MAUI 5 GO - The New Ultra-Portable Battery Powered Column PA from LD SYSTEMS

The highly anticipated release of the MAUI 5 GO will hit stores in December!

Click HERE to see a cool web presentation about the new MAUI 5 GO.

There is no other system like this on the market!! 

  • Light-Weight – only 29 lbs.
  • Powerful – 800 watts
  • Long Battery Life – up to 30 hours, with quick swap technology for unlimited battery life.
  • Great Sound – Class D Powered Column Line Array.

GET READY TO:

GO PLAY OUTSIDE
GO LOUD AND CLEAR
GO FOR HOURS
GO FOREVER
GO LIGHWEIGHT
GO VERSATILE
GO FURTHER
GO STEREO
GO INFINITE

MAUI 5 Go Battery Image.jpg

EBS Introduces the Reidmar 500

THE EBS REIDMAR 500 IS BASED ON AN AWARDED LIGHT-WEIGHT BASS AMP DESIGN FROM EBS THAT CHALLENGES ANY HEAVY-WEIGHT BOUTIQUE AMP IN TONAL QUALITIES. THE REIDMAR TAKE FULL ADVANTAGE OF EBS FAMED ANALOG PREAMP TECHNIQUE COMBINED WITH A CLASS-D POWER AMP THAT BENEFIT FROM A CLEVER 'SOFT-CLIP' TECHNIQUE TO MAKE OPTIMAL USE OF ALL OF ITS POWER WITH PRESERVED DEFINITION. THE "500" REPLACES THE FORMER "470"-MODEL WITH A 10% REDUCTION IN SIZE, AS WELL AS LOWER WEIGHT. 

Natural sound. The EBS philosophy is to amplify the character of the instrument and the personality of the musician, to offer a natural sound. The physical aspects of a class-D power amp makes that mission a real challenge. However, the EBS Reidmar shows that anything is possible with clever engineering!

Due to advanced soft-clip technology, the Reidmar does not suffer any loss of definition in the low register when the volume is turned up. It  takes maximum advantage of the power at hand. That makes it a powerful, great sounding bass amp that is fully comparable with other heads with larger and more expensive power amps.

The Nature of the Beast. While offering a powerful and defined sound at most levels, when pushed to the limit it provides a natural and useful amp distortion, like the Drive on a solid state amp. This further extends the possibilities to use the EBS Reidmar in different musical contexts.

Technically Speaking. The analog preamp sporting EBS renowned built-in compressor and the 4-band EQ-section are really intuitive and feature the (for EBS) characteristic Bright and Notch filters. It reminds a lot of the layouts of HD360 and TD660.

The amp also features an Effects loop (send and return), Balanced XLR-out for live and studio use (with pre/post EQ switch and Ground Lift), Line outHeadphones out and Speakon speaker output.

The Reidmar use a D-class power amp providing 470 W Dynamic Output @ 4 ohms load (250 W RMS). Weight is 3.1 kg (7.0 lbs).

MusicPlayers.com Reviews the New EBS Overdrive Pedals

EBS The Drive, Black Haze, and Drive Me Crazy Overdrive Pedals
Review by:Bruce Sokolovic and Kel Pilshaw

First introduced to the world in 1988, EBS is today renowned the world over for their premium line of bass amps and bass effects. So what on Earth is a bass company doing with a review in the guitars section of MusicPlayers.com? The answer to that excellent question can be found directly under foot: EBS has just introduced three drive pedals optimized for guitar—though each is also useable for bass.

Now, if you raised your eyebrow and asked yourself, "What does a bass company know about guitar overdrive?" you are certainly not alone. We hear about guitar amp companies moving into bass products all the time, but going from bass to guitar? Is that even allowed? We put these three pedals to the test in order to answer these important questions. Oh, and we let our bass guys play with it, too. Here's what we discovered.


Features

EBS laid out its new line in a familiar, tried and true format, with all three sharply-designed pedals featuring the same controls. Simple 1/4" mono In and Out, True Bypass, Tone, Drive and Volume knobs, a 9v barrel-type power supply jack, and battery compartment.

