolby Lake Loudspeaker Processor
- a custom-built, 200-inch diagonal Stewart projection screen
- a 20,000 lumen Digital Projection Model 40-1080p projector
- a dual input windowing processor allowing multiple images on screen
- a custom demonstration cart and lectern, featuring Shure MX412 microphones and a Crestron control system for the lighting and other audio visual systems
- Shure UHF-R® wireless systems
- a Yamaha LS9 digital mixing console
"More than 700 feet of fiber-optic cable was run from the theater to the PLC for the future implementation of multi-channel audio recording," said Dean Giavaras, Senior Audio Technician, who will have responsibility for day-to-day management of the theater and PLC. "This will enable us to record performances from the theater in the PLC, which we're really looking forward to."
In addition to the theater's impressive technical qualities, there are several noteworthy functional and aesthetic attributes, including:
- A single, large English Sycamore tree was sourced from the Black Forest in Germany to produce the 11-foot lengths needed for this project. This one tree was used for ALL veneered surfaces inside the theater (approximately 23,000 square feet), which were all laid by hand
- The ceiling incorporates both absorptive and non-absorptive surfaces and consists of multiple layers of drywall and insulation. A stretch fabric system was used to cover these surfaces and create a uniform, clean appearance. Microphone drop points are integrated into the ceiling
- To reduce fan noise from the building's HVAC system, the exterior walls surrounding the theater consist of multiple layers of drywall, and acoustical and rigid insulation. An under floor air distribution system also was installed under the theater seating
- Temperature and humidity in the room are maintained independent of the building's system. In addition, all interior surfaces (floor, walls, and ceiling) incorporate a continuous vapor barrier to ensure that the wood is kept within acceptable humidification ranges at all times, which will prevent it from constricting and contracting
- The theater seating was manufactured by Poltrona Frau in Tolentino, Italy. Each piece, which was individually constructed by hand, comes equipped with a flip up work surface for taking notes
- A Steinway B, 7-foot Concert Grand Piano, which will be stored in its own humidity-controlled alcove
- The back stage area of the theater includes a Green Room with a 40" LCD display, a restroom, and an elevator
- A motorized theatrical curtain is available for further control of onstage acoustics for amplified events
"The vision for the interior design of the S.N. Shure Theater was to use wood as a contrast to the concrete and glass in the rest of the building," continued LaMantia. "However, wood finishes are typically incompatible with a room that needs to support amplified events. This presented multiple challenges to the design team because traditionally available acoustic wood products don't provide the look and feel of refinement and quality that was desired."
The solution was to create a fin shape and spacing scheme on the left and right walls, which was developed by assembling a rough mock-up where fin placement could be altered based on acoustical test results. This dictated the profile of the fin, the progressive spacing and the rotation toward the stage.
"The kinetic look of these walls is a fine example of fully integrated architectural solutions to acoustical design," added LaMantia. "The end result is an amazingly quiet room with extraordinary acoustics."
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Shure Announces Rebates In Canada For 700 Mhz Wireless Systems
Shure announced today that its trade-in rebate program will be offered to Canadian customers who have purchased Shure 700 MHz frequency band (698-806 MHz) wireless systems and related components.
In recognition of the need for Canadian audio industry professionals to be in step with their US counterparts, Shure has decided to extend their US trade-in rebate offer to the Canadian market.
Customers may submit rebate forms to SF Marketing Inc. - Shure's Canadian distributor, with the purchase of any UHF-R®, ULX®, MX690/SLX4L, PSM®700 (H3, L2 bands), or PGX wireless system.
In order to help customers with the transition and to better understand the changes to the RF frequency regulations, SF Marketing, has a team of experts who are available to answer questions and to provide solutions to technical challenges associated with the new legislation.
"Because of our commitment to providing first class support to our customers, we are extending our 700 MHz rebate program to our Canadian customers so that they can stay ahead of the curve in regards to DTV transition and the FCC's 700 MHz ruling." said Jose Rivas, Director, Sales and Marketing for Shure's International Americas Business Unit. "Our Canadian Distributor, SF Marketing, has a team of sales, customer service, and technical support staff available and ready to answer any questions regarding the rebate program."
For a complete summary of the terms and conditions of this rebate program, to learn which products are eligible for the rebate program, and to obtain a rebate form, please visit http://www.shurecanada.com/ProAudio/EN/index.html and click on the "Trade-in & Trade-up" banner in the center of the page. All questions regarding the rebate program in Canada can be directed to SF Marketing Inc. at 514-780-2070.
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Shure To Title Sponsor Supernova's "Band On The Run 2009"
SF Marketing Inc. is excited to announce that Shure is now the exclusive title sponsor of Supernova.com's "Band on the Run 2009" competition. The partnership will be in effect throughout the series and is expected to run until August 2009
For over a decade, Supernova has been at the forefront of the Canadian indie music scene with thousands of bands, including Billy Talent, Sum 41, and Three Days Grace, competing in their trademarked Battle of the Bands® competitions.
As title sponsor, Shure will be providing prizing at all qualifying events and regional finals, as well as providing the grand prize for the winners of the competition. "SF Marketing and Shure are excited to be partnering with an organization that has had such tremendous success in the indie music scene in Canada" said Dan Courville, SF Marketing Product Manager for Shure. "As the exclusive Canadian distributor of the leading brand of professional microphones, we believe that it is important to support events and organizations that help us discover emerging talent".
The competition consists of a series of qualifying run-up events in thirteen cities across Canada leading to 10 city finals and finally an online vote for the national winner.
For a complete listing of events please visit: http://www.supernova.com/minisites/band-on-the-run-2009/
About Supernova.com
Toronto based Supernova operates Supernova.com - the only social music network promoting its community of indie artists through Battle of the Bands® concerts. Founded in 1992, Supernova produces weekly Battle of the Bands® concerts, throughout the United States and Canada, featuring booked indie bands from its online band roster and established headliners. Supernova.com combines live shows and social networking to give indie bands a new platform for promotion. The site offers an extensive media library with custom music playlists via the Music Explorer and Wildcard voting where top vote-getters receive first-rate prizing. Learn more about Supernova by visiting http://www.supernova.com
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