Volume 10, Issue 5 — May 23, 2016
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Political Rentals
By Joel Rollins rAVe Columnist
Well, things are heating up in the quadrennial political circus: Our presidential election in the United States has begun. We are approaching the time when the public portion of the circus really cranks up, with lots of rallies and events that will need massive audiovisual support.
I have done a lot of political events in my time, for both winning and losing candidates and parties, and for those of you who see this potential volume of business on the horizon I have a few tips.
Call me John Miller, and this is a tremendous opportunity. Just tremendous. But, all kidding aside, there are also some pitfalls.
First, when you are approached by (or when you approach) a political campaign, it is important to know who you are dealing with. There are local, state, and national parties and campaigns. Then there are political action committees (PACs and Super PACs). Each of these is a separate organization, even though their first identification to you will go something like this:
“Hi, I’m John Miller, and I’m with the Bob Smith campaign. We are having a big rally on the second (usually only a few days away) for which we will need giant LED walls, a massive sound system, 300 automated lighting instruments, and gee, do you know anybody who does pyrotechnics?”
These calls usually come from some well-meaning, enthusiastic (or, depending on the campaign, not-so-well-meaning but still enthusiastic) campaign volunteer, who may not even be aware of the unfortunate truth. And the truth is this: Their organization, and its checkbook, may vanish on the morning after the election. That is, if they don’t vanish immediately following the event.
You see, most political organizations are separately incorporated in each state or district. Their ability to get their message out is protected both by local laws and the Constitution of the United States, and in many cases this includes their right to run up bills which they may never pay. These organizations are dissolved when their purpose is met. And it is important to note that they often do this even when their candidate wins.
So, when dealing with a political rental, the first thing to determine is the nature of the organization that you are dealing with. When they say they are with the “Bob Smith campaign,” ask them for the formal name of the organization. And here is the big clue: Political parties, whether local, state or federal, are permanent organizations. The RNC and DNC aren’t going anywhere. Campaigns, on the other hand, are by their nature temporary organizations. If you’re in the position of doing multiple rentals, or a tour, it is really important at the outset to determine if the organization that you are dealing with will be there next week.
Next, have realistic credit policies for dealing with political organizations. Most companies that I am familiar with demand the CIA be involved. No, not the Central Intelligence Agency, but cash in advance. Don’t worry, if you are not used to dealing with political organizations, they will expect this. Oh, maybe not the starry eyed local volunteer, who won’t understand why you are not just overjoyed to give the Bob Smith campaign credit, but if you ask to speak to someone senior, especially one who has done this before, they understand.
Short of that, think about the midterms. No, not midterm elections, but midterm collections. If they can’t pay in advance, or for some reason doubt that you will deliver, insist on collecting the bill somewhere midway through the show.
This may seem a bit harsh to those of you who have not done a lot of political work. But, in many ways, political events are like rock ‘n roll. The tour bus will leave tomorrow morning, and it will be very difficult to collect once they have left town.
That is not to say that some of you don’t have political enthusiasms, and may want to support events because you truly believe in the candidate. If so, have at it. There is a lot of power in what we do, especially in communicating with the public, and if you are in a position to do so it is fine to support your candidate.
But for those of us who are doing this for a living, remember that our Supreme Court has ruled that money is speech. So when confronted with a political event, just hold out your hand and say “speak to me.” Leave a Comment
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Canon Debuts New Laser Projector and Lens Line Canon has introduced the LX-MU800Z, the company’s first single-chip DLP Projector with a Laser-Phosphor light source spec’d at 20,000 hours of operation to reduce the total cost of ownership (TCO). Additional key features on the LX-MU800Z projector include native WUXGA (1920×1200) resolution, a spec of up-to-8000 lumens, a dynamic contrast ratio up to 10,500:1, and seven interchangeable lens options with motorized lens shift for installation flexibility.
Like every laser projector in the market, the LX-MU800Z Laser DLP Projector can be rotated 360 degrees at any angle on the vertical axis, and can also be used to project in portrait applications. The LX-MU800Z projector also offers seven interchangeable lens options. Additionally, the projector’s lens memory function can be used to store up to eight different custom lens positions, each including lens shift, zoom and focal length.
