Volume 10, Issue 1 — January 27, 2016
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The Small World of AV
By Joel Rollins rAVe Columnist
Well, February has come around again and I am in the process of preparing for rAVe’s annual odyssey to the ISE show in sunny Amsterdam. As with any trip of this length (especially overseas), I begin with the technology items that I need to take with me for my podcasts, my videography, and my photography, and then try to pack clothing and personal items in whatever room there is left. After all, we have to have priorities.
Like most rental and staging guys, I have been traveling professionally most of my life, and I have decades of luggage items I have gathered by Darwinian selection. In fact, as a professional traveler, I buy new luggage and road cases fairly regularly that I reject after a single trip, in favor of some tried-and-true bag that looks like it is on its last legs (but in fact has seen me around the world several times). And, like most people in the staging industry, I repair the holes in this luggage with tour stickers that remind me of the incident that produced the hole.
Among the many tattered stickers (anybody remember the launch of Microsoft Bob?), I found just one that was from a trip that was not for a client’s show.
That sticker reads “Disney World 1989,” and was from a trip where my wife and I took my stepson and one of his Florida cousins to spend a couple of days at Disney World. Now, I have always believed that people in the AV industry have a special place in their hearts for anyplace that does as much AV as Disneyland does. In fact, I have always had a sneaking suspicion that when we die, staging people go through purgatory by running things at the Haunted Mansion. My memories of that trip always make me smile, with one exception: repeated trips through “It’s a Small World.” For those of you who are fortunate enough to have not heard of this early Disney boat ride, it featured a trip through legions of demonic puppets chanting “it’s a small world after all” over and over until you were so glad to leave the ride that even the dinner check at one of Disney’s overpriced restaurants was a welcome relief, as was anything that took your mind off the song that you couldn’t get out of your head.
So, now that you have the background to the story, let me see if I can get the song back out of my head by telling you what I think about this year’s upcoming show. And by getting to my point:
Despite all of our growth, all of the hype, and all of the thousands of end-users and tire kickers that will attend the show, AV is still a small world, and is still driven by a small core of people on our way to the Haunted Mansion. In fact, the ISE show in Amsterdam will be the largest attendance of any AV show in the world, mostly because it is a joint event sponsored by both InfoComm and CEDIA, meaning that it brings together both the professional AV world and the consumer/home theater AV world. In many ways, I find this the most valid show to attend for a number of reasons::
First of all, our small world of professional AV is increasingly driven by the need to duplicate the feature set of consumer electronics. In the olden days, the consumer market was something that we derided regularly, as the professional market in video and electronics got all the developments first, which then made their way down to the consumer market sometime later. Today, in many ways, that market has changed, and we not only attempt to emulate the feature set of consumer electronics in our professional work, but we also increasingly see a market driven by a smaller number of consumer products (the Apple TV certainly comes to mind) that are seen in everyone’s home and are so easy to use and control that our customers question even the most advanced AV systems as to why they can’t work the way they do at home.
Second, although this show is the largest in the world, it is one of the easiest to make your way through, as our European colleagues are blessedly multilingual in a way that we in the United States have never managed to be.
But the third thing that makes this a small world is that we speak the common language of AV, its products and its techniques. One of the best examples I can remember of this in process was when several colleagues and I were engineering a 3D theater at E3 for one of Japan’s largest electronics companies. Four of us arrived a week out from the show, as did three AV techs from the Japanese company. Their interpreters had not yet arrived on the day we began work on the theater, and because of flight delays did not arrive for three days. During that time, we first began working as separate crews on separate aspects of the theater, but as the system began to come together we of course had to begin to integrate. We hauled a number of flip charts into the room, and for three days worked together by pantomime and sketch. It took only about a day for the laughter and pantomime jokes to break up between us. We had discovered what a small world it was, that even though coming from different cultures and different languages we shared common interests and completed a very difficult job together. When the interpreters finally arrived, the only thing they had left to do was to accompany us all to dinner the night before the show opened, which was the first time we all began to actually be able to talk to each other. It was an experience I will never forget, where I discovered that people from different cultures could share a specialist subculture among themselves.
My point to all of this is simply to point out what a small world it actually is, despite the numbers, despite the hype, and despite the “industry expansion.” I am off to Europe to experience this once again, and will be sharing lots of it with you as we podcast from the show. As usual, my own podcasts will have a special emphasis (or at least a special place in my heart) for the rental and staging market, but others on the rAVe crew will be sharing everything that happens at the show with you, our small world.
Now, somebody tell me how to get the song out of my head.
