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Saturday, June 24, 2017

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Shure Axient Digital Wireless Microphone Wins ABTT Theatre Award

Fri, 23 Jun 2017 16:04:30 -0400

The new Axient Digital Wireless Microphones won the ABTT Theatre Award for Sound Product of the Year 2017 after showcasing at the Association of Theater Techinicans’ annual show at London’s Alexandra Palace. Making their choice known, the judges, ABTT CEO Robin Townley and Chairwoman Louise Jeffreys, says that it was clear Shure had been listening to the opinions of theater professionals everywhere, and had delivered a high-quality system.
“Stability and flexibility are the keys to this year’s sound product of the year,” says Townley, going on to note that Axient Digital “has been developed with the end user in mind, built upon industry feedback.”
Axient Digital replaces Shure’s earlier analog UHF-R and Axient wireless microphone systems, building on their capabilities to create a more advanced wireless platform to date, suited for all professional productions and situations. Catering to evolving customer needs — especially in an environment of continued RF spectrum pressure — Axient Digital provides high-performance RF, command and control, and audio quality.
It’s also scalable; its receiver works with two different transmitter types, the AD and ADX series. The latter product range includes the ADX1M, a unique micro-bodypack with an internal, self-tuning antenna, which addresses many of the key performance compromises of traditional bodypack designs in the theater market, and was the subject of particular attention from the ABTT judges as they announced the award. Townley and Jeffreys also reserved specific praise for the system’s Dante Cue mode, which allows monitoring via the Dante protocol of every Axient Digital channel on the network through a single headphone output.
“Shure is honored to receive this ABTT award,” says Shure UK Pro Audio Group Manager Tuomo Tolonen. “ABTT is a well-respected and well-attended event amongst UK theater professionals: an excellent place to connect with the industry’s most important people. Attending this year with Axient Digital has been a priority for us since the earliest plans for the system’s launch.

Nielsen Study Finds Hispanics Consume 64% More Sports

Thu, 22 Jun 2017 17:24:46 -0400

Univision Communications gathered some findings from its newly commissioned research study conducted by Nielsen, titled, “Los Fanáticos: The Passion and Power of the Hispanic Sports Fan.” The study confirms that while sports fans in general are valuable consumers, Hispanic sports fans are the gold standard.
Among the many findings, Nielsen found that:
Hispanics consume more sports, spending 20 hours weekly across TV, video and radio (compared to 12 hours for non-Hispanics).
83% of bilingual sports fanáticos prefer to view soccer in Spanish versus English.
Hispanic sports fans are 33 percent more likely to say they buy products they see advertised during sports programming.
“As the leading media company serving Hispanic America, UCI commissioned this study to help marketers understand the attributes that make the Hispanic sports fan such an integral part of any winning marketing strategy,” says Jed Meyer, executive vice president, Corporate Research, Univision. “Hispanics’ unparalleled passion for sports, particularly soccer, proves how much of a major influencer this audience is, making them powerful consumers and brand loyalists.”
The custom research by Nielsen commissioned by UCI looked at more than 1,500 Hispanic and non-Hispanic individuals who consider themselves avid sports fans. Research found Hispanic sports fan viewership has grown over the last five years by more than 25%, while in the same period, non-Hispanic viewership has declined.
For a complete first-hand look at the study, join Univision’s webinar “Los Fanáticos: The Passion and Power of the Hispanic Sports Fan” on June 21, 2017 at 2:30 p.m. ET, hosted by Jed Meyer. The webinar will delve further into questions of gender and language differences, purchasing trends, and more.