Lens Options:
- Ultra Wide Zoom LX-IL01UW 0.75 – 0.93:1
- Wide Zoom LX-IL02WZ 1.25 – 1.79:1
- Standard Zoom LX-IL03ST 1.73 – 2.27:1
- Middle Zoom LX-IL04MZ 2.22 – 3.67:1
- Long Zoom LX-IL05LZ 3.58 – 5.38:1
- Ultra Long Zoom LX-IL06UL 5.31 – 8.26:1
- Short Fixed Zoom LX-IL07WF 0.76:1
The LX-MU800Z’s inputs include 3G-SDI, HDMI, DVI-D and a built-in HDBaseT receiver allowing uncompressed HD video, audio and control signals to be transmitted over a single LAN cable with a maximum distance up to 328 feet (100m).
The new Canon LX-MU800Z Laser DLP Projector will list for $17,969 and here are all the specs. Leave a Comment
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StrapSetter Tool Simplifies Truck LoadingAnyone who has loaded gear into a truck has probably struggled to connect a logistics strap in a tight spot. Now there is a solution: StrapSetter is a new tool that helps you reach deep into narrow gaps to connect your straps, making it easy to add straps after the cargo is in place. StrapSetter makes it faster and easier to properly restrain your load and protect your valuable cargo.
The long, slim tool can reach into gaps as narrow as the strap fitting itself, and is long enough to reach all the way to the next logistics post. The StrapSetter is then used to manipulate the strap fitting into the track, and the user simply withdraws the tool to lock the fitting into place. StrapSetter features steel construction, a high-visibility polymer grip, and a hook to hang it on the track and keep it handy.
Made by a small company in Canada, StrapSetter was developed by an industry professional after many years of loading trailers for touring shows. The $39.95 StrapSetter is here. Leave a Comment
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Focusrite RedNet A8R Offers Eight Channels of Analog I/O With Redundancy Focusrite announces the introduction of its RedNet A8R, adding eight channels of analog I/O to its RedNet line of Dante-based audio-over-IP interfaces. In keeping with other modules in the series, RedNet A8R is housed in a 1U enclosure, and offers network-connected analog input and output with 24-bit, 192kHz A-D/D-A conversion, along with full network and power supply redundancy.
Access to the eight channels of analog I/O is provided via dual rear-panel DB25 connectors wired to standard AES59 specification, while two XLR connectors provide two channels of AES/EBU digital I/O. Word Clock I/O connections are made via BNC sockets and include switchable termination. Dual network connections are provided on locking etherCON connectors and the dual power supplies’ IEC power sockets include cable-retaining clips.
RedNet A8R operates at standard sample rates up to 192kHz/24-bit, including pull up/down, with sample rate, operating levels and other features configured remotely via software running on the host computer. The unit offers a dynamic range of 119dB A-weighted, A-D and D-A, with a frequency response of 20Hz-20kHz ±0.15dB. Front panel indicators include tri-color LED level indication for each channel along with sample rate, clock source, PSU and network status indicators.
All the detailed specs are here. Leave a Comment
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Hitachi Introduces First Solid-State DLP Laser Projector Hitachi America introduced the LP-WU9750B model, their first solid-state laser projector. The single-chip DLP-based WUXGA 1920×1200 resolution projectors aimed at large auditoriums, conference rooms, museums and concert or stage productions as it claims to have 8,000 ANSI lumens light output and a 20,000:1 contrast ratio. Like all other solid-state projectors on the market, the engine is protected with an air-tight, dust-resistant seal that minimizes the number of dust particles that enter the engine that could eventually lead to decreased brightness. This design gives the projector resistance against the effects of dust and allows the projector to be used in a large variety of environments.
This model also comes with five inputs including HDBaseT, two HDMI, DVI-D and 3G SDI. Seven optional lenses are available; compatible with Hitachi’s 9000 series allowing for projection distance ranging from 33-749 inches, some installations may vary. The LP-WU9750B is compatible with the Crestron Integrated Partner program and the AMX Device Discovery protocol, to help with control programming and it also supports web control and PJLink.
