www.nmkelectronics.com

TempesT 2400 is The king of The ring

The killers use uhf-r mics

ion Drum rocker

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2Nicolas Kyvernitis Electronics Ent. Ltd.P.O. Box 3191, Sharjah, United Arab EmiratesTelephone: +971-4-2665244, Telefax:+971-4-2626682Email:info@nmkelectronics.comWeb:nmkelectronics.com

Europe, Middle East, Africa:Shure Europe GmbH, Wannenäckerstr. 28, 74078 Heilbronn, GermanyPhone: 49-7131-7214-0 Fax: 49-7131-7214-14 Email: info@shure.de United States, Canada, Latin America, Caribbean:Shure Incorporated, Phone: 1-847-600-2000 US Fax: 1-847-600-1212 Int‘l Fax: 1-847-600-6446 Asia, Pacific:Shure Asia Limited, Phone: 852-2893-4290 Fax: 852-2893-4055

www.shure.com

For more than 80 years Shure rugged, professional audio products have been defined by a legacy of legendary performance. This passion for audio excellence also drives Shure Professional Headphones. These headphones live by a simple rule: What goes in must come out. Designed to withstand the rigors of everyday use, they are an excellent choice for music professionals and music obsessives − for recording, monitoring, DJing and personal listening.

This area for DC logo and contact information

www.shure.com

SRH240 SRH440

The SRH750DJ Professional DJ Headphones feature 50 mm neodymium dynamic drivers tuned to deliver high-output bass with extended highs, perfect for meeting the demands of live professional DJ mixing.

PROFESSIONAL SOUNDFROM EAR TO EAR.

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3Nicolas Kyvernitis Electronics Ent. Ltd.P.O. Box 3191, Sharjah, United Arab EmiratesTelephone: +971-4-2665244, Telefax:+971-4-2626682Email:info@nmkelectronics.comWeb:nmkelectronics.com

Editor’s NoteSo its 2010 and things are getting...umm....better? Well as I’m writing this its actu-

ally raining in Dubai so I’m going to be happy either way. In the previous issues I always showed what future plans we have but I totally forgot that we have this showroom along Fish roundabout in Al Muteena, Deira. If you have anything you really need there are people there to assist you as well. Below you can see a picture of how it looks like so you can have an idea of what kind of stuff is available. Anyway we just got the new SHURE Dj headphones so Im quite excited about that. We also got the ION drum kits for PS and Xbox which you can check out at Virgin stores. The SRH440 and SRH840 will be on display as well so do check them out if you plan on getting some headphones. Do also check out TechTalk which is a radio podcast show that NMK is sponsoring. I’m quite lazy so please do check out our facebook fan page for links on that. On other things I actually had the time to go to Creamfields which was pretty good except for the lack of enthusiasm from the crowd. I’m not even into house or trance music but this Deadmaus dude is pretty damn good. Okay enough babble...do check out the rest of the Jan issue and as usual do email me if you would like to see anything on the mag. Peace

richie@nmkelectronics.com Richie Lozada Hiranandani

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What’s NEW?

5

Van Damme Tour Grade Classic XKE Starquad is specified for individual microphone level analogue audio signals in areas of high electronic interference. Ideal for outside broadcast microphones and any microphone used in areas that may be subject to EMI and RFI - for example in close proximity to lighting dimmer circuits and major power feeds. This cable combines electrical integrity with mechanical strength without compromising flexibility.--------------------------------------------------------------------------------Van Damme Black Series Tour Grade is an analogue audio multicore range specifically designed to survive the harshest touring conditions and other high stress environments.It is tried, tested and trusted in the live touring field by audio professionals both for its dura-bility and its sonic fidelity.-----------------------Van Damme Pro Grade Classic XKE 1 pair install cable is a foil screened twisted pair for installation and rack wiring. Tough, flexible and very easy to prepare as the foil screen is bonded to the outer jacket, this cable type is also useful for ‘bodge leads’, adaptor cables and multipin breakouts where individual tails need to be colour identified or are to be per-manently installed.