The Drive pedal is the simplest of the three, while Black Haze and Drive Me Crazy feature an additional three-way toggle serving up Thin/Regular and Deep tonal options. A Carling-style single button switch toggles the pedals from bypass to active.

At 2.6" wide and 1.9" deep, these pedals are sure to please guitarists with already cramped pedalboards, or those designing a new one. At 0.66 lbs, weight is also not a concern. A very thoughtful and innovative, flat patch cable came with each pedal, too!


Usability

The three EBS pedals were plug-and-play and simple to set up. After checking polarity and voltage requirements (9v-12v DC, 30mA), we plugged each pedal into our pedalboard's Eventide Powerfactor 2. After patching them into the front-of-amp audio loops in our TC Electronic G-System, we were up and running.
If you're not using a pedalboard power supply, you'll need to remove four screws on the base of the pedals to access the battery compartment rather than having more direct access. More and more pedal manufacturers are going this route lately, presumably because it's cheaper to make, but also because pedalboard power supplies are so common.

There is a delicate balance to setting proper levels when it comes to dialing in the Gain and Level, and we found it easy to go from just right to what the hell happened? if we weren't careful. Volume works in tandem with the gain, so although not terribly complicated, you'll need to use your ears because there is no clip indicator, and these three pedals can be driven into squished clipping if your settings are extreme. These classy pedals like peppering; not diming.

 

The Drive

OVERALL RATING = 3.5 Stars.

Black Haze

OVERALL RATING = 3.7 Stars, which earns it a WIHO Award!

Drive Me Crazy

OVERALL RATING = 3.6 Stars, which earns it a WIHO Award! 

3.6 stars or better: Outstanding, WIHO Award
3 stars or better: Worth considering
2 stars or better: Suited to specific needs
1 star or less: Not recommended

SOUND

Electric Guitar

Owning a host of drive pedals already, we had a lot to draw comparisons to and already had baseline expectations of the EBS line. We want our drive pedals to both sing and cook, when necessary. In selecting an amp/guitar combination, we gave thought to the most versatile combination that would likely benefit from drive pedals to enhance the sound. We played our Knaggs Severn X with two humbuckers and a five-way switch into our Metropoulos Metroplex, an amp renown for copping great '60s Plexi tones. We kept the gain on the amp set to about 2:00, in order to give these drive pedals plenty of room to breathe. There was good width to the sound, with the faintest hint of amp gain just starting to develop. This was a fantastic tone on its own, which we felt was perfect for our sound testing.

Starting with The Drive, we had both the Gain and the Volume knobs set to high noon with the tone at about 1:00. At this setting we achieved decent grit well above what our amp was set at, and it was a great lead tone for a bluesy setting. Bringing the volume up from this setting achieved a little more aggressiveness, but not much more gain. Backing the volume down achieved a bit more gain. Pushing both the gain and volume past 2:00 resulted in a smashed, undesirable sound. This pedal was best played in a more subtle, delicate manner.

Next up in our guitar testing was Black Haze, our favorite of the three. Using the same settings, we found the sound to be very well suited to our guitar/amp combination. This sound was somewhere in between '60s Hendrix type fuzz and a good overdrive sound. After pushing the gain, things sounded fuzzier, albeit in a good way. The Thin switch thinned the sound out too much for our particular setup, but the Deep switch added a more pronounced low mid enhancement to the tone. We really liked this setting.

Our last guitar sound test involved the Drive Me Crazy pedal. Marketed as the high-gain distortion pedal of the bunch, we certainly agree with that assessment. This one gave us an '80s rhythm tone and searing lead voice. We noticed the same clipped sound at extreme settings, but set with reasonable volume and gain settings, this pedal gave the sound good air and retained the width and breath of the baseline tone. The pedal sounded great right in the middle, set to Normal.