Complete specs are here. Leave a Comment
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New Sterling Headphone Amps is Very Simple Sterling Audio launched three new headphone amp models today. Designed primarily for personal recording studios and other applications where space is at a premium, the four-channel Sterling S104HA offers one rear-panel, stereo, TRS line input and four front-panel stereo headphone outputs, each with a 10-increment level slider. The S104HA comes in a sturdy and lightweight aluminum chassis with non-slip rubber feet and is powered by an external 12 VDC supply for low-noise operation.
Recording studios and broadcast facilities that require more flexible inputs and a more robust chassis should consider the four-channel S204HA, which is housed in a rugged aluminum chassis enclosed with a rubberized casing to withstand the stress of constant use. The S204HA’s front panel sports an unbalanced stereo line input and four rotary level knobs for the headphone outputs. The rear panel offers four stereo headphone outputs and balanced TRS left and right line inputs on the rear panel. Like the S104HA, the S204HA is powered by an external 12 VDC supply.
For more demanding professional applications, Sterling’s S418HA, which features two stereo main line inputs, eight direct line-level inputs for individual monitor mixes, and eight discrete, stereo headphone amplifiers, each with two headphone outputs-all packaged in a steel, 1U professional rack chassis. The S418HA can operate in stereo or mono and provides an output level control and clip LED for each channel. Its low-noise, 15V toroidal transformer delivers the superior output power and headroom required for professional use. An elegant faceplate with backlighting enables easy operation in low light environments. Parallel, balanced ¼” outputs enable you to cascade additional S418HAs.
The S104HA will list for $49.99, the S204HA will sell for $79.99. Here are all the specs. Leave a Comment
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RedNet PCIeR Card for Dante Networks Claims Low Latency, Network Redundancy Focusrite announced the release of RedNet PCIeR for Dante networks, part of the expanding RedNet range of Dante-compatible interface products offering network redundancy. Functionally similar to the existing RedNet PCIe, RedNet PCIeR card adds dual RJ45 Ethernet ports, allowing two networks to be connected to the card, which can switch between them automatically according to network availability.
The card supports 24-bit/192kHz operation with connected interfaces, and requires a standard four-lane PCI Express card slot in a Windows or Mac computer or Thunderbolt chassis. The card delivers 128 inputs and 128 outputs at 44.1, 48, 88.2 and 96kHz (64 I/O at 176.4 and 192kHz), with under 3ms analog-to-analog latency when used with RedNet A-D and D-A at any sample rate, combining the best possible system performance with exceptional reliability.
RedNet PCIeR is shipping now and lists for $1,299. Here are all the specs. Leave a Comment
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WorxAudio Technologies Announces PDA-1000R Power Amplifier with Integrated DSP and Dante WorxAudio Technologies, a division of PreSonus Audio Electronics, just launched the PDA-1000R power amplifier with an integrated DSP and Dante audio networking technology. The new PDA-1000R provides PreSonus’ Active Integration technology to create networkable Dante-enabled loudspeaker systems with a DSP that can be controlled by a computer running WorxControl (a loudspeaker management and remote control/monitoring application for AI-enhanced WorxAudio loudspeakers) over a standard LAN.
As a 2-channel, Class D power amp with 500W per channel, the new PDA-1000R incorporates two onboard Presets, High Pass Filter, Temperature, Signal, -3 dB, Limit and Clip indications, XLR Input, XLR Pass thru and Dante, which offers a no hassle, self-configuring, true plug and play digital audio networking experience. Central to the PDA-1000R’s capabilities is WorxControl, which provides a suite of advanced editing controls that enables one to customize the system to compensate for room anomalies, create delay systems, eliminate feedback, and more.
Key features of WorxControl include an 800 ms alignment delay adjustable in 0.1 ms increments so operators can align delay systems, center fills, and more. There’s also a Limiter with fully variable threshold that enables one to control dynamics without a mixer or an output processor as well as a Compressor with fully variable attack, release, threshold, ratio, and make-up gain. Additional functionality includes an 8-band Parametric EQ or selectable Low/High Shelving filters for each loudspeaker in the system, 8 Notch Filters for removal of unwanted frequencies (to eliminate feedback), a Low Pass Filter with selectable filter types, plus Input level and gain reduction metering.