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ION Drum Rocker

Drum Rocker delivers the most realistic drumming experience available to any gamer, regardless of platform. That’s because it was built by the engineers at Alesis, one of the largest manufacturers of professional electronic drums in the world. As a result, you get a kit that’s designed to take a real beating, with all the positioning flexibility that profession-al drummers demand. While other drum controllers lock you down to a pre-molded plastic array of pads, Drum Rocker’s professional aluminum drum rack lets you position your snare, tom and cymbal pads wherever you want. When you’re ready to move from playing Rock Band to playing in a rock band, you can swap the game controller module with one of the professional drum brains made by Alesis, and you’re ready to hit the road for real!

Ultra-quiet velocity sensitive pads.Drum Rocker’s velocity-sensitive drum pads feature a playing surface that is much quieter than other drum controllers. They also feel great - the stick rebound off of the pad is much more natural and consistent than anything else available. The pad housing is made of high-impact plastic, designed to be whacked on stage night after night. No matter how much you punish them, the Drum Rocker drum pads can take it.

The pads are mounted to the drum rack with a metal L-Arm and clamp system, which al-lows them to be tilted, swiveled, raised and lowered to whatever position you want. Just one warning - once you play these pads, nothing else will do!

Complete the experience with up to three cymbals.There’s nothing like finishing a monster fill by whacking a crash cymbal. Or crossing over to play your hi-hat with your right hand while you keep the backbeat on the snare with your left. Or keeping time on a ride cymbal during the chorus. Drum Rocker lets you do all that and more, with cymbals that can be placed anywhere around the kit.

Drum Rocker comes with two cymbals and mounting hardware out of the box. You get to decide how you want to use the two cymbals that come with the kit - set them up as a hi-hat/crash, crash/ride or hi-hat/ride combination, then add a third cymbal (not included) to round out the kit.

All-metal kick drum pedal.The kick drum pedal with any drum controller takes a lot of abuse. No need to worry with Drum Rocker - this pedal is all metal and built to last! It’s also got the right amount of ten-sion to replicate the feeling of playing a real drum pedal, and we’re even building an ac-cessory pedal to allow for double-pedal setups.

The pedal comes with Velcro and retractable spikes, so you can be sure it will stay put. You’re not limited to where you place it either - put the kick pedal wherever you feel most comfortable playing it.

Awards from the top critics!ION Audio has also been awarded Best Hardware/Peripheral by the Game Critics Awards: Best of E3 (Electronics Entertainment Expo) 2008, for the Drum Rocker Premium Drum Set for Rock Band.

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Impact Twin is a brand new, state of the art audio interface that features ground-breaking technology to ensure that the music you record sounds as good on the inside of your computer as it does on the outside. How?

Well, Impact Twin’s two mic preamps utilize our Impact III™ Technology which itself fea-tures three stages of top level processing. You get a high quality and very flexible mic preamp, superior 24/192 HD Conversion, plus a set of recording Channel Tools that lets you shape and optimize your sound making it the perfect recording. With each of these stages carefully combined behind Impact Twin’s rugged and cool looking exterior, you have a ‘take anywhere’ device that offers the ultimate in recording quality.

Let’s look in more detail at those all-important stages.

The Impact III Mic preamp makes the best of any microphone. So whether you record with the finest vintage tube mics, the most demanding low-budget condensers, or even a handheld dynamic, Impact Twin has been designed from the ground up to maximize the signal you record into your DAW. And with the two Impact III mic preamps, Impact Twin gives you maximum flexibility. Whether recording instrument, line or mic, with or without phantom power, Impact Twin works the way you need it to.However, no matter how good your mic preamps, if your signal path doesn’t then lead on to the best converters then you may as well pack up and go home. Impact Twin’s 24/192 HD Convertors let you select your conversion rate – all the way from 44.1kHz right up to High Definition 192kHz for the ultimate in pristine audio capture, maintaining the essential transients of your sound.