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Delvcam Introduces 4K UHD Multi-Format, Quad-View Broadcast MonitorDelvcam today launched its new broadcast-quality 4K UHD 28-inch monitor that offers full screen, split screen, and quad viewing options as well as inputs for 3G‐SDI, HDMI, VGA, DVI and audio.
The monitor is designed for in-studio and in-field ENG news crews or live event’s monitoring for TV stations, production studios and directors for live and post production.
The native 4K resolution (3840×2160) Delvcam DELV-4KSDI28 monitor supports 4K UHD signals with a 16:9 LED display and 170° wide viewing angles for consistent images. The monitor is mounted in a reinforced case that features a hinged, lockable door for access to the back of the monitor as well as handles on two sides for easy portability.
Specifications include:
- Aspect Ratio: 16:9
- Brightness: 450/cd/m²
- Contrast: 1000:1
- Viewing Angle: 170°/160°(H/V)
- Native Resolution: 4K, 3840×2160
- Special Functions: Tally Interface, Check Field, Image Flip, Overscan, Underscan, Image
- Freeze, Color Temperature, User Definable Function Buttons
- Image control: Peaking, Split Screen, Quad View, User Adjustable Markers
- Inputs: one 3G-SDI, one HDMI 2.0 (4K), three HDMI 1080p, one DVI, one VGA, one audio
- Output: one 3G-SDI
- Screen/Size: 28″ LED
- Audio: Two speakers (L/R), Earphone Jack
- Mount: 100×100 and 75×75 VESA mount
- Power Consumption: 48 watts
- Input Current: 2800mA
- Input Voltage: DC 12-24V (XLR)
- Weight: 20.72 pounds (46.3 pounds with case)
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Antelope Audio Intros Two Thunderbolt-Compatible Devices: Orion32+ and Orion StudioAntelope Audio announced that Orion32+ and Orion Studio, are now compatible with Apple Thunderbolt technology — and both are shipping.
Orion32+ follows its predecessor, Orion32, which launched three years ago as a 32-channel interface solution in a 1U rack. Orion32+ is now Antelope’s flagship interface and features Thunderbolt compatibility, improved dynamic range, claiming zero latency monitoring and Antelope’s “signature uncompromising audio quality.”
The Orion32+ is 32 channels of I/O with a spa of zero latency monitoring and 32-simultaneous channels of 24-bit, 192 kHz audio performance. The unit also delivers a vast range of connectivity options including Thunderbolt, MADI and USB, making it suitable for use in commercial, home studio and live environments. The Orion32+ also incorporates ADAT and S/PDIF throughput, with I/O being handled by eight D-Sub 25 connectors and a pair of mastering grade monitor outputs — both capable of delivering 129 dB dynamic range.
Now with full Thunderbolt compatibility, Antelope’s Orion Studio is in a 1U form factor, is their lowest latency AD/DA converter in its class and USB compatibility.
Designed for both project studios, home recording environments and other applications, Orion Studio delivers professional grade audio quality and is capable of processing 32 channels of 192 kHz audio at dizzying speeds of 100μ round trip delay. With 12 commercial quality microphone pre-amplifiers, 16 analog outputs, two mastering grade monitor outputs and Thunderbolt compatibility, Orion Studio is the perfect companion to achieve the ultimate in sound quality.
Orion32+ is priced at $3,495 (U.S.) and Orion Studio is priced at $2,795 (U.S.) and all the specs are here. Leave a Comment
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Waves Audio Ships the Element 2.0 Virtual Analog SynthWaves Audio is now shipping the Element 2.0 Virtual Analog Synth, an analog-style polyphonic instrument. Marketed as the first synthesizer to take advantage of the next generation of Waves’ Virtual Voltage technology, Element 2.0 includes five integrated effects, a 16-step sequencer, MIDI learn for all controls and a massive, fully tweakable preset library.
Waves Element 2.0 features:
- High resolution oscillators and analog envelope behavior
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Filters with zero-delay feedback
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Effects include delay, reverb, distortion, chorus and two distinct crushers
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Keep the legacy: choose between Element 1 and Element 2 modes at the click of a button
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16-step sequencer with Hold and Retrigger modes that can be used as a modulation source
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Use as a plugin or as a standalone application
For more information, go here. Leave a Comment
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CAST Software’s wysiwyg R36 Lighting Design Software ShipsCAST Software’s wysiwyg R36 lighting design and previsualization software from CAST is now shipping. CAST has just added a couple of enhancements including support for 4K resolution and 4K image export in Shaded View. The Shaded View feature now exports image views of up to 4096×4096.
wysiwyg R36 has increased compatibility with the latest Sketchup 3D modeling software SDK and associated file formats. Users can import drawings directly from Sketchup into wysiwyg, and textures, layers, surfaces and object groupings are now preserved as they were created. wysiwyg also supports new file formats: Wavefront OBJ, Filmbox FBX, Collada DAE and 3DS Max.
