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June, 2008:

Sound Technology plc acquires Harman Pro UK

May 22, 2008 – Sound Technology plc has acquired Harman Professional Distribution Rights in the UK and Ireland from Harman International Industries Inc. The agreement transfers to Sound Technology a strong team of sales professionals and exclusive distribution rights for class-leading brands such as AKG, BSS, Crown, dbx, JBL Professional, Lexicon and Soundcraft in the U.K. and Ireland.

The statement from Harman International reads:

The agreement transfers to Sound Technology a strong team of sales professionals and exclusive distribution rights for JBL Professional, Crown, Soundcraft, AKG, dbx, BSS Audio and Lexicon products in the U.K. and Ireland.

“Sound Technology is a premier pro audio distribution business in the U.K. and Ireland with strong market knowledge and a commitment to selling systems across Harman’s served vertical markets,” said Blake Augsburger, Harman Professional Chief Executive Officer. “This direct-to-third-party shift provides Harman the entrepreneurial drive necessary to support its international go-to-market strategy.”

“We are thrilled to be representing the legendary professional brands of Harman International,” said Robert Wilson, Chairman of Sound Technology plc. “The acquisition of Harman Pro’s UK distribution with its portfolio of advanced solutions reinforces Sound Technology’s position within the M.I. industry whilst substantially expanding and diversifying the company into the vertical markets of installation, broadcast and touring sound.”

Setting up a Radio Mic

Radio Microphone setup is crucial to get write. An expensive microphone system setup badly will certainly sound worse than an inexpensive system setup correctly.

Check out this info from Sennheiser and Gain tech note from Rane to supplement it.

Connecting the power supply
When connecting the power supply you should be aware that the right unit with the proper voltage is being used. Use the strain relief and secure the power adapter with a cable tie. It is easy to trip in dark clubs.

Battery installation
Do not be stingy in this department! It is very important to always use a fresh 9 Volt battery (type LR61). Rechargeable batteries last up to three hours of continual use. If your band is known for its endless concerts you should use Alkaline batteries. These last up to eight hours of continual use. Even better, especially in cold temperatures, are lithium cells. Please be aware that simple zinc-carbon batteries are not suitable for this type of use.

Troubleshooting the battery compartment
If the battery flap has problems closing and the transmitter will not turn on, then the battery has been inserted incorrectly. If the battery terminals are accidentally reversed, the transmitter will not function. Even more important to avoid is accidentally mixing up empty, or half-empty batteries. The worst thing is to be up on stage and sing into a mic and have no sound come out. It is a good idea to always have a fresh supply of batteries, just in case. Just as a guitarist never leaves home without a spare set of strings, right?

Operating the wireless microphone
First, turn on the receiver – the transmitter is still off. Increase the AF output level and listen to the signal: Does the signal sound clean? If this is not the case you must find the proper frequency that hisses but without unnecessary buzzing and popping. Clean hissing means that no other unit is active on that frequency. If, for example, the opening band is also using a wireless mic it could cause some problems. If a number of different transmitters are set to the same frequency it can cause some pretty serious interference.

In this case it is best to adjust the frequency at least 0,4Mhz. The best thing to do is simply select another preset frequency that is not in use. That way you are sure the audio signal will not be affected by external transmitters.

Squelch (noise gate) adjustment
In the Squelch menu, increase the dB value until the hissing is fully suppressed. Do not go any further, otherwise you will lose sensitivity. An unnecessary high dB value reduces range.

Selecting a microphone
For maximum feedback rejection, microphones with cardioid or super-cardioid patterns are unbeatable.

The distance of the wind screen to the mouth should not be more than 20cm. Cardioid mics react better to vocal material from the sides, and reject pops and handling noise better than super cardioid mics.

Adjusting the transmitter
First, deactivate the muting switch. Watch out, this is a sliding switch. Do not try to push on it.

The scale of sensitivity of the input amplifier is adjustable in 10dB steps from 0db (for whisperers) to –30db (for screamers). A standard setup with –20dB headroom is a good starting point. A small hint: No band is as loud at sound-check as when they perform. Adrenaline tends to add a few more decibels.

Gain Structure Additional Info – from rane

Field test
Test the reach of the transmitter always under “worst-case scenario” conditions. Hold the microphone close to your body and walk up and down the entire stage. When dropouts occur you should adjust the antenna to a better position. Those people known for their wild stage shows should be aware of the range of the transmitter, so that no unpleasant interruptions happen during the performance.

Remote antennae (e.g. type A1031) allow better reception for the transmitter than the usual telescoping type attached to the receiver.

Just attach two antennae with a crossbar to one mic stand. If you are still having problems with reception, raise the mic stand as high as possible. Do not extend it more than 10 meters from the ground, without using an antenna booster.

Now the show can start – have fun!