For years we’ve been innovating in the world of signal enhancement, so Impact Twin in-cludes essential recording Channel Tools that go even further to optimize your sound with onboard EQ, Compressor and De-esser that quickly, simply and invisibly tame and en-hance those signals – no matter what you’re recording.

Impact Twin

What you play now really is 100% what you record. What you record now really is 100% what you play.

Introducing Impact Twin...

Dhs. 2,350.00

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LAS VEGAS, NV, November 18, 2009 — Calle 13, a Puerto Rican alternative/urban hip-hop duo and Shure endorser, dominated the 10th Annual Latin Grammy Awards by winning all five categories in which they were nominated. The awards show, tele-vised to more than 12 million viewers on Univision, took place at the Mandalay Bay Events Center in Las Vegas. The show featured a total of 15 live performances by some of the biggest stars in Latin music, the vast majority of whom used Shure microphones for their vocals and backline. Performance highlights included legendary Mexican singer Juan Gabriel, who was honored as the Latin Recording Academy’s 2009 Person of the Year. Armed with a black Shure UR2/KSM9 and a glass of red wine, Gabriel took the stage by force, ex-panding a planned ten-minute medley into a full concert set that had the audience dancing in the aisles. The broadcast music mixer was Eric Schilling, famed for his studio engineering for artists like Gloria Estefan and Shakira. “I’ve worked on nine of the ten Latin Grammy broad-casts,” Schilling related, “and I’ve never seen anything like the Juan Gabriel perfor-mance. He’s sort of famous for vamping, so I don’t think it was a complete surprise. But it was nearly a 40-minute performance, which is certainly unprecedented in an awards show. He was doing things like taking his vocal mic and having a horn player play through it, so mixing it was a challenge…definitely the highlight of the evening.” As the night’s biggest winners, Calle 13 took home awards for Record of the Year (the single “No Hay Nadie Como Tú” featuring Mexican band Café Tacvba) and Album of the Year (Los De Atrás Vienen Conmigo). The duo, consisting of singer/songwriter René Pérez (a.k.a. Residente) and multi-instrumentalist Eduardo José Cabra (a.k.a. Visitante), also won the categories of Best Urban Music Album, Best Alternative Song, and Best Short Form Music Video. Another highlight of the evening was Calle 13’s collaboration with Rubén Blades for an elaborate staging of the group’s hit “La Perla,” which received the award for Best Short Form Music Video. The number began with a huge set of Japanese taiko drums played by performers from Cirque du Soleil’s “Mystère” troupe. “That performance spanned two full stages,” noted Schilling. “It started with the taiko drums, which are physically huge, on one stage. Then the band started playing on top of that from the other stage, then finally Residente and Rubén Blades came in with their Shure wireless Beta 58s. It looked great and sounded fantastic.” With his long track record of mixing award telecasts, Schilling knows that reliability and quality are the two areas where there can be no compromises. “It’s my job to send a great mix to the network, and that starts with the microphones,” he stated. “I have cer-tain mics that I prefer for certain tasks, so I asked Shure to be involved. We used their products pretty extensively.” While Schilling has his preferences, the choice of lead vocal mics is left up to the per-formers as a matter of policy. “We want them to be in their comfort zone as much as possible,” said Schilling. “But if there’s no strong preference, I will usually suggest either a KSM9 or a Beta 58, depending on the artist. This year, I think all but a couple of the live performers went with Shure, and the results were outstanding.”

