Volume 11, Issue 10 — October 27, 2017

In the early days of videoconferencing, it was a new capability, but was typically installed and used in ways that made it clumsy to use, because it was typically installed on top of existing conference rooms. So we looked down from some height way above the screen into the tops of people’s heads, in both directions. The telepresence movement had us creating dedicated rooms with appropriate placement of equipment and assets to make them more usable and friendly for distance communication. The problem there has always been that the added usability came at a very high cost and that it really only worked well with identically-equipped rooms. The movement to collaboration equipment made it easier for people to share their work, but never really addressed the inequality of the collaboration environments in that not everybody had the same equipment or the same access. The virtual reality environment addresses much of this by placing all participants in the same virtual room with the same virtual set of equipment, equalizing participation capability.

One would think that this would spell disaster for both the rental and installation industries, as the requirements to use a virtual conference room are only a computer and the VR headmounted display that will be this year’s most popular Christmas gift. Once those items are in place, environments from “huddle room” configurations to full board room configurations can be made available in virtual space. And, as when any new form of distance communication is introduced, for a time people will talk about the idea that holding group meetings that everyone travels to, or even installing large conference space, is unnecessary anymore.

But we have not yet addressed the thing that all distance conferencing lacks.

Doughnuts.

But I do not say that facetiously. This morning, we all made jokes about the fact that our VR meeting did not allow for us to take a break and have doughnuts or go outside and smoke. In the group I was meeting with, this had always been one of the points where we had side discussions that changed what we were going to say when we went back into the meeting. Those breaks have always been the places where we discussed things that were not on the formal agenda for the meeting.

English language has this great word: serendipity. It means to find an unexpected benefit, as in finding oil while you are prospecting for gold.

In-person meetings, and the shared office in general, have the side benefit of producing ideas and discussions that don’t happen in distance communications. Distance meetings tend to be very efficient, with a published agenda and a “host” who is in charge of making sure that the agenda is completed. People tend to stay on track and in fact this is one of the ideas we have used as an industry for many years to promote the idea of distance meetings.

But they do not promote that lunchtime discussion. The lunch break is transformed from being the time at which we all kick around ideas that were not part of the meeting to a 15-minute break where we all log out and frantically return our email. We have lost our lunch and even more importantly, we have lost the water cooler, where employees and participants from different departments who were not part of the meeting got together. This is the location where people from accounting and people from marketing had impromptu conversations about their issues and often came up with unexpected ideas.

These watercooler conversations have always been part of the uncounted benefit that comes from getting people together. My prediction is that in today’s fast-moving business environment, the lack of this serendipity will be discovered quite quickly. So while I do predict that VR will have an enormous impact on distance conferencing, I don’t think (in the long term) it will change the need for real meeting spaces or real conventions and meetings held in outside spaces or at least not as much as some of the pundits are predicting that it will.

In the meantime, I am going about my business creating virtual meeting spaces for people. But I have decided to equip each virtual meeting room with an outside hallway and a virtual water cooler.

JRR

The Sideline Audio/Video Cart is fully customizable and can be equipped to each customer’s specifications. Since equipment can be pre-assembled in the cart, setup and strike times are greatly reduced. Staff costs are lowered because fewer technicians are required on-site, and they can arrive later to the venue. The cart provides connections for single-mode fiber, SMPTE hybrid and copper cables, and hydra cable assemblies, and it enables MADI audio as well as wireless audio and video transmissions. A built-in patch bay makes it easy to monitor, troubleshoot, and manage signal routing.

The lightweight Sideline Audio/Video Cart can be moved into place and deployed in minutes by a single person, and it comes complete with integrated antenna poles, customized drawers for stowing gear, and a flat tabletop surface that can serve as an on-site workspace. The standard cart measures 72 inches by 47 inches by 36 inches, providing ample rack space for shows of any size, and its rugged, weather-resistant housing protects gear in all types of conditions. The cart is powered via 110-volt outlet and provides an extended period of UPS backup power.

The specs of the Sideline Audio/Video Cart are here.

Compared to more traditional laser-based projection systems that incorporate a blue laser only, the addition of the red laser results in what Eiki claims is greater brightness (8,500 lumens with a 16:10 aspect ratio), a higher red color ratio without diminishing either blue or green performance and increased Gamut Area Ratio performance.

The new Eiki EK-815U includes content connection via LAN, HDBaseT, HDMI, VGA and USB.

Eiki’s EK-815U has both horizontal and vertical lens shift and  keystone correction, edge blending and a warping engine. There are six optional lenses available for use with these systems, encompassing throw/width ratios from 0.36-15.24.

The EIKI EK-815U lists for $15,995 without a lens. More information is here.

Chief says its engineers worked with the rental and staging space every day to find out the common problems with display stands. The main issues they discovered were speed, storage and wear.

The PRSU was made to be intuitive to set up so anyone can figure it out quickly. No tools are needed to set up the stand, which also saves time. Most people can set it up in under two minutes, even the first time.

The rugged design can withstand the wear and tear that is commonplace when working with portable AV applications. Other stands can become marked up over time, particularly on chrome parts.

The PRSU also breaks down and folds up for easy space savings and can be stored in a customized, wheeled case accessory that can be stacked or set upright to accommodate various truck and warehouse spaces. Features include tilt, height adjust, cable management, padlock security, landscape and portrait orientations and tool-free installation. A shelf is also available, which is designed for rapid install and can be stored within the accessory case.

You can find the PRSU here, the PAC900 here and the PAC910 here.