R36 is fully compatible with Windows 10. It is available as a three-, six or 12-month lease or free for all wysiwyg Members. Download it here. Leave a Comment
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Video Devices Ships PIX-E7 4K MonitorVideo Devices has started shipping its PIX-E7 4K recording field monitor. The seven-inch PIX-E7 is the largest model in the PIX-E Series, joining the five-inch PIX-E5 and PIX-E5H.
The 4K-compatible PIX-E7 offers a full suite of precision-monitoring tools, SDI and HDMI I/O, plus the ability record the all available Apple ProRes codecs, up to 4444 XQ 12-bit. The PIX-E7, like the PIX-E5 and PIX-E5H, is also compatible with the innovative, super fast USB-based SpeedDrive — a custom-made enclosure that holds an mSATA solid-state drive. The PIX-E7 also accepts external timecode via a BNC linear input connection, and features a second SDI In, and a general purpose input/output port for tally light and remote control workflows.
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Neutrik Announces XIRIUM PRO Cable Replacement System Neutrik USA just announced the XIRIUM PRO Wireless Digital Audio System. Designed as a cable replacement system, providing audio signals to and from devices without long or complicated cable runs, XIRIUM PRO delivers studio quality, full bandwidth audio with extremely low latency that is free of any compression.
Central to XIRIUM PRO’s is something called DiWA (Digital Wireless Audio) that was developed by Neutrik. DiWA technology provides what they claim is compression-free, FCC license-free, wireless transmission of audio within the 5 GHz band. Delivering ‘cabled’ audio performance, DiWA delivers no compromise, full range (20 Hz – 20 kHz) audio that is free of any compression or compassion.
Neutrik’s new XIRIUM PRO Wireless Digital Audio System accepts Neutrik powerCON TRUE1 connectors. As a result, there are no ‘wall wart’ power supplies necessary. With its ruggedized outdoor rated housing, the system can be used indoors or outdoors. For added convenience, XIRIUM PRO supports control and system adjustments system via tablet or computer.
Here are the details. Neutrik’s XIRIUM PRO Wireless Digital Audio System will also be available through an exclusive relationship with BTX. Leave a Comment
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Christie Launches Three New Boxer Models With 20K, 25K and 30K LumensChristie, today, ahead of ISE, launched three new Boxer models with 2K resolution and 20,000, 25,000 and 30,000 center lumens, depending on the model.
Now available in multiple software performance configurations, the Christie Boxer Series offers choices based on resolution, brightness and budget requirements. With an upgrade path to higher brightness, resolution and performance capabilities, users pay only for what they need today, with an eye to the future.
The Christie Boxer Series includes single-phase power operation, built-in warping and blending, omni-directional installation capabilities and a full-range of connectivity.
The Christie Boxer 4K30 model features 4K resolution and 30K center lumens; models 2K20, 2K25 and 2K30 feature 2K resolution and 20K, 25K and 30K center lumens, respectively.
The new projectors also offer Christie TruLife Lite, which delivers what Christie says is 300 Mpx/s and provides superior video processing for 2K and HD sources. Featuring a floating-point processing engine with the equivalent of 25 bits fixed point processing resolution, Christie TruLife Lite provides increased dynamic range and superior scaling for an exceptional visual experience. They are also field-upgradable.
Other Christie Boxer 2K20, 2K25 and 2K30 specs include:
- Compact, lightweight and rugged design
- 360-degree omni-directional installation capabilities
- Connectivity via 3G-SDI, DisplayPort, HDBaseT, DVI, HDMI, HDMI 2.0, DisplayPort 1.2, 12G-SDI and fiber input
- Built-in Christie Twist image warping and blending software
- 3DLP image quality and reliability
- Easy rigging and stacking
- At-a-glance source and status updates on lamp hours, voltage, temperature and warnings that can be sent directly to a mobile device or web browser
- Integrated Near Field Communication (NFC) lets users track lamp information using a mobile device
- On-board toolkit
All the detailed specs are here. Leave a Comment
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Waves Audio Now Shipping the eMotion LV1 Live MixerWaves Audio is now shipping the Waves eMotion LV1 mixer, a live digital mixing console that provides real-time audio mixing for front-of-house, monitor and broadcast engineers. Based on Waves SoundGrid technology, this software mixer delivers the superior sound quality for which Waves is renowned, as well as the convenience and speed needed in demanding live environments.