With Dante audio networking capability, all of the PDA-1000R’s capabilities come with the added benefit of streamlined system cabling. Known for its ability to transport low latency uncompressed audio over standard IP Ethernet networks with sample accurate synchronization, Dante provides automatic device and channel discovery as well as easy-to-use signal routing. Dante audio networking provides control over audio feeds from remote locations and enables users to build sophisticated SR systems by deploying Cat5 cables throughout the venue as opposed to running conventional audio cables.
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Barco Buys Control System Company MedialonBarco has purchased Florida-based Medialon. Medialon is known as a control system company that’s 100 percent cloud-based.
“For us, Barco has the piece we were missing — a sales channel,” Medialon North American Sales Manager, Eric Cantrell, told rAVe today. He continued, “It’s been an interesting several months. We are profitable and this gives Barco access to a market they want more control in — theme parks and museums — and they want to grow the corporate control business with Overture.”
Manufacturing and sales administration will move to Atlanta, Ga. and software development will move to Canada as part of X2O Media.
The acquisition has been announced to the distribution channel and becomes effective immediately. For the time being your current daily business contacts at Medialon remain unchanged, to ensure continuity during the integration period and beyond. We will inform you in a timely manner should any of your contacts change in the future.
Medialon is here and, of course, Barco is here. Leave a Comment
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PreSonus Ships Studio 192 Mobile Audio Interface/Studio Command Center PreSonus is shipping the new Studio 192 Mobile USB 3.0 22 x 26 audio interface and studio command center. Studio 192 Mobile delivers the same low-latency monitoring, and software integration as the 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.
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.
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 two rear-panel direct-to-ADC line inputs; 16-channel ADAT Optical In and Out (8 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.
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Comprehensive Intros Series of 4K HDCP 2.2 Splitters Comprehensive Connectivity just debuted a series of HDMI 2.2 4K@60 (YUV420 with a chroma subsampling rate of 4:2:0) resolution capable splitters (two-port, four-port and eight-port).
Comprehensive’s series of HDMI splitters (CDA-HD220EK, CDA-HD420EK, CDA-HD820EK) provides the user the ability to split a single HDMI 2.2 source for connecting to up to eight simultaneous HDMI output displays while supporting Ultra High Definition (UHD). The series of HDMI splitters are designed to support HDMI 2.0, HDCP 2.2, 3D, 12-bit Deep Color as well as High Definition Lossless Audio. Combined with EDID selections, the user is in control to choose between TV (downstream) or STD (fixed) settings. In addition, the splitters support video signals up to UHD 4K@60Hz (YUV420) and are capable of receiving and transmitting up to 10.2Gbps of bandwidth and Comprehensive claims with no data loss. The splitters also support 3D, LPCM 7.1CH, Dolby TrueHD and DTS-HD Master Audio, as well as 36-bit Deep Color and High Definition Lossless Audio.
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Focusrite Launches Advanced Red 4Pre Interface, Featuring 58-Input/64-Output Thunderbolt Connectivity Focusrite just announced the launch of the Red 4Pre, a 58-in/64-out Thunderbolt interface that combines four digitally-controlled mic preamps, plus high-headroom instrument inputs, with dual Pro Tools HD DigiLink and Dante network audio connectivity.
Four of Focusrite’s new, specially-developed “Red Evolution” preamps lie at the heart of the Red 4Pre, featuring -129 dB EIN and 63dB of gain. Software control allows recall of settings and stereo linking, plus configuration of HPF, polarity invert and individual phantom power. The preamps include Focusrite’s unique “Air” effect, recreating in the analog domain the sound of the transformer-based mic preamps in the classic ISA range — ideal for bringing out the quality of a vocal or adding presence to an acoustic guitar. Red 4Pre also includes high-headroom instrument inputs, accessible from the front panel.
The Red 4Pre’s new high-performance conversion system features “parallel path summing,” where two matched converters are run in parallel to increase the signal-to-noise ratio. They operate at up to 24-bit, 192 kHz sampling — ideal for high-resolution audio — with a dynamic range of 118dB(A-D)/121dB (D-A). The Red 4Pre delivers ≤0.0009% THD+Noise and a frequency response flat from 20Hz to 35kHz ±0.25 dB or better.