 

 

 

First introduced to the world in 1988, EBS is today renowned the world over for their premium line of bass amps and bass effects. So what on Earth is a bass company doing with a review in the guitars section of Musicplayers.com? The answer to that excellent question can be found directly under foot: EBS has just introduced three drive pedals optimized for guitar—though each is also useable for bass.

Now, if you raised your eyebrow and asked yourself, "What does a bass company know about guitar overdrive?" you are certainly not alone. We hear about guitar amp companies moving into bass products all the time, but going from bass to guitar? Is that even allowed? We put these three pedals to the test in order to answer these important questions. Oh, and we let our bass guys play with it, too. Here's what we discovered.


Features

EBS laid out its new line in a familiar, tried and true format, with all three sharply-designed pedals featuring the same controls. Simple 1/4" mono In and Out, True Bypass, Tone, Drive and Volume knobs, a 9v barrel-type power supply jack, and battery compartment.

The Drive pedal is the simplest of the three, while Black Haze and Drive Me Crazy feature an additional three-way toggle serving up Thin/Regular and Deep tonal options. A Carling-style single button switch toggles the pedals from bypass to active.

At 2.6" wide and 1.9" deep, these pedals are sure to please guitarists with already cramped pedalboards, or those designing a new one. At 0.66 lbs, weight is also not a concern. A very thoughtful and innovative, flat patch cable came with each pedal, too!


Usability

The three EBS pedals were plug-and-play and simple to set up. After checking polarity and voltage requirements (9v-12v DC, 30mA), we plugged each pedal into our pedalboard's Eventide Powerfactor 2. After patching them into the front-of-amp audio loops in our TC Electronic G-System, we were up and running.
If you're not using a pedalboard power supply, you'll need to remove four screws on the base of the pedals to access the battery compartment rather than having more direct access. More and more pedal manufacturers are going this route lately, presumably because it's cheaper to make, but also because pedalboard power supplies are so common.

There is a delicate balance to setting proper levels when it comes to dialing in the Gain and Level, and we found it easy to go from just right to what the hell happened? if we weren't careful. Volume works in tandem with the gain, so although not terribly complicated, you'll need to use your ears because there is no clip indicator, and these three pedals can be driven into squished clipping if your settings are extreme. These classy pedals like peppering; not diming.

The Drive
OVERALL RATING = 3.5 Stars.

Black Haze
OVERALL RATING = 3.7 Stars, which earns it a WIHO Award!

Drive Me Crazy
OVERALL RATING = 3.6 Stars, which earns it a WIHO Award! 

3.6 stars or better: Outstanding, WIHO Award
3 stars or better: Worth considering
2 stars or better: Suited to specific needs
1 star or less: Not recommended

Sound

Electric Guitar
Owning a host of drive pedals already, we had a lot to draw comparisons to and already had baseline expectations of the EBS line. We want our drive pedals to both sing and cook, when necessary. In selecting an amp/guitar combination, we gave thought to the most versatile combination that would likely benefit from drive pedals to enhance the sound. We played our Knaggs Severn X with two humbuckers and a five-way switch into our Metropoulos Metroplex, an amp renown for copping great '60s Plexi tones. We kept the gain on the amp set to about 2:00, in order to give these drive pedals plenty of room to breathe. There was good width to the sound, with the faintest hint of amp gain just starting to develop. This was a fantastic tone on its own, which we felt was perfect for our sound testing.

Starting with The Drive, we had both the Gain and the Volume knobs set to high noon with the tone at about 1:00. At this setting we achieved decent grit well above what our amp was set at, and it was a great lead tone for a bluesy setting. Bringing the volume up from this setting achieved a little more aggressiveness, but not much more gain. Backing the volume down achieved a bit more gain. Pushing both the gain and volume past 2:00 resulted in a smashed, undesirable sound. This pedal was best played in a more subtle, delicate manner.

Next up in our guitar testing was Black Haze, our favorite of the three. Using the same settings, we found the sound to be very well suited to our guitar/amp combination. This sound was somewhere in between '60s Hendrix type fuzz and a good overdrive sound. After pushing the gain, things sounded fuzzier, albeit in a good way. The Thin switch thinned the sound out too much for our particular setup, but the Deep switch added a more pronounced low mid enhancement to the tone. We really liked this setting.