eMotion LV1 gives live engineers unprecedented control over their sound. Each of the mixer’s channels has its own plugin rack capable of running up to eight Waves and third-party plugins. This means you can mix live with hundreds of instances of your favorite plugins, all running inside the mixer itself. All plugin presets and chains saved in eMotion LV1 can be shared with the Waves MultiRack and StudioRack plugin hosts, allowing engineers to move seamlessly between live and studio environments.The mixer’s channel strip — its standard EQ, filters and dynamics processing — is provided by Waves eMo plugins: eMo D5 Dynamics, eMo F2 Filter and eMo Q4 Equalizer. All eMo plugins are designed for maximum clarity and efficiency in a live environment.
eMotion LV1 comes in three configurations: 64, 32 or 16 stereo/mono input channels. The mixer can be controlled by hardware control surfaces and multi-touch devices, ranging from four touchscreens to a single laptop or tablet.
eMotion LV1 uses the SoundGrid infrastructure for audio networking. It can be configured as a portable or stationary setup, and can connect to any SoundGrid-compatible I/O or server. This means that live sound engineers can easily take their mixer with them and run it anytime, anywhere — at home, in a hotel room, on the tour bus, or at the live venue. This way they can have all the time they need to work on their sessions, whether offline or with full-on audio, and make sure they are 100 percent ready for the show.
Features:
- Up to 64 stereo/mono input & 36 stereo buss/return channels
- Run eight SoundGrid-compatible plugins directly on each channel
- Standard channel processing provided by Waves eMo plugins
- Up to 16 auxes, eight audio groups (stereo/mono), L/R/C/Mono, eight matrixes
- 16 DCA faders, eight mute groups, eight user-assignable function controls
- 32-bit floating point mix engine; up to 96 kHz sample rate
- Compatible with industry-standard control surfaces
- Connect to diverse SoundGrid I/Os & drivers and to multiple DAWs
- Windows/Mac 64 bit-compatible
Here are the details.
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Flex Rental Solutions Announces Release of Flex 4.13.0Flex Rental Solutions released earlier this week an update to its software — version 4.13.0 to customers. The release included several new features, performance improvements, and bug fixes, as well as the much-anticipated feature of assignable sound themes per user.
Other additions include:
- A Resource Type selector on the schedule page for inventory models, allowing user to view the schedule of a Resource Type besides Rental
- A new interface when free scanning in non-serialized models. If the model is currently scanned out to multiple jobs, you can now enter how many you are returning from each job and return all quantities entered at one time. Previously, you could only return non-serialized models from one job at a time.
- “Scan Selected Items Out” option added to the Ship Scan warehouse scanning screen and the Deprep Scan warehouse scanning screen
- A “Hide if Zero” option to the Total Block settings
- The ability to assign a sound theme to each user — when on any warehouse scanning page, the currently logged in user will be able to choose his sound theme from a menu along the bottom of the screen
- Updates the Holiday Schemes page to include a “Day of the Month” field, plus updated other fields to show actual day and month names instead of numbers
- A new report called “Quote with Pictures”
- The ability to manually edit the price of a child tier (on a tiered pricing model) and have it calculate to the parent price
- Adds “ROI – Revenue” and “ROI — Utilization” links to inventory model pages for quicker access to that information
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Schertler Adds JAM to New Amplifier SeriesSwiss manufacturer Schertler announced the release of JAM, the third member of its “next generation” acoustic amplifier series. Representing an evolution of the company’s JAM 150 amplifier, this new five-channel “all-rounder” offers greater flexibility in both live performance and studio situations. The amp combines a comprehensive feature set with the updated technology and enhanced “look” that is characteristic of all the models in this series.
Equipped with a 1″ dome tweeter and 8” woofer, and featuring an optimized two-way bass reflex construction, JAM offers 200W (150W + 50W) of bi-amplified power. The amplifier includes a balanced microphone (XLR) input, an unbalanced mic/instrument input and an input offering both balanced microphone and unbalanced mic/instrument options. Both instrument inputs feature a Bootstrap technology that enables the input to automatically adapt to any impedance. A separate stereo input channel will additionally accommodate devices such as a computers, MP3 or CD/DVD players. A fifth FX Return channel can also be used for inputting line level devices.