HeadSetup Pro Manager is a cloud-based enterprise SaaS (Software as a service) hosted on Microsoft Azure cloud services and Microsoft Azure SQL/NoSQL databases. This solution allows for secure control of remote devices, even across multiple sites through encrypted communication with a client on each user’s computer. No sensitive data is stored. Sennheiser’s client application, HeadSetup Pro, works in the background to manage connected headsets or speakerphones with minimal distractions to the end user.

According to Sennheiser, HeadSetup Pro Manager delivers benefits in three main areas – Asset Management, Update Management and Configuration Management.

Asset Management 

The new software solution offers a detailed overview of all headsets and speakerphones installed in the company. From one location it is possible to receive an overview of both active and inactive audio devices to identify the registered owner and user. By offering visibility of assets, IT departments can more effectively manage resources to improve productivity.

Update Management 

HeadSetup Pro Manager provides a flexible and cost effective way to push out latest software updates to all an organization’s Sennheiser headsets, at a time that’s most convenient to IT and users alike. It is possible to push new updates to an unlimited number of users or defined user groups from a single easy to use dashboard and to schedule automated updates in a way that causes minimal downtime and disruption to the business.

Configuration Management 

The centralized configuration option allows all settings to be controlled from the IT department, while headset users experience a simple plug and play solution. HeadSetup Pro Manager makes it possible to centrally push configurations or lock specific specifications on wired and DECT wireless headsets to comply with regulatory compliance settings for specific groups or individuals from one single dashboard tool.

Here are all the specs.

The AMP-225 (two channels @ 25 watts each 8 ohm) and AMP-150-70 (one channel @ 50W 70V) have EnergyStar certification, built-in fault protection, and modular construction. Using a slide-rail design and measuring a quarter-rack size, multiple units can be ganged together in a single rack space. These new amps can also be combined with Crestron half-rack amps, the AMP-1200 and AMP-2100, for a 1 RU solution, or surface-mounted under a table.

Crestron says the Avia Audio Tool provides a workspace that streamlines audio design and programming. New controls and functions can be added on-the-fly so programmers no longer need to “re-wire and recompile” to make changes.
Here are all the specs of each.

The Quantum 2 offers two combo mic/instrument inputs and two combo mic/line inputs, each with a digitally controlled XMAX preamp and +48V phantom power. You also get four ¼-inch TRS line outputs, and a headphone output with dedicated volume control. With ADAT Optical I/O and S/PDIF stereo digital I/O, you can have up to 18 additional digital inputs and outputs for a total of 22 in and 24 out. BNC word clock I/O ensures your Quantum 2 and other digital audio devices operate in tight sync. Of course, you get MIDI I/O, too.

With the Quantum 2, your audio interface is an integrated extension of your recording environment. Launch the included PreSonus Studio One Artist DAW, and you’ll find full preamp control functions integrated into your recording environment. Most of the Quantum 2’s features can also be controlled in PreSonus’ free UC Surface control software, so even if you use third-party recording software, you can remotely access the features. To top it off, Quantum 2 owners get the Studio Magic Plug-in Suite free.

With its pro features, flexible software and abundant I/O, the Quantum 2 joins the original Quantum as PreSonus’ most powerful combination audio interfaces/studio command centers and fits into any recording and production environment. The Quantum 2 interface will start to become available in late October 2017 at an anticipated MAP/street price of $699.95.

Here are the details.

The new C Series includes three models — the 43″ C431, 50″ C501 and 55″ C551 — all of which have a mechanical depth of only 45mm. This slender profile allows for a lighter design as well as unobtrusive mounting and easier accessibility in situations where ADA compliance is of importance.

These models provide many commercial-grade features, including full bidirectional external control through both the LAN and RS232 interfaces, which enables easier integration into control systems. They can also be installed in both landscape and portrait orientation, expanding the ways in which users can deploy them.

The C Series models are ideally suited as digital signage displays for informational and advertising purposes as well as presentation devices for smaller conference rooms or huddle spaces. They contain anti-glare screens that scatter incidental light and allow customers maximum visibility of the content being displayed on the screen, which is of utmost importance for digital signage applications. Each C Series display will also have an optional IR touch overlay that will allow users to easily turn each display into a touchscreen for wayfinding and other interactive uses.

The C Series were all here.

The AV Bridge MatrixMIX can be used in a variety of applications including live production, automated presentation and unified conferencing and collaboration. It offers a multi-functional feature set to combine switching, advanced camera control, streaming and graphics mixing capabilities – all from a single appliance.

When paired with Vaddio’s two other new products – the new PCC MatrixMIX Camera Controller and TeleTouch 27 USB Touch-Screen Multiviewer, an integrator can create customized solutions for a number of specific applications. For example, it can be used as a production switcher in a live event application, or it can be configured as a local presentation switcher for a lecture capture application in a larger lecture hall. The AV Bridge MatrixMIX can be configured for a PC-based collaboration session. Because it can be controlled and configured remotely, an operator can use the AV Bridge MatrixMIX in large enterprise and higher education applications where a centralized control center is used to control multiple AV rooms.

The AV Bridge MatrixMIX AV Switcher is an 8×2 video mixer that also provides multiviewer output. Its 11×7 audio mixer supports analog, HDMI, USB and IP audio channels. It offers embedded RTSP IP and USB 3.0 output streaming, plus four graphic keying layers per output channel.

More information is here.

The F80 builds on the fundamentals of the other Barco F-series phosphor laser projectors. The constant brightness and long-life color performance is managed by Barco Pulse’s unique Single Step Processing (SSPTM) technology