Our last guitar sound test involved the Drive Me Crazy pedal. Marketed as the high-gain distortion pedal of the bunch, we certainly agree with that assessment. This one gave us an '80s rhythm tone and searing lead voice. We noticed the same clipped sound at extreme settings, but set with reasonable volume and gain settings, this pedal gave the sound good air and retained the width and breath of the baseline tone. The pedal sounded great right in the middle, set to Normal.

 
EBS Black Haze Video courtesy of EBS Sweden.

Bass Guitar
The basses we used in our testing were the recently reviewed Fender American Professional Series Jazz Bass V and Precision Bass 4, and an NS Design WAV4 RADIUS for our active bass. The bass rigs we played through were a Mesa/Boogie Carbine stack (4x10 and 2x12) and the Eden Metro (2x10). We set each of the amps to a relatively flat tone and played at a pretty loud volume. We used numerous pickup configurations with the basses, and countless tone settings on the pedals themselves. We played multiple styles including slapping, finger style, and picking. 

First up was The Drive. With the tone knob all the way up on our passive Fender Precision bass, we were able to get a nice overdrive, tube-like, growl and bite. Besides the volume boost, the green drive pedal added some warmth and character to our basses. Adjusting the Drive and tone knobs provides many tones, but we think this pedal has a vintage style voice overall.

The NS Design bass needed a level fine-tuning, but this modern, active bass really warmed up with this pedal. With the Jazz bass, we were able to dial in that classic prog rock '70s bass sound. The Drive pedal works well as a clean boost, too.

The Black Haze pedal feature similar controls as The Drive but also adds a switch for Thin, Normal or Deep character. The overdriven bass tones we could dial in here ranged from subtle to massive. One setting in particular, Tone at 10:00, Drive at 10:00, and the switch on Deep, was great. We would play any two harmonics and this massive analog synthesizer-like sound was just a pulsing sound through space and time.  We liked the character switch, as sometimes it would add just enough bottom end for the tone we were chasing. This is a serious distortion pedal when paired with bass.

Finally, we plugged into the Drive Me Crazy pedal. This one covers a wide range of overdrive, from smooth, bright grind to deep, straight-up distortion. With the same knob configuration as the Black Haze, this pedal seemed to have a little more drive when pushed.  Whether you want just a touch of tone "dirtification" or full blown distortion, this dynamic pedal gives your bass all the drive it will ever need.

Best for Guitar

Overall, we found these pedals better suited to guitar use. Something that would make these more useful on bass would be the inclusion of a blend circuit, where we could dial in some amount of our dry signal. In the bass context, we prefer (and love) the EBS Billy Sheehan Signature Drive, which is a versatile and great sounding, bass-centric, overdrive pedal, and would make that our first choice for bass distortion and overdrive. However, a multi-instrumentalist working in the studio will be able to find plenty of double-duty for this new range of EBS pedals.


Documentation and Product Support

Online manuals and a well-designed website make use of EBS products a pleasure (not to mention the straightforward design of the hardware in the first place). All controls were explained, along with full product specs for things like power, etc.


Price

The Drive, Black Haze, and Drive Me Crazy pedals (MSRP $199.95) sell for $99.95 MAP. These are very competitively priced, and we could easily see adding one or two of them to our pedalboard. It's all about flavor when it comes to overdrive pedals, so definitely check these out if your tone is in need of a hot new flavor.

Great Success at InfoComm for LD Systems

InfoComm in Orlando came to a close this year with a new record. From June 14th to 16th, North America’s largest audio-visual trade fair welcomed more than 40,000 visitors to the U.S. state of Florida. This is an increase of 14 percent over the previous year in Las Vegas. The Adam Hall Group was also delighted with the turnout at InfoComm. The trade fair stand of the German company – which focuses on event technology solutions for the four professional customer segments of rental, installation, music trade and industry – was a popular meeting place for numerous customers.