The Red 4Pre delivers exceptional connectivity. Dual Thunderbolt 2 ports connect to any DAW while allowing daisy-chaining of drives and displays. Focusrite’s lowest round-trip latency permits recording with preferred plug-ins in real-time and simplifies workflow, while dual DigiLink ports connect the Red 4Pre directly to any Pro Tools HD system. In addition, Red 4Pre features built-in Dante network audio connectivity: Use the dual Ethernet ports to connect any Dante-compatible product such as units from Focusrite’s own RedNet range, adding up to 64 channels via Ethernet exactly where they’re needed — wherever there’s an Ethernet network — with low latency and lower cost.
The Focusrite Red 4Pre will be shipping in May 2016 with U.S. pricing of $2,499.99.
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JBL Pro by HARMAN Intros Control SB2210 Dual 10-Inch Compact Subwoofer JBL Professional by HARMAN just launched the Control SB2210, a dual 10-inch subwoofer that combines high output and compact size into one product. The JBL Control SB2210 is meant to be used with the new JBL Control Contractor Surface-Mount Loudspeaker models — the Control 23-1, 25-1 and 28-1.
Power capacity for the JBL Control SB2210 has been increased to 500 watts, and it features a flatter frequency response with an improved bass extension to 38 Hz, a combination that delivers solid sonic impact. The new 10-inch drivers’ woven fiberglass cones deliver robust performance and the highly damped butyl rubber surround and linear suspension spider provide clean sound quality with low distortion.
Installation options include floor placement, wall or ceiling attachment via an optional U-bracket, or suspension via 13 included M6 insert points. The cabinet is available in black or white and is paintable.
You can see all the specs here. Leave a Comment
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BenQ Debuts PV3200PT 4K UHD Monitor BenQ America today launched its PV3200PT IPS and 4K resolution monitor. Purpose-built for 4K video postproduction applications, the 32-inch 4K Ultra HD display (3840×2160) has 10-bit color capability and 100-percent sRGB color, following the Rec. 709 standard.
One interesting feature of the BenQ PV3200PT is that they claim it can reproduce color tones with a Delta-E value of less than or equal to two and features a 14-bit 3D Look Up Table (LUT) for RGB color blending. In addition, BenQ claims the monitor offers a brightness uniformity function enabling it to maintain a consistent image across the entire display. By balancing brightness to a deviation and chromaticity less than 10 percent, the monitor offers a more consistent viewing experience. Individually tested to verify performance, the PV3200PT also features simple hardware and software calibration by allowing users to adjust the unit’s image processing chip without altering graphics card data.
An OSD controller provides preset custom modes so users can quickly switch between Rec. 709, EBU and SMPTE-C modes, increasing editing efficiency while saving time. ThePV3200PT monitor is part of BenQ’s Eye-Care models, which are designed to increase visual comfort while performing common computer tasks. While conventional screens flicker at a rate of 200 times per second, BenQ’s ZeroFlicker technology eliminates flickering at all brightness levels to effectively reduce eye fatigue and provide a more comfortable viewing experience during prolonged sessions of computer use. The monitor also includes ergonomic customization such as height, tilt, pivot and swivel adjustments.
BenQ’s PV3200PT monitor is shipping and lists for $1,499. Here are all the detailed specs. Leave a Comment
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Bose Professional Ships F1 Model 812 Passive Flexible Array LoudspeakerBose Professional announced that the F1 Model 812 Passive Flexible Array loudspeaker is now shipping. This new passive loudspeaker, along with a powered model introduced in 2015, are the first loudspeakers offering “FLEX array technology.” The ability to configure the array into four unique shapes lets installers focus sound to target listening areas, offering exceptional power and clarity for a wide range of applications and venues. This is a very cool idea and we shot a video of it at ISE here.
The passive F1 loudspeaker is designed for permanent installations in sports bars, live music venues, clubs, schools, houses of worship and any small to medium size venue requiring a high performance loudspeaker solution.
Included with an array of eight Bose proprietary 2.25-inch drivers, 100-degree horizontal waveguides, a high-powered 12-inch woofer and a lower crossover point, F1 Model 812 passive loudspeakers deliver high SPL performance while maintaining vocal and midrange clarity that’s better than conventional installable products. The F1 Passive loudspeaker has a rugged enclosure with Six M8 threaded insert points that can be combined with a full suite of optional mounting accessories including Pan and tilt, yoke and U bracket options. Additionally, both the portable and installed F1 systems offer easy setup, aesthetically pleasing design and rugged durability.