The three main microphone/instrument input channels include a gain control for input sensitivity regulation and three-band EQ, with parametric mids on input channels 1 and 3 and a switchable resonance (notch) filter (240Hz/150Hz) on channel 2. Phantom power is supplied for condenser and electrostatic microphones. Each of these channels also features an overload LED. Channel 1 is additionally equipped with a phase reverse switch to prevent feedback, or unwanted effects between the various channels.
JAM’s Master Section controls include a new adjustable DI out, a new mute button, a line out enabling the connection of external systems, a digital reverb and an insert for connecting an external dynamics processor. An aux out (on channel 1) offers additional connectivity to other systems. A low cut filter (cutting frequencies below 180Hz) can be used with instruments that generate aggressive low frequencies. This also enables a separate subwoofer to be connected without causing any damage to the amplifier. JAM is additionally equipped with a high voltage CLASS-A preamp that has no integrated circuits and No Negative Feedback (NFB).
A choice of wood or anthracite grey finishes is available. Models with the wood finish have a textile front speaker cover. This makes them well suited to normal domestic/home/club use, where they can integrate with a range of interiors or design stages in live music clubs. Models with the anthracite grey finish are equipped with a metal front grille. These have been designed for more robust stage and road use, where there is greater exposure to daily wear and tear or to potential damage during transportation.
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Digital Projection to Debut 13K DarkChip Projector at ISE Digital Projection will add to its 3-chip DarkChip DLP-based HIGHlite Laser large venue projector range at ISE with the new HIGHlite Laser II (13,000 ANSI lumens). Digital Projection says that their video processing is improved and the refresh-rate is now 120Hz for the DisplayPort input and 120Hz or 60Hz for HDMI. The 2,000:1 contrast ratio projector is spec’d at 20,000 hours for a solid state laser phosphor light source.
The HIGHlite Laser II includes image edge blending and geometric warp correction. Also in 3D, it includes frame rates up to 144Hz. Two HDMI 1.4, DVI and 3G-SDI inputs are included, as well as HDBaseT connectivity.
It’s not on their website yet, but when it is, it will be here. Leave a Comment
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Mojave Audio Debuts MA-50 Large-Diaphragm Transformerless Condenser MicrophoneMojave Audio announced the new MA-50 Large-Diaphragm Transformerless Condenser Microphone. Mojave Audio’s new MA-50 uses the identical capsule as found in the company’s MA-200 and MA-201fet models and handles transients — all the way up to 140dB. The microphone’s transient response and its ability to handle high SPLs make the MA-50 an extremely versatile model: one that is well suited to capturing vocal performances, voiceovers, acoustic instruments, Foley / ADR, as well as percussion instruments and use as drum overheads.
The new MA-50 utilizes a large-diaphragm, fixed-cardioid polar pattern design. The microphone incorporates a 3-micron capsule, employs transformerless circuitry that results in an extremely low noise floor. Details are here. Leave a Comment
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Camplex Fiber Extender Converts 3G-SDI Signal to Single-Mode FiberComplex just launched a new 3G-SDI Converter/Extender. The Camplex CMX-3GSDI-LCF fiber optic converter/extender transmits an SDI signal over a single fiber optic LC single-mode cable, extending SDTV and HDTV image transmissions to distances from six miles up to 50 miles. A looping input on the transmitter and a mirrored output on the receiver allow for local monitoring. Automatic equalization and re-clocking ensure consistent, clean signals.
The compact design saves space for broadcast infrastructure and IO panels for camera and CCU interface, live event feeds, arena projection systems and remote studios.
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Grund Audio Design Announces New LC Series of SUBsGrund Audio Design announced three new subwoofers designed for use with the company’s LC Series column line arrays — completing the company’s offerings in this product class. The LC-2SA, LC-5SA and LC-8SA subwoofers are all powered systems that incorporate a 2.1 amplifier designed to drive both the subwoofers and stereo satellite column array loudspeakers. The LC-2SA uses a 12-inch LF transducer while the LC-5SA has a 15-inch transducer and the LC-8SA offers an 18-inch transducer.
The LC-2SA subwoofer features a 1200-watt Class D amplifier while the LC-5SA and the LC-8SA employ 1600 and 1800-watt Class D amplifiers respectively. Of particular note, all three subwoofers include on-board DSP capabilities that provide programmable loudspeaker management settings that optimize the column array / subwoofer combination for a variety of environments ranging from corporate presentation spaces and houses of worship to education and DJ.
The new LC Series subwoofers are built using 13-ply Baltic Birch wood for superior performance and cabinet rigidity. The combination of the LC Series column arrays and subwoofers is easily expandable from the basic 2.1 system to more elaborate setups, as the DSP / power module can be switched to accommodate larger systems as more loudspeakers are added.