LD Systems at InfoComm 2.png

“Due to the particular focus of InfoComm, there was much high-level discussion”, reported Robin Henlich, Product Manager for Pro Audio, Stands and Accessories at the Adam Hall Group.

The LD Systems booth at the trade show proved to be a technical highlight, with products from its patented portable array series CURV 500, providing a wide variety of application options. The design concept of the MAUI P900, created in collaboration with the Porsche Design Studio, and the improved application options of the new MAUI 11 G2 and MAUI 28 G2 column systems with their new two-part columns and optional wall brackets once again received an enthusiastic response.

Cameo's ZENIT B60 Spotlight is Now Available

The Cameo ZENIT® B60 battery-powered PAR spotlight is on its way. The first production run of the two models is already completely sold out. Boasting IP65 classification and W-DMX™ control, this highly professional spotlight is perfect for demanding lighting tasks, both indoors and outdoors. The ZENIT® B60 is available in black (CLZB60BLSD) and chrome (CLZB60CLSD) versions.

This spotlight is equipped exclusively with only high-quality components to guarantee safe operation, long life, and the highest efficiency. When fully charged, the powerful lithium-ion battery from LG Chem delivers a reliable operating time of up to 24 hours in RGBW mode. In single color mode, the run-time can be up to four whole days, i.e. 96 hours. An intelligent battery management system protects against overcharging and deep discharging, ensuring long life.  

4 ZENIT_B60_CHR_1.jpg

With a service life of 50,000 hours, four 15-watt RGBW Cree LEDs deliver an extremely bright 1,900 lumens, facilitating the creation of brilliant, consistent colors with a precise beam angle of 11°.  Two specially developed diffusers are supplied with the ZENIT® B60 to extend the beam angle to 25° or 40°, without compromising light output. 

The unit can be controlled via DMX (seven modes), RDM, the included infrared remote control, or the display on the spotlight itself. The ZENIT® B60 is also equipped with a 2.4 GHz W-DMX™ receiver for wireless control. With the iDMX® CORE WiFi and W-DMX™ converter (available as accessory) and the free controller app, Cameo® provides the optimal control unit for convenient use.  

If a specific beam angle is required, the Cameo® ZENIT® LSD 6010 diffuser can create a round beam of light with an elliptical beam area of 60° x 10°.

Clever accessories
The Cameo ZENIT® B60 case is the perfect solution for the safe transport, storage and charging of six ZENIT® B60 spotlights. The battery-powered spotlights can be conveniently charged in this sturdy, 7 mm birch-ply flightcase with pre-installed wiring, ensuring that they are always ready for use.

CLZB60CASE6PC_2.jpg

Daniel Garcia, Product Manager, Light: “We have been overwhelmed by the world-wide demand for a compact and elegant battery-powered PAR spotlight. The first production run of the two models is already completely sold out. With the Cameo ZENIT® B60, we are providing our customers with the perfect solution for creative lighting design, both indoors and outdoors. Particularly noteworthy are the professional features and the extremely long operating time of 96 hours in single colour mode. Clever accessory solutions round off the range of products available for this highly professional spotlight.”

Cameo ZENIT B60@Youtube

Click here to download the Press Package (Press release in Word format in 6 languages + pictures)!

Further information:
www.cameolight.com

EBS Releases Premium Gold Flat Patch Cables

Space is essential when building a pedalboard. With the new Premium Gold Flat Patch Cables, EBS pushes the limits of how much space the choice of patch cables can save.

PCF-PG_inuse-1024x794.jpg

The Premium Gold Flat Patch Cable is an original design by EBS, and the luxury version of the world renowned PCF cable. This might be the most compact patch cable in the world while offering professional quality signal and shielding.

Contact housing made of 24 Carat Gold Plated Die Cast welded Zink. 24 Carat Gold Plated 1/4" Contacts. Ultra Compact and double shielded Flat Patch Cable. Probably the smallest and most compact patch cables available in the World right now. Very low resistance and capacitance keeps your sound uncolored without signal loss. Premium Quality at a very affordable price! The Premium Gold is even more compact than the EBS PCF cable, and also with improved performance.