Calle 13, Juan Gabriel Dominate 10th An-nual Latin GRAMMY Awards

9Global News

Schilling also used a lot of Shure mics on the backline. “Typically in our shows, we use Shure mics for 60 or 70 percent of our backline. On drum kit, I like to use KSM32s for overheads. That’s a great mic. Of course, I use the SM57 on snare, and I like the KSM137 for hi-hat. The kick gets a Beta 91 boundary mic and a Beta 52 dynamic, which lets the house PA mixer, Ron Reeves, and I to get the right sound for our different needs.” Of course, Latin music uses a lot of percussion – another application where Shure excels. “With a couple little exceptions, all the percussion is miked with Shure. I love SM57s on congas and bongos,” said Schilling. “On the rest of the backline, I use either KSM137s or KSM32s for all the guitar amps. I use the same mics for saxophones, too.” To prepare for the live broadcast, three days before the show are dedicated to re-hearsals. “We get about an hour with each live act, and I tape everything so I can work on each mix before the show,” related Schilling. “It’s all recallable on the console, but that just gets me into the ballpark. After a band is playing live, they’re never quite the same as in rehearsal. So there’s constant fine-tuning. Plus, there’s always something unexpected. Having mics I can count on is a key element.” This year’s Latin Grammy Awards telecast on Univision drew a record audience of 12.8 million viewers in the U.S., an amazing feat for a Spanish-speaking network, showing that great music transcends language. “It’s why I do what I do,” said Schilling. “It’s all about the music.”

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Tempest2400 is King of the Ring at World Wrestling Entertainment

ALAMEDA, CALIFORNIA/STAMFORD, CONNECTICUT, DECEMBER 7, 2009 ─ Clear-Com® Communication Systems, a Vitec Group brand, and its superstar Tempest®2400 four-channel digital wireless intercom system are ready to rumble for World Wrestling Entertainment (WWE). For its popular TV programs, including Raw, SmackDown and ECW (Extreme Championship Wrestling), WWE relies on Clear-Com’s Tempest2400 four-channel digital wireless intercom system to coordinate lighting changes and other video elements during each live entertainment production.

Prompted by the FCC’s recent spectrum changes, WWE was eager to purchase equipment that would give it access to additional RF space during its shows. As the largest professional wrestling promotion in the world, WWE needed a system that would work seamlessly in the U.S. and abroad, without the need for licensing and frequency coordination. Working with Scharff Weisberg, a provider of state-of-the-art audio, video and lighting equipment, WWE found a natural fit in Clear-Com’s Tem-pest2400, the only four-audio channel, digital wireless system that operates license-free in the 2.4 GHZ band. With its purchase of two Tempest2400 base stations and 10 beltstations, WWE can easily register each beltstation to a base station with no further configuration.

“During this period of spectrum regulation, we wanted to be proactive and ensure that we gave ourselves as many options as possible,” says Martin Pingree, Senior Direc-tor, Technical Engineering and Event Technical Operation for WWE. “In this new envi-ronment, the Tempest 2400’s ability to operate in the 2.4 GHz band worldwide was very attractive, but an added bonus was how easy it was to configure the beltstations. Our crew really appreciated that they can customize their beltstations, label their options and then use those same configurations around the world. As we have a European tour coming up, we will continue to use the Tempest2400 system in arenas overseas to ensure our productions run smoothly and to manage all of our communications needs.”

Global News

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WWE’s lighting crew uses the system most heavily, employing it for tight coordination between set changes. As WWE’s stage shows are large, media-intensive events, the lighting crew is responsible for changing looks during each part of the show and working multiple media servers to support the video elements crucial to the show design and live broadcast. The system also helps ensure that the crew can communicate clearly with other beltstation users and the TV trucks, using an Algebraic Code - Excited Linear Prediction (A-CELP) voice compression algorithm to maintain the highest possible voice audio quality in the midst of extremely loud WWE fans. Further, the system’s iSelect On Command Roaming allows the crew to move easily from one coverage zone to another.

“The WWE has staged shows in some of America’s biggest stadiums, including Madison Square Garden in New York, Mellon Arena in Pittsburgh, Allstate Arena in Chicago and other major locations around the world,” says Chris Barry, Product Manager at Clear-Com. “Regardless of venue, due to the Tempest2400’s unique, patented RF archi-tecture and ability to operate in the unlicensed 2.4 GHz band, the WWE always has peace of mind that their digital wireless intercom system will provide excellent, inter-ference-free communication. Ideal for touring applications, the Tempest2400’s ease of use and compatibility with other existing systems makes it a perfect aid in delivering the thrills of the WWE to fans during each show.”