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Mackie Adds New ProDX Wireless Digital MixersMackie just launched a new line of ultra-compact digital mixers with complete wireless control — the ProDX Series. The line features two models, the four-channel ProDX4 and the eight-channel ProDX8. With wireless streaming and control, powerful processing, and an extremely intuitive control app for iOS and Android, ProDX mixers deliver the amazing benefits of digital mixing in Mackie’s most compact mixers ever.
ProDX Series mixers couple the power of digital mixing and an ultra-compact form factor perfect for solo performers, small bands, venues and commercial applications that require lower channel counts. Both mixers are equipped with Mackie’s Wide-Z mic preamps. These combo inputs allow connection of mic, line and instruments and require no gain adjustment for easy setup. And with their single knob hardware design, any user can make quick and easy level adjustments. Using the companion MixerConnect control app, users unlock powerful processing and total wireless control plus the ability to wirelessly play back music or backing tracks from any Bluetooth capable device.
ProDX mixers have built-in hardware that allows easy control over any channel and output via a single knob. This is perfect for applications such as restaurants, commercial applications, rehearsal studios that have many users that only need quick level adjustment with virtually no learning curve and often in dimly lit or tight spaces.
ProDX mixers provide the essential tools users need to dial in a great mix. Easy-to-use three-band EQ w/ sweepable mid, low cut and no-hassle compression per channel delivers pro sound with zero fuss. The built-in ReadyFX effects engine offers a choice of 16 great-sounding effects, so users can pick the perfect delay for their guitar or apply reverb to add life to any vocal application. A flexible graphic EQ on all outputs allows fine tuning of the overall mix. Users can save their mix and and instantly recall at the next show for quick setup.
The Mackie ProDX4 and ProDX will be available worldwide starting April, 2016. ProDX4 lists for $259.99 and the ProDX8 lists for $389.99. Here are the details. Leave a Comment
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DPA Microphones Adds New Mount Line to d:vote Instrument MicrophonesDPA Microphones continues to expand its line of d:vote Instrument Microphones with the addition of three mount options — a Clamp Mount with an especially strong grip that allows it to anchor to every instrument possible, a Microphone Stand Mount and an Accordion Clip. The d:vote line allows one microphone to be utilized across various classifications of instruments, with a simple switch of the mount. The complete d:vote(tm) product line will be on display at the 2016 NAMM Show (Hall A, Booth 6013).
The d:vote microphone line is designed for use with every woodwind and acoustical instrument, the most popular being guitar, violin, cello and trumpet/saxophone. DPA also offers four different d:vote touring kits situated in sturdy Peli cases, with quantities of four or 10 microphones packed in a pencil case as well as 10 or 25 mounts, respectively. The kits come with everything needed for classical or rock styles to bring high-quality sound anywhere in the world. The Kevlar reinforced cable is available in two sizes, the slim 1.6-millimeters (0.06 inch) cable or the heavy-duty 2.2-millimeters (0.09 inch), both durable and able to withstand even the most rigorous concert tours.
The new SM4099 Stand Mount makes it possible for musicians to mount the d:vote mic on a traditional microphone stand, while the CM4099 Clamp Mount is a clip that is designed as an all round solution that can be used for all kinds of instruments.
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PreSonos Launches StudioLive AVB Mix SystemPreSonus unveiled its new StudioLive AVB Mix Systems, which combine one or two StudioLive RM-series rack mixers, a StudioLive CS18AIEthernet/AVB control surface, and integrated control, recording, and production software. Scalable, fully recallable, networked over AVB Ethernet, and tightly integrated with included software, the StudioLive AVB Mix Systems put your I/O in an onstage, rack-mount mixing system with an integrated recording interface, Wi-Fi, and Ethernet networking, while providing an advanced control surface at front-of-house with 18 touch-sensitive, motorized faders and 4×2 I/O.
Four systems are available: The StudioLive AVB 16AI Mix System, with one StudioLive RM16AI mixer; StudioLive AVB 32AI Mix System, with one StudioLive RM32AI; StudioLive AVB 48AI Mix System, with one of each RM model, cascaded to form a 48-input, 64-channel system; and StudioLive AVB 64AI Mix System, with two cascaded StudioLive RM32AIs for a 64-input system. You also can start with a single-mixer AVB Mix System and expand it later by cascading a second RM-series mixer. Both mixers in a cascaded AVB Mix System can be controlled from the StudioLive CS18AI and from UC Surface touch-control software.