Bose F1 Model 812 Passive Flexible Array is 26.1″ H x 13.1″ W x 14.6″ D and 47 pounds (21.31 kilograms). Here are all the specs. Leave a Comment
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PreSonus Ships ULT-series Loudspeakers PreSonus is shipping its new ULT-series active loudspeakers, which combine their widest horizontal dispersion with a focused vertical dispersion for an ultra-long throw. PreSonus says the result is even coverage throughout the space, enabling the audience to hear clearly wherever they are. Designed for both mobile use and permanent installations by PreSonus’ WorxAudio commercial loudspeaker division, the series includes the ULT12 and ULT15 full-range systems and the ULT18 subwoofer.
The full-range ULT12 and ULT15 feature a rotatable Pivot X110 horn and a 12- or 15-inch, low-frequency driver with a 2.5-inch voice coil. Both speakers are biamped and driven by a 1,300-watt (peak) Class D amplifier. The ULT12 generates up to 132 dB SPL, and the ULT15 delivers up to 136 dB SPL.
PreSonus’ Pivot X110 constant-directivity, rotatable horn combines horizontal coverage (110°) with focused vertical dispersion (50°) for throw. In addition, the Pivot X110 horn’s large size (11×11 inches) enables it to control the dispersion pattern lower in the frequency range than smaller conventional horns, so it maintains more consistent gain on- and off-axis, ensuring that the audience at the sides has the same listening experience as those in front. The result is sound reproduction that evenly fills the entire room.
The Pivot X110 horn can be rotated 90˚, so the ULT12 or ULT15 enclosure can be mounted in a horizontal configuration while still maintaining its 110˚x50˚ coverage pattern. Rotating the Pivot X110 horn can also help fix FOH issues in tall, narrow venues by minimizing early reflections and providing more directed coverage. Add the ULT’s multi-angle enclosure and presets for live performance, floor monitor use, and music playback, and you have an extremely versatile loudspeaker that is equally at home at front-of-house and as a stage monitor.
You get two combo XLR and ¼-inch TRS inputs: a mic/line input with PreSonus’ XMAX mic preamp and a line-level-only input. The inputs have independent level control, allowing up to two audio sources to be mixed internally and summed to a balanced XLR output for “daisy-chaining” multiple units. A separate direct output for the line input channel provides additional flexibility.
The ULT18 subwoofer is driven by 2,000-watt (peak) Class D power and uses a direct radiating, ported enclosure. An 18-inch, low-frequency transducer with a 4-inch voice coil provides 7 mm of driver travel before over-excursion to push more air and bring more “thump.” A variable lowpass filter allows you to customize the crossover transition between the ULT18 and your full range loudspeakers. With a tour-grade enclosure and stereo combo XLR and ¼” inputs with direct outputs, the ULT18 is equipped for a variety of mobile and install applications.
All ULT loudspeakers feature lightweight, Baltic birch enclosures with a powder-coated steel grille, ergonomic handles, a locking IEC power connector, and a defeatable front-panel power-indicator LED. The ULT12 and ULT15 have multi-angle enclosures for use as mains or monitor wedges.
The ULT series list prices include the ULT12 for $999.95; the ULT15 at $1,099.95; and the ULT18 is $1,299.95. More information is here. Leave a Comment
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Fulcrum Acoustic Unveils New Subcardioid Subwoofer Fulcrum Acoustic just introduced the FLS115 Subcardioid Subwoofer; a companion to the FL283 Subcardioid Line Array. The FLS115 is designed for large venues, including performing arts centers, houses of worship, sporting facilities and nightclubs.
Using Fulcrum’s Passive Cardioid Technology, the FLS115 claims to reduce excessive rear low frequency radiation without the need for additional drivers, amplifiers, or signal processing. The FLS115 delivers superior LF directional control and rear rejection without the loss of efficiency commonly found in active cardioid devices.
Like the companion FL283, the FLS115 enclosure and rigging are designed to accommodate up to 20 degrees of splay between adjacent cabinets, providing for more sharply curved arrays than comparable line array systems.