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Carl Tatz installs Dynaudio in several high profile studio designs

Carl Tatz is a leading studio designer who uses the revolutionary PhantomFocus System™ to help tune any speaker to any environment. The system utilizes a series of techniques and protocols to optimize the monitoring system with the environment. It ensures that a full and accurate frequency response is achieved and that the imaging is spread out perfectly in the sweetspot before the listener. It’s a system that Foo Fight-ers engineer Elliot Scheiner has described as ‘awesome’.

“Like all studio designers we have a recognizable signature look to our rooms,” says Carl describing PFS. “We work in a lot of small home spaces so we try to make the rooms feel, look and perform larger than they are. When it comes to implementing a PhantomFocus System we suggest that our clients audition several monitors in their new room. Because of the very subjective nature of monitor preference we encour-age an open mind during these shoot-outs.”

Carl has recently completed several major installations in which the monitors of choice ended up being Dynaudio. Carl notes: “Some of the high profile designs we’ve done recently featuring Dynaudio monitors have included home recording studios for two of the members of super group, Rascal Flatts; the iconic Ryman Auditorium and Grand Old Opry control rooms in Nashville; and the World Wrestling Inc. studios”

Carl’s PhantomFocus System works with any speaker and environment but there’s no doubting that Dynaudio monitors appear to be a favourite…

“I am a big fan of Dynaudio monitors,” he agrees, “and they are extremely impres-sive when used in our PhantomFocus System. Sometimes the client will already have the Dynaudios and sometimes they differ to my opinion and I will usually recommend Dynaudio for most applications. We have used the following Dynaudio monitors in our projects: BM6As, BM15s, BM15As, M1s, M3, M4+s, Air 15s.”

“They image really well,” Carl continues, “ and they are very smooth and pleasant to listen to. They have great definition in the low end, are very detailed throughout the frequency spectrum and they look serious.”

Carl then details how a set of BM6As fitted in one of the recent projects: “One of my favorite rooms is one of the studios of Rascal Flatt’s Jay DeMarcus called the Cock-pit. It’s seven feet wide, nine feet deep and four feet high at the front wall where the ceiling slopes up to about seven feet. Using flush mounted Dynaudio BM6As the sweet spot is absolutely world class with a frequency response from 20Hz to 20kHz. This would be impossible to achieve by using only acoustic design and treatment and is very ex-citing!”

And it seems Dynaudio will feature in more high profile outings that Carl has planned. “We have just finished a Dual PhantomFocus System for WWE in Stamford using Dyn-audio C4s and Yamaha NS10s that blew WWE engineer/producer Jim Johnston away. We are also currently working on a killer dedicated listening room for a client outside of Oak Ridge, Tennes-see using Dynaudio M3s as part of a hybrid 9.1 system.”

15Global News

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Monitor engineer Nahuel Gutierrez has been using a Midas PRO6 live audio system for the Noisettes’ UK tour. Having previously spent 15 months with its big brother the XL8 on the final Oasis world tour, Gutierrez found the transition to the PRO6 an easy one.“I was able to mix on the PRO6 in the same way I did on the XL8, and after a short time learning where the controls on this surface were, I was flying again,” he says. “Although it’s a smaller surface, the PRO6 isn’t missing any of the XL8’s features. The sound qual-ity equally as superb, and my favourite features were there, such as six full parametric equalisers on the output channels, which have allowed me to forget about graphic eq’s for the last two years.

“Having fewer faders was never an issue working with the POP Groups, which once again were my main way of mixing. And I set up one group of four VIP channels in Area B so I could have each of the four vocals there all the time, with everyone pre fader. This meant I had very quick control of the send for each performer.”“The console also has two solo buses like the XL8, so I was able to cue wedges or IEMs independently from each other, and listen to any channel or either bus with the click of a button.

“A very handy feature is assignable rotary controls, allowing you to permanently as-sign a single parameter from any channel to a knob. I used this for the threshold of my gates, plus a couple of gains controls that I always wanted to have handy. It’s a great thing being able to grab a particular control for a particular channel, and I was able to adjust the threshold of my gates just by looking at the metering page and moving this knobs.”