* Only 21,5 x 10,5 x 5,0 mm / 0.85 x 0.41 x 0.2 inches

The flat angular double shielded cable is super flexible while wrapping the leads safely. The very low resistance and capacitance keeps your sound clean without signal loss.

Available in four lenghts, 10, 18, 28 & 58 cm

MDG at Dallas International Guitar Festival

MDG is exhibiting at the Dallas International Guitar Festival held from May 5th-7th, 2017.

Started in 1978 and billed as one of the biggest and oldest guitar shows in the country, the DIGF hosts hundreds of exhibitors and attendees at this 3 day event.

MDG will be displaying custom made and classic "Hofner" Instruments, as well as, the ingenious "Lock-it Guitar Straps" brand.

Adam Hall Group Showcases World Premieres at Prolight + Sound

At this year’s Prolight + Sound (April 4th to 7th) in Frankfurt, the Adam Hall Group will unveil several world premieres in Hall 3.1 #E60-F70. At the same time, the German company will announce its collaboration with the legendary Porsche Design Studio.   

At the start of the exhibition, our pro audio brand, LD Systems®, will unveil its near production concept for a future-oriented sound product, which has been developed in collaboration with the Porsche Design Studio. “Our development team, together with the designers from the Porsche Design Studio, have done a first-class job. We are introducing a brand new kind of design into the industry. I am really looking forward to seeing the reactions in the market,” says Alexander Pietschmann, CEO of the Adam Hall Group.


“This integrative design has never been seen before on the market and makes no compromises on sound quality, but is technically unique,” says Porsche Design Studio designer Jörg Tragatschnig, who has worked with his team on the design. And these could be ideal conditions for a new status quo in professional music reproduction. More information at www.adamhall.com/2017-premiere.

The next highlight is the MAUI® 5 GO, from the brand LD Systems® – the world’s first mobile, battery-powered column-PA system. With six hours of battery life from a single charge and long-term high performance thanks to its lithium-ion replacement batteries, the MAUI® 5 GO guarantees total freedom and excellent sound quality. The MAUI® 5 GO offers all the benefits that have already made the MAUI® 5 a bestseller: ultra-portable construction, PA and monitor system in one, an integrated mixer with Bluetooth®, 800 Watts peak power, high sound pressure with 120 dB (Peak) and award-winning design. The long-life lithium-ion rechargeable battery makes the MAUI® 5 GO even more portable, and broadens its scope of application almost endlessly.


Cameo®, the professional lighting equipment brand, will present its ZENIT® series to the public for the first time. It comprises several products and accessories, and is aimed at the professional installation and rental market. Designed to be the perfect all-round spotlights for numerous applications, the ZENIT® series includes mains- and battery-powered lighting products for indoor and outdoor applications, as well as zoom spots and high-quality diffusers. Their compact housings are equipped with high-quality components from brand manufacturers. The series comprises the already well-known PAR lights ZENIT® Z 120 (with zoom and IP65 rating) and the ZENIT® P 130 and ZENIT® P 40 (each with light shaping diffuser and IP65 rating).

New additions to the ZENIT® series are the ZENIT® B 60 battery-operated, IP 65-rated PAR lights (black or chrome housing). Not least due to their specially developed high-performance batteries, they provide great freedom to lighting design. The iDMX® App-Controller and the iDMX® Core Wi-Fi to W-DMX™ connector box enable absolute mobility. For safe transport, Cameo® has included a touring case for six ZENIT® B 60s in its range. The spotlights can not only be conveniently stored in the German-manufactured case, but also charged, as it features a charging system.


The ZENIT® series is rounded off by the ZENIT® W 600 LED washer, a completely new Cameo® development, with IP65 rating and a new design, which is indicative of the future direction for Cameo® designs. The ZENIT® W 600 washer offers great versatility and user-friendly application, with flexible control options via iDMX® core and W-DMX™ technology.