SMPTE Webcast: SMPTE ST 2010 for Professional Media Over IP Networks

Wed, 21 Jun 2017 17:11:18 -0400

SSMPTE has announced that it will host a free webcast — open to the public — explaining the basics of the new SMPTE ST 2110 suite of standards for professional media over IP networks. Scheduled for June 22 at 1 p.m. EDT, the ‘SMPTE ST 2110 — Professional Media over IP Networks’ webcast will be hosted by John Mailhot, SMPTE Fellow and systems architect for IP convergence at Imagine Communications.
“With its potential to enable a better, more flexible, more efficient, and more creative broadcasting industry, SMPTE ST 2110 represents a seismic shift in how media can be handled, processed, and transmitted,” says SMPTE President Matthew Goldman. “The topic has attracted a lot of attention; visitors to the 2017 NAB Show were blocking the aisles to see the IP Showcase, where more than 40 manufacturers utilized the final draft suite of standards to connect their systems. During this webcast, John will offer a closer — and more convenient — look at the new SMPTE ST 2110 suite of standards and how they will affect our industry.”
The SMPTE Standards Community has been working to complete and publish the SMPTE ST 2110 suite of standards, which allow for separate routing of video, audio, and ANC data flows over professional IP networks in real-time to support broadcast production and playout applications. The June 22 free webcast will cover the basics of the SMPTE ST 2110 suite of standards; describe how video, audio, and data signals are switched and routed; and explain how the proposed timing model allows users to keep all the parts correctly time-aligned.
Several of the SMPTE ST 2110 standards documents are nearing completion, and publication via the IEEE Xplore Digital Library is tentatively slated for later this year.
This free SMPTE webcast is part of the Society’s Standards Webcast series, offering live, interactive, educational webcasts. Registration for this free SMPTE Standards Webcast, along with other upcoming webcasts, is available online at

AES Members Want to Learn From You at the AES NYC 2017 Convention

Tue, 20 Jun 2017 15:42:52 -0400

Give an Engineering Brief at AES 143. Presenting and publishing your work is easier than you might think!
There’s an easy way to put your applied audio engineering project in front of hundreds of colleagues from around the world during the 143rd Convention. Engineering Briefs (eBriefs) enable you to offer a short talk or poster presentation - casual, one-on-one or small group presentation of your work on a wide range of topics such as studio experience, equipment construction, new loudspeaker concepts, room acoustic measurements, analysis of audio equipment, and project studio startups, to name just a few.
The New York Convention committee is eager to hear about your Engineering Brief ideas – act now to engage in an opportunity to reach an engaged and focused audience, share your work and educate and illuminate both peers and professionals
AES eBrief presentations are particularly suitable for practitioners and those doing applied work in studios, who might want to talk about a recent project or an area of operational practice. You don’t have to be an academic researcher, and you won’t need lots of references or scientific data. You’ll need to submit a proposal to, in the form of a very short synopsis by August 9, and if it’s accepted you’ll need to submit a short article of up to 4 pages by September 6. Relaxed reviewing of submissions will consider mainly whether your eBrief is of interest to AES members and is not overly commercial. eBriefs will be available to all AES members for free download. If your proposal is accepted after review, you’ll be offered either a presentation slot or a poster opportunity. Note that presenters of eBriefs and Poster sessions must register for the full Technical Program of the convention in order to present their work.
Submit Engineering Briefs proposals at

SMPTE Publishes Time Code Summit Report, MXF Time Code Study Report

Fri, 16 Jun 2017 08:57:00 -0400

SMPTE published two documents, the Time Code Summit Report and the Material eXchange Format (MXF) Time Code Study Report. Both reports offer insights into how the SMPTE Time Code standard (ST 12-1 Time and Control Code) can evolve to serve as a more useful tool in media production.
“SMPTE Time Code is used extensively throughout production and postproduction. With the evolution of media technology since its introduction in 1975, it is showing its age in some areas,” says SMPTE Director of Engineering and Standards Howard Lukk. “We are exploring ways to improve Time Code. The results of the Time Code Summit Report provide a better understanding of the drawbacks in its current use, in and beyond the conventional audio/video community, and of the direction we need to take in developing a new standard. At the same time, we’re using the MXF Time Code Report to clarify Time Code in MXF and how facilities can work with it more efficiently.”
The Time Code Summit Report presents the methodology and findings of surveys performed at the Time Code Summit, a series of focus groups held in London, New York, and Los Angeles. The report summarizes user requirements that must be addressed by any new Time Code standard, particularly the proposed Time Labels standard to address the changes brought about by the industry’s integration of Internet Protocol, the push to higher and variable frame rates, and other factors testing the limits of the existing Time Code standard. The report also includes an explanation of the study effort, the survey questions asked and answers provided, and the dialogue that occurred at each summit.
The MXF Time Code Study Report focuses on the current usage of Time Code within the MXF file format. Since the creation of MXF in 2004, Time Code has been stored within MXF files in many ways — sometimes as metadata, and sometimes as actual Time Code values from a tape or stream.
This report is the result of two years spent investigating current MXF Time Code practices and documenting findings. The report considers applications that need to write MXF files with Time Code and applications that need to read MXF files containing Time Code. It examines the three core requirements highlighted by the study group: MXF should be able to store multiple Time Code values per frame, and they should all be identical; store multiple Time Code values per frame, though they may be from different sources and have different values; and include the appropriate Time Code in audio-only files.