As the tour took in some very small venues, the PRO6 proved to be a wise choice. “I was able to fit the console anywhere even, in the smallest venue where I had to be on stage next to the guitar player,” Gutierrez continues. “The footprint is so small consider-ing what you get. We didn’t have a truck on the tour, just a little trailer behind the tour bus which we managed to fit the console in alongside the backline.This was Gutierrez’s first foray into Midas automation, as it suited the Noisettes’ musical style to create scenes for each song. “It’s very easy to understand and work with, and I had great fun seeing things happening at the click of a button: changes, fader sends, mutes, gate thresholds, all changing by themselves. I was also able to put a lot of pa-rameters on recall scope and store scope, for independent scenes.” Gutierrez also carried out a software update on the PRO6, mid-tour. “It was so easy to do,” he says. “The new software arrived on a USB stick, and it uploaded all by itself, updating every piece of hardware connected to the console too.“My final thoughts on the PRO6 are it’s a beast in a small package, and I want one at home!”

Midas PRO6 monitors the Noisettes

Global News

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With the RH450 Bass Amp and RS range of cabinets we’ve pro-duced an incredible bass amp system that is currently wowing the bass-playing world. Now we’ve added the RS410 cabinet to the range, offering you the ultimate in choice and tone…

After blowing the bass world away with our RH450, we are now adding the RS410 to our range of accompanying cabinets. The RS410 is a perfectly matched 4 x 10” (plus High-Frequency driver) cabinet for those of you who want to bolster your sound with four 10” drivers for even bigger impact.

The RS410 is an 8 Ohm, 600W cabinet that will allow you to instantly get the loud-ness and tight response necessary, whether you are on stage or in the studio. The RS410 represents the third product in our RS cabinet range and fits perfectly into the ‘stackability’ sys-tem of our existing RS212 and RS210 cabinets.

DriversAs with all of the RS range, the drivers are custom made by US company Eminence. The adjustable center HF driver ensures that you get optimal response and brightness, and over-laps the frequency response of the 4 x 10” drivers to give added pres-ence in the high/mid sweetspot.

StackabilityYou can stack RS410 in two ways. Turning RS410 on its side allows you to stack it perfectly with RS212 and RS210. As the RH450 is capable of driving three RS cabs, you can now

RS410

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Coming Soonmix and match from the range of three cabinets to find the perfect response and tone for your needs.

Using a combination of RS cabs offers you maximum flexibility ranging from, for exam-ple, RS212 and RS210 in a vertical stack for small to medium-sized gigs, or RS212, RS410 and RS210 for the bigger gigs where loudness and punch really count.

The conventional stacking of two RS410 units will allow a 4 Ohm configuration of 8 x 10” drivers, which should satisfy those of you who need a really large stage setup!

Rugged scienceThe RS range incorporates a rugged design with an anti-scratch finish and uses a dual-component ‘anti skid’ surface treatment to help cabinets ‘stick’ together when stacked.

ConnectivityRS410 features two high-quality Speakon connectors as well as a heavy duty HF at-tenuator on the rear side.

Our RH450 amp and RS range of cabinets – complete with the new RS410 – now offer the ultimate system for your bass playing, whatever your level and experience. Audi-tion them now and prepare to be blown away!

22

RANEFeatures two distinct modes of operation: Distance & Video

Distance Mode• Display in milliseconds, feet, or meters• 2.00 to 999.99 ms Delay Range per channel• 0.01 ms resolutionVideo Mode• Display in frames per second or milliseconds• Compatible with NTSC and PAL / SECAM frame rates• 0.5 frame resolution

Coming Soon

www.nmkelectronics.com

sound&stage.indd 1 9/1/2009 5:18:25 PM

www.nmkelectronics.com

sound&stage.indd 1 9/1/2009 5:18:25 PMdjmag.indd 1 10/29/2009 12:26:37 PM

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The TTM 57SL integrates the best of Rane hardware with Serato Scratch LIVE software, allowing you to fully

control Scratch LIVE without touching your laptop!