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Cobalt Digital Announces New Fiber-Optic Converters for Blue Box Group Family Cobalt Digital today announced updates and additions to the popular Blue Box Group (BBG) family of fiber-interface converter boxes.
MK2 is the second generation of fiber optic BBG units. MK2 supports Cobalt’s BBGConfig software for setup and status-monitoring over USB and includes the following throwdown fiber-conversion products:
- BBG-EO-MK2 Single 3G/HD/SD-SDI/ASI/MADI Transmit
- BBG-OE-MK2 Single 3G/HD/SD-SDI/ASI/MADI Receive
- BBG-2EO-MK2 Dual 3G/HD/SD-SDI/ASI/MADI Transmit
- BBG-2OE-MK2 Dual 3G/HD/SD-SDI/ASI/MADI Receive
- BBG-EOOE-MK2 3G/HD/SD-SDI/ASI/MADI Transceiver
- BBG-H-TO-F HDMI 1.4 or DVI to SMPTE 259M, 292M, 424M SDI and SMPTE 297 Fiber-Optic Converter
Another new addition is the BBG-SFP-SXH reconfigurable video SFP throwdown box. This BBG unit has a 3G/HD/SD-SDI-selectable input or output with external SFP cage and HDMI and stereo analog audio output. A range of SFPs will be available for this box, making it a platform with maximum flexibility. Like all of the other new fiber BBG converters, the BBG-SFP-SXH supports the Cobalt BBGConfig application.
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Video Devices to Update PIX-E 4K Series at InfoCommVideo Devices will demo a new set of PIX-E Series 4K recording field monitors and accessories at InfoComm 2016 (Booth C6443). Video Devices will show two new features including an integrated H.264 codec and the ability to simultaneously recording and edit-ready Apple ProRes file and a much smaller size H.264 MP4 file.
Universally supported for viewing on PCs, Macs and browsers, Video Devices says the H.264 codec offers a good balance between compression and quality to reach low data rates and small file sizes. As a result, it is commonly used for web streaming and long duration recording. The codec also makes for faster file uploads and easier emailing of recorded files. While the PIX-E Series has always featured the full-range of ProRes codecs — from proxy up to 4444 XQ — these upcoming features will let end users simultaneously record an H.264 MP4 file and a ProRes MOV file. While recording 4K in ProRes, the PIX-E will automatically scale the 4K to 1080p for recording H.264, thereby reducing its file size even further. Both recordings will also include audio — up to eight channels with ProRes and two channels with H.264.
The PIX-E Series includes two five-inch models, PIX-E5 and PIX-E5H, as well as the seven-inch PIX-E7. The PIX-E5H features HDMI I/O only, while both the PIX-E5 and PIX-E7 monitors have SDI and HDMI I/O.
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Grundorf Expands Tour 4 Series Line of Wireless Rack Cases Grundorf Corporation just announced two new additions — the T4-WR-001A and T4-WR-002A — to the company’s Tour 4 Series line of cases designed for wireless microphone systems. Both models are 1RU systems with protective foam both above and beneath the single rack space where the wireless receiver is mounted while the front and rear lids are designed to accommodate the microphone, wireless transmitter, antennas, and related accessories.
Grundorf’s Tour 4 Series cases are manufactured in the US using ¼-inch plywood with an ABS laminate finish and an aluminum extrusion. The lid-to-body seal is made with an interlocking aluminum tongue and groove valance system to provide a tight seal. The handles and catches all use a steel washer backed rivet system for greater durability. The cases are available in four colors: black, gray, blue or red.
The front and rear lids of the new Tour 4 Series cases are foam lined and designed to accommodate equipment. The front lid holds the wireless microphone and transmitter while the rear lid is typically used for antennas and accessories. Each lid has a hinged cover to keep the contents secure. Customers have the choice of cutting the foam themselves to accommodate their equipment or having Grundorf handle this.
The Grundorf T4-WR-001A case ships with a 10.69-inch rackable depth. The rack body depth is 12 inches. With the front and back covers on, the exterior case measurement is 19.75 inches deep. The model T4-WR-002A case has a 14.69-inch rackable depth. The rack body depth is 16 inches. With the front and back covers on, the exterior measurement is 24.25 inches deep.