Gravity®, the stands and accessories brand with an extensive portfolio covering almost all of the classic areas of application, has recently been nominated for the German Brand Award. Now the multiple award-winning premium brand is extending its range. Further possible future design prize-winning innovations such as a revolutionary laptop stand or a highly flexible keyboard table should not go unmentioned here, as well as products from the lifestyle sector, which already hint at the Gravity® brand’s future direction.

#EventTech #ProAudio #ProLighting #StageManagement #pls2017 #Porschedesignstudio

Click here to download the Press Package (Press release in Word format in 6 languages + pictures)!

Further information:
www.ld-systems.com
www.gravitystands.com
www.cameolight.com

Information about the Adam Hall Group:
www.adamhall.com

MDG Named North American Distributor for Gravity, the New Premium Stands Brand from the Adam Hall Group

Press Release

MDG Named North American Distributor for Gravity, the New Premium Stands Brand from the Adam Hall Group

New Jersey, USA / Neu-Anspach, Germany – February 14, 2017 – Musical Distributors Group (MDG) was officially named the exclusive North American distributor for Gravity® Stands, an award winning, premium stand brand under the Adam Hall Group umbrella.

Gravity® is the new Adam Hall Group brand for premium stands that comprises high-quality products for all stage and studio needs. Through many innovations, such as a customizable marking concept, soft touch elements and the focus on design, the Gravity® brand challenges the often undistinguished image of stands and accessories and facilitates the work of musicians and stagehands alike.

Designed and engineered in Germany, this new brand was launched in 2015 with more than two years of intensive research and development work behind it. Using powder-coated metal with double-injection-molded ABS plastic, die-cast zinc components, and soft touch rubber-coated clamps and knobs, make the Gravity® Stands ultra-durable and built to last. In addition to the superior materials used in the construction of the stands, the brand specific multi-colored “G-Rings” add a touch of style, as well as convenience, to these on-stage necessities.

“We're extremely pleased to officially be taking on this line of high-quality product” explained Steven Savvides, president of MDG, “It's wonderful to be able to carry all of the Adam Hall brands and bring the final component of their reputable product engineering to North America, as well as strengthen our relationship with the Adam Hall Group.”

“Adam Hall Group is thrilled to have MDG acquire Gravity in the United States. Considering their previous work with all of our other brands, it is great to see them complete the collection of our products and continue to represent our company to its fullest extent” stated Markus Jahnel, COO of the Adam Hall Group.

Gravity® Stands have won the German Design Award, as well as a Red Dot Award, and have no intention of ceasing their innovation in the future. “Adam Hall Group – with the help of MDG – is re-defining the term Gravity® in the United States, and contrary to the brand name, it can only go up from here” smiles Savvides.

#eventtech #stagemanagement #StandYourGround

 

More Information:

www.gravitystands.com

www.musicaldistributors.com

www.adamhall.com

 

About Musical Musical Distributors Group

Musical Distributors Group offers individualized, custom sales and distribution solutions for Pro Audio and Musical Equipment companies vying to succeed in the North American marketplace. The Company’s 30 year tenure in the industry provides unique insights that efficiently and effectively expand market share for their world class family of brands.

About the Adam Hall Group

The Adam Hall Group is a leading German manufacturer and distribution company that provides event technology solutions to business customers worldwide. Its target groups include retailers, dealers, live event and rental companies, broadcast studios and AV and system integrators in both the private and public sector, as well as industrial manufacturers. The company offers a wide range of professional audio and lighting technology as well as stage equipment and flight case hardware under its own brands LD Systems®, Cameo®, Gravity®, Defender®, Palmer® and Adam Hall®.

Founded in 1975, the Adam Hall Group has developed into a collection of modern, innovative event technology companies. This includes an 8,000-square-meter warehouse and logistics center at its corporate headquarters near Frankfurt am Main, Germany. Through its focus on value and service orientation, the Adam Hall Group has been presented with a number of international awards for innovative product developments and pioneering product design from prestigious institutions such as "Red Dot", "German Design Award" and "iF Industrie Forum Design": In particular for the patented, first portable array system with high-definition sound, LD Systems CURV 500®, the radio microphone series LD Systems U500®, and the premium microphone stands from the brand Gravity®. Further information about the Adam Hall Group can be found online at www.adamhall.com.