SCRATCH LIVE CONTROL SURFACE

Control Scratch LIVE without taking your hands o� the mixer. Navigate through your library, load tracks, hit cues, loop and control e�ects via the integrated control surface.

Foot-switch connection for hands-free looping, sampling and e�ects.

HARDWARE FEATURES

• Internal universal power supply

• 4 line / phono inputs• EQ kills on low, mid & high• Dual headphone outputs:

1/4” and 1⁄8” jacks• Rane’s famous “FlexFX”

e�ects loop system, in addition to built-in e�ects

• RCA, TRS and XLR outputs, each with dedicated level controls

EXTERNAL AUDIO INTERFACEUse the TTM 57SL as a high-quality USB audio interface for your favorite Mac or PC software – USB 1.1 with 8 channels of streaming 16-bit / 44.1 kHz audio and on-board DSP processing.

MAGNETIC FADERSRane’s legendary patented magnetic faders are the fastest, most accurate, and longest-lasting on the planet.The TTM 57SL uses the same faders and performance-oriented layout that made the TTM 56 famous.

EFFECTS24-bit effects using Rane and Serato’s award winning studio and live sound software technologies gives you professional studio-quality sound.

ADVANCED RECORDING CAPABILITIES

Record your mix directly to hard drive. Choose between one single mixed output, or channel 1 and 2 post-fader separately. Perfect for editing after the mix – a mixtape DJ’s dream!

FUTURE PROOFThe features and functional-ity of your mixer will improve with each new Scratch LIVE software release – and all Scratch LIVE updates are free!

Nicolas Kyvernitis Electronics Ent. Ltd.P.O. Box 3191, Sharjah, United Arab EmiratesTelephone: +971-4-2665244, Telefax:+971-4-2626682Email:info@nmkelectronics.comWeb:nmkelectronics.com

djmag_fullpage.indd 1 11/23/2009 4:38:58 PM

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25Recognition

Celebrating 15 years as a DJ, Big Al has been fine tuning his style since 1990. Well known for his epic 8++ hour extended journeys, AL has earned a solid reputation for himself in Montreal. Recently moving from his 5 year DJ Residency at Club Stereo where he also served as the Talent Buyer, the Artist Relations Director & the musical consultant for 2 years. He is a true Artist, often dropping his unique remixes and edits and shaking dancefloors across the world. He consistently contributes to the global un-derground movement of House Music and absorbs inspiration from everything around him while retaining his past as a focal point. His broad variety of influences has shaped his assorted and wide ranging sound which unifies many cultures.

Having lived all around the world, Al was able to identify with many cultures and tradi-tions. Understanding the diversity of people, AL studied the music and refined his art in the Studio. In 1999, he won a JPF Award for the best song on a mixed compilation. In 2003, he was nominated by the Hour Magazine. Throughout his career, AL was invited to play in many music capitals across the world at legendary nights & clubs. From Tun-nel (NYC), Centro Fly (NYC), Buzz (DC), Sullivan Room (NYC), Table 50 (NYC), Velvet Underground (London UK), Boa (Toronto), Penelope (Ibiza, Spain), Avalon (Los Ange-les), to Pacha (Egypt). AL also held many weekly and monthly residencies at different clubs in Montreal such as Stereo, Jai Bar (RIP), Jingxi (RIP), Living night club, Groove Society, AIR 737, illume, EXIT, The London Club, Duplex, the SAT and as of September 2005, Circus Afterhours. From his current A&R position at Ready Mix Records to his past Artist Relations position at Stereo, AL is always sure to carry a bag of fresh beats!!

Dj Big Al uses the VCM-600

26 Artists

The Killers use UHF Mics

Microphone selection was handled by both Gebhard and Laplante, with the two en-gineers relying on their years of experience to come up with the best combination for the artist as well as their own needs.

“The two of us work together to determine what’s working best. Many manufacturers are represented in the system,” Gephard said. “Audio-Technica features heavily into the drum kit, Shure on all the guitars, Shure on all the vocals, some Electro-Voice mics, almost everybody.