Equipped with 100 mm, touch-sensitive, motorized faders and AVB networking, the StudioLive CS18AI control surface provides a compact, intuitive mixing solution for StudioLive RM32AI rack-mount digital mixers and for Studio One 3 digital audio workstation, which is included with all AVB Mix Systems. The CS18AI and RM mixers connect to the network with CAT5e or CAT6 Ethernet cable, eliminating the need for cumbersome analog or digital snakes and stage boxes.
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Christie Launches Single-Chip DLP, 12,000-Lumen HS Projector SeriesChristie is launching a new single-chip DLP laser phosphor projector line — the Christie HS Series — which Christie says that at 10,000 lumens is the brightest 1-chip DLP laser-phosphor projector on the market. Featuring “BoldColor Technology” with three times the color wheel speed (of a normal one-chip DLP), the Christie D12HD-HS and Christie D12WU-HS are 1080p and WUXGA (1920×1200) resolution, respectively.
Aimed at rental stagers, large meeting rooms, hotels, public spaces and entertainment venues, the Christie HS Series is capable of 360-degree orientation and portrait mode with color matching and advanced blending, warping and stacking software built in, making it flexible. The Christie HS Series also offers a full six-lens suite covering 0.84:1 up to 7.2:1, 3GSDI and DVI-D loop through connections so signals can be daisy chained without external boxes and optional fog filters.
Christie HS Series at a glance:
- Brightest 1DLP laser phosphor projector on the market over 10K lumens
- Choice of WUXGA or HD resolution
- Laser phosphor illumination is spec’d with a 20,000 hour life
- Compact industrial design
- Lens memory to recall zoom, focus and lens offset settings
- Automatic and manual warps, blends and stacks
- 3D capable
- Bottom-side HDMI connection and rear input cover so ceiling mount installations can have a clean look
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Pioneer’s XPRS Series of Active, Wooden Enclosure Speakers Feature Powersoft Class D AmpsPioneer Pro Audio’s new XPRS Series of high-powered active speakers that integrate Powersoft amplifiers. The XPRS Series comprises the XPRS15 and XPRS12 — both two-way full-range speakers, and the XPRS215S dual 15-inch subwoofer. All three enclosures feature 15mm birch plywood construction for a dynamic sound. The XPRS15/12 has a 15/12-inch ferrite LF driver, a 1.75-inch titanium diaphragm compression driver and Pioneer Pro Audio’s “AFAST technology” for a deeper bass range. Or you can enhance your sound using the four EQ modes with built-in DSP.
The XPRS215S is the perfect complement to enhance the low-end, thanks to its dual 15-inch ferrite drivers and a versatile crossover switch that lets you adjust the low pass filter cut-off at stages between 80Hz and 150HZ.
The Powersoft Class D amps deliver a 2400W output, while Power Factor Correction (PFC) ensures energy efficiency and a reliable performance. With all that power, we’ve paid extra attention to protecting the amp and the speaker – pouring in thermal limiting, an input limiter, DC offset removal, AC mains protection and more. Plus the auto-ranging power supply detects and adapts to the voltage without compromising the sound quality, making the XPRS Series a reliable performer in any environment.
The road-ready XPRS Series are durable and easy to transport. Pioneer Pro Audio’s engineers have successfully placed the PA speakers’ handles to ensure the weight is distributed equally, while the sub comes with removable casters. The wedge-shaped XPRS15/12 can be placed on the floor and used as a foldback monitor for stage performances, or you can pole-mount them and choose between a 0-degree and 7-degree tilt to suit your set-up.
The XPRS Series will be available in May 2016 and will list for $1,199.00 for the XPRS12, $1,299.00 for the XPRS15, and $1,599.00 for the XPRS215S. Here are the details. Leave a Comment
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Renkus-Heinz Launches RHAON 2.01Renkus-Heinz has announced the release of an important update to its RHAON II software.
Version 2.0.1 of RHAON II (Renkus-Heinz Audio Operations Network) expands control to all current Renkus-Heinz products, including all Iconyx Gen5 systems, IC Live, IC2, VARIAi modular point source arrays and CF Series loudspeakers. It’s a free download and if you’re using Renkus-Heinz’s system, you should go get it immediately as it speeds up the system.
Here are the details. Leave a Comment
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PreSonus Unveils Studio 192 Mobile Audio Interface/Studio Command CenterPreSonus is shipping its new Studio 192 Mobile USB 3.0 22 x 26 audio interface and studio command center. Studio 192 Mobile claims the same high-end audio, low-latency monitoring, tight software integration, and studio command center functionality introduced in PreSonus’ Studio 192 audio interface but in a smaller form factor suitable for both mobile and studio use.