The new Grundorf T4-WR-001A and T4-WR-002A wireless microphone system cases are available now and are $579.95 and $599.95, respectively. Here are complete specs. Leave a Comment
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Barco Intros New Line of Laser-Phosphor Projectors for Simulation Barco just launched a new family of solid-state (laser) projectors to the simulation market. This new family of laser-phosphor projectors will exist alongside their LED range. The F90 — the first projector to be launched in this family — is spec’d at 13,000 lumens and up to 4K UHD (3840×2160) resolution.
The F90 series was designed with smearing reduction for fast-moving objects and has something called Single Step Processing (SSP) technology, which, Barco says, ensures lower latency than competing technologies, makes sure that, even in fast-moving simulation systems, the sense of reality is upheld at all times. The embedded warp and blend capability, Constant Light Output (CLO), unmatched color performance over time and dual iris system with optical filters for a great contrast range, guarantee that images can be displayed in any simulation system. And, the laser-phosphor light source is spec’d at 40,000 hours.
All the specs on the F90 series are here. Leave a Comment
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Datapath Releases the Fx4 4K Video Wall Driver Datapath has introduced the Datapath Fx4, a multi-display controller with four outputs and three inputs from a single box.
Features include DisplayPort 1.2 capture (with loop-through) at 4K/UHD at 60fps and HDMI 1.4 4K capture at 30fps. All inputs and outputs support HDCP content and can be programmed and controlled independently through either a local USB connection or the on-board network interface. And, via the DisplayPort1.2 loop-through, any of the inputs can be daisy chained to build video walls. With dual Ethernet port capability, only one Datapath Fx4 in the chain requires connection to the physical LAN as Ethernet loop-through is supported on the second port, meaning multiple devices can be connected. Developed for stand-alone operation, the non-volatile operation of the Datapath Fx4 can adapt to input changes by automatically adjusting all scale factors.
With the assistance of Datapath’s Wall Designer software, varying video wall designs can be accomplished via an on-screen viewer that can be designed to mimic your wall configuration. Wall Designer allows users to add displays from a database of monitors. Users can also visualise their content by adding inputs, adjust display regions and instantly program all linked devices. With bezel correction, image rotation, cropping, scaling and mirroring options, as well as the ability to overlap or replicate any splice of the source material, there are limitless creative configurations.
The outputs are four “genlocked” HDMI or DisplayPort HD 1080p connections. Each output monitor can take its input from any region of the input image as all of the required cropping, scaling, rotation and frame-rate conversion is handled by the Datapath Fx4 hardware. These regions can overlap to permit any output to replicate another, or can be configured to support any creative splice of the source material. This allows the support of many non-rectangular screen arrangements, as well as any mix of monitor orientations, permitting users to create an almost unlimited multi-monitor canvas.
Datapath will be at InfoComm and the Fx4 is here. Leave a Comment
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Neutrik opticalCON MTP 12 LITE to Launch New Fiber Assemblies at InfoComm Pro Co Sound is the manufacturer of Neutrik’s opticalCON MTP 12 LITE and ADVANCED Fiber Assemblies, which will be on display at InfoComm 2016 (Booth C9918). These cables are designed for UHD, 4K and 8K video production as well as fixed installations. They are rugged and lightweight 12-fiber mobile field cables that feature exceptional cable retention, a black PUR outer jacket and are available in both single- and multi-mode options.
Pro Co Sound has created the opticalCON MTP & SPLIT, featuring Neutrik’s opticalCON MTP 12 LITE connector and its MTP X-TREME & SPLIT with Neutrik’s opticalCON MTP 12 ADVANCED connector. Both cables feature excellent cable retention due to the use of aramid yarn in the design. The breakout and master cables are available as LC, SC and ST connectors. The opticalCON MTP & SPLIT is a durable and lightweight 12-fiber mobile field cable. The MTP X-TREME & SPLIT has a cut-proof and rodent resistant double-jacket glass yarn armored cable construction. These MTP connectors, based on conventional and established MTP connectivity, offer 12 optical fibers in a very small form factor.
Pro Sound is here. Leave a Comment
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