“We even tried Sennheiser mics for singer Brandon Flowers, but he’s always preferred Shure mics. It’s just his comfort factor. We did finally get him to try a wireless micro-phone as his backup.”

Extract of an article written by:Jeff MacKay - managing editor of Live Sound International magazine.

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New: PG27/PG27USB Multipurpose and PG42/PG42USB Vocal Microphone, X2u XLR-to-USB Signal Adapter

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hure

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Sound, like a Pro.

Europe, Middle East, Africa:Shure Europe GmbH, Wannenäckerstr. 28, 74078 Heilbronn, GermanyPhone: 49-7131-7214-0 Fax: 49-7131-7214-14 Email: info@shure.de United States, Canada, Latin America, Caribbean:Shure Incorporated, Phone: 1-847-600-2000 US Fax: 1-847-600-1212 Int‘l Fax: 1-847-600-6446 Asia, Pacific:Shure Asia Limited, Phone: 852-2893-4290 Fax: 852-2893-4055

www.shure.com

PG48 PG58 PG57 PG81 PG52 PG56

PG Series Microphones, the entry point to profes-

sional Shure quality, ruggedness and sound, offer a

wide range of microphone and connectivity options for

rehearsing, gigging and home recording. Now, with the

new Shure X2u XLR-to-USB Signal Adapter, you can

connect your PG Series microphone to your Mac or PC.

Offering easy, zero-latency Plug and Play functionality,

the X2u connects to all PG Series microphones inclu-

ding the new PG27 and PG42 condenser microphones.

Interesting in PC recording only? Shure also offers

PG27 and PG42 models with integrated USB

connectivity.

Shure - Legendary Performance for over 80 years.

This area for DC logo and contact information

www.shure.com

Nicolas Kyvernitis Electronics Ent. Ltd.P.O. Box 3191, Sharjah, United Arab EmiratesTelephone: +971-4-2665244, Telefax:+971-4-2626682Email:info@nmkelectronics.comWeb:nmkelectronics.com

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Shure SM Series Microphones are virtually indestructible, versatile professional gear, equal to the demands of high-energy performance on stage or studio recording. Now, with the new X2u XLR-to-USB Signal Adapter from Shure, you can connect your favorite SM Series Microphone to your PC or Mac.

Europe, Middle East, Africa:Shure Europe GmbH, Wannenäckerstr. 28, 74078 Heilbronn, GermanyPhone: 49-7131-7214-0 Fax: 49-7131-7214-14 Email: info@shure.de United States, Canada, Latin America, Caribbean:Shure Incorporated, Phone: 1-847-600-2000 US Fax: 1-847-600-1212 Int‘l Fax: 1-847-600-6446 Asia, Pacific:Shure Asia Limited, Phone: 852-2893-4290 Fax: 852-2893-4055

www.shure.com

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SM7B SM58 SM86 SM87A SM57 SM81

THE LEGENDARY SHURE SM SERIES CONTINUES.

SM27 Multipurpose and SM137 Instrument Microphone, X2u XLR-to-USB Signal Adapter

NEW

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Do check out www.audioperv.net and see Blakroc perform as well as a customized Super55 being used by Mos Def. I think a shiny red microphone looks pretty cool on one of the sickest MC’s on the planet.

Mos Def using custom Super 55

Contact Details

General EnquiriesTelephone: +971-4-2665244Telefax : +971-4-2626682Email : info @ nmkelectronics.com

Sales SupportRomeo Dela Torreromeo @ nmkelectronics.com

Donnie Chavesdonnie @ nmkelectronics.com

Order ProcessingIda Rosauroorders @ nmkelectronics.com

LogisticsServando “Toto” Caraigalogistics @ nmkelectronics.com

ServiceShaju Thomasservice @ nmkelectronics.com

AccountsRoy Vargheseaccounts @ nmkelectronics.com

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Distributors of Professional Audio Equipment

www.nmkelectronics.com