MDG to Showcase New Products from the Adam Hall Group at Winter NAMM 2017

From January 19th to the 22nd, the Winter NAMM Show takes place at the Anaheim Convention Center in Orange County, California. The annual music trade fair hosts the showcasing of trends and new technologies as well as a wide range of accessories from all areas of music production, pro audio, sound, lighting and entertainment to an international trade audience. The Adam Hall Group will be in Hall B, #5478, with a broad range of sound and light technology, as well as stage equipment and flightcase hardware. The Adam Hall Group is introducing various new product highlights to the American market for the first time.

In the pro audio sector, LD Systems® will present the MAUI®11 G2 and the MAUI® 28 G2, the next generation of its compact, active two-column systems. The performance of both PA systems has been significantly improved with considerably reduced weight and new features such as a separate column for the MAUI®11 G2, and optimized sound for both systems. And the vocal and instrument sets from the new LD Systems® U500® Wireless Series are available in three radio frequency bands: 584 - 608 MHz and 655 - 679 MHz, in both of which twelve systems can be operated simultaneously; in the 823 - 832 MHz and 863 - 865 MHz ranges, six systems can be operated simultaneously. Also from LD Systems®, the new Stinger® G3 Series will be launched at the NAMM Show with its planned release in February 2017.

 Exclusively designed for the installation of LD Systems’ CURV 500®, the first truly portable array system, the new CURV 500® iAMP features four channels with DSP control and Class D technology. Additional specifications of this 19” 1U rack power amplifier include its wide frequency response of 10 Hz to 22 kHz, as well as its 4x 240-watt RMS outputs (@4 ohms). And the new CURV 500® iSUB is an accompanying compact bass reflex subwoofer with a 10-inch driver and low installation depth, which has also been developed for installation of CURV 500® sound systems. Its frequency range of 47 to 150 Hz ensures a tight, dynamic bass response with punch and definition; the maximum load is 200 watts RMS.

 In the area of professional lighting, new highlights from the brand Cameo® include two powerful LED moving heads – the Auro® Spot 400 and the Auro® Spot 300 from the Auro® Series. These premium models of the Auro Series are aimed at the professional market. Also new from Cameo® are three highlights from its Zenit® professional series: Z120, P130 and P40. These IP65-rated PAR-spots are for external use and are supplied with diffusers for different beam angles (P130 and P40). The Zenit® Z120 model features a motorized zoom facility with a range from 7° to 55° – from tightly focused narrow beams to wide diffuse washes.  DMX-compatible light units can be conveniently operated via PC and Mac with the 512-channel (in live mode) DMX Interface Cameo® DVC 4 and the associated control software D 4 (by Daslight). Its integrated flash memory gives the option for 256 DMX channels in stand-alone mode.

Gravity® premium stands are fit for all stage and studio requirements offering superior quality backed by various world-class design awards. Gravity® now offers a five-year warranty in the USA.

The Palmer® brand is celebrating its première in the USA with its portable Pocket Amp Bass and the powerful BatPacks 4000 and 8000. The Pocket Amp Bass is a versatile effect pedal and preamp. Its extensive sound-shaping options make it a versatile tool for practicing, recording, and also for gigs. The BatPack 4000 or the even more powerful variant BatPack 8000 deliver 4000 mAh and 8000 mAh respectively to provide an independent power supply for several stompboxes or pedal boards.

This year, once again, the Adam Hall Group’s North American distributor Musical Distributors Group (MDG) will be present at the booth #5478 in Hall B with their team to review all the products and discuss dealer opportunities.

Further information can be found online at:

www. ld-systems.com
www.cameolight.com
www.gravitystands.com
www.palmer-germany.com
www.musicaldistributors.com