The Studio 192 Mobile records at up to 192 kHz and combines two digitally controlled XMAX Class A, solid-state mic preamps and premium Burr-Brown converters with 118 dB of dynamic range. It offers 18 channels of digital I/O, making it easy to add up to 16 additional remote-controlled microphone preamps when expanded with two DigiMax DP88 A/D/A converters.
Like its big sibling, Studio 192 Mobile was designed to provide more than just abundant I/O and an impeccable sounding front end. It’s also the central command center for your studio, featuring talkback control, Mono and Dim for the main mix output, word clock I/O, a dedicated DAC for the headphone output, and the ability to use its six balanced outputs for monitor mixing or for speaker switching.
Studio 192 Mobile also features the same Fat Channel plug-in found in PreSonus’ Studio One DAW to add parametric EQ and dynamics processing, which can be used for near-zero-latency monitoring or printed to tracks. When used in conjunction with Studio One 3 (Artist edition included), the hybrid Fat Channel plug-in shifts to native processing on playback for a seamless experience between recording and playback.
In addition to Fat Channel processing, the Studio 192 Mobile features extensive integration with the Studio One production environment, including full preamp control and zero-latency monitor mixing. All Studio 192 Mobile features are also controllable from Studio One Remote for iPad, giving you the freedom to step away from your computer while recording.
For third-party DAW users, PreSonus’ innovative UC Surface touch-ready control software for Mac, Windows and iPad is included for easy management of all Studio 192 Mobile functions, including speaker switching and talkback. Use your iPad or Windows Surface Pro as a second screen dedicated to Studio 192 Mobile functions, including preamp control, to simplify gain staging when recording alone. The preamps can also be controlled from the Studio 192 Mobile front panel and via MIDI in third-party DAWs.
The Studio 192 Mobile offers two front-panel mic/instrument inputs and twp rear-panel direct-to-ADC line inputs, 16-channel ADAT optical in and out (eight channels at 88.1 or 96 kHz) coaxial, stereo S/PDIF I/O and BNC word-clock I/O. You get four balanced TRS outputs, balanced stereo main outputs, and a headphone amplifier with independent output, level control and cue source switching.
The Studio 192 Mobile is $599.95. All the specs are here. Leave a Comment
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Mackie Extends SRM Portable Series With 1200W SRM1550 SubwooferMackie just launched a new subwoofer built from the ground up to be the companion to its SRM450 and SRM350 powered loudspeakers, dubbed the SRM1550 Portable Powered Subwoofer. Featuring a powerful 1200-watt amplifier, custom high-output 15-inch woofer, digital variable crossover, the new SRM1550 is front-ported. Equipped with stereo XLR inputs, full-range and high-pass outputs, the SRM1550 also features a variable digital crossover that includes presets for the Mackie SRM350 and SRM450, for simple and fast setup at every gig. Plus, built-in Smart Protect DSP protects the 15-inch woofer when pushed to the limit. Compact, lightweight and affordable, these subs are ideal for being used with the SRM Portable Series for a PA setup.
All the specs are here. Leave a Comment
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Renkus-Heinz ICONYX Gen5 Now Offering Dante ConnectivityRenkus-Heinz announced a new version of their Iconyx Gen5 Series integrating Dante, the media networking technology from Audinate.
All Gen5 Series models including Iconyx and IC Live (ICL-F-RN) will be available with Dante control. The Brooklyn-based Dante implementation features dual RJ45 connections for fully redundant operation, and a single cable carries both Dante and RHAON II control data for streamlined connectivity.
Iconyx Gen5 represents the fifth generation of Renkus-Heinz’s acclaimed Iconyx Series, incorporating UniBeam Technology for dramatically more uniform coverage, increased output, and faster setup, with new configurations for easier and more cost effective installation. Dante-enabled models will be designated with a suffix of RD (e.g., IC16-RD).
Dante is a complete audio networking solution for audio distribution over standard IP networks, supporting hundreds of simultaneous channels of uncompressed audio with ultra-low latency and sub-microsecond synchronization accuracy. Dante provides manufacturers and users alike with a full suite of tools and capabilities for full plug-and-play operation, including automatic device discovery, software-based signal routing, and complete integration with PCs.
Dante-enabled models of Renkus-Heinz Gen5 products will begin shipping in February of 2016.
Renkus-Heinz is here. Audinate is here. Leave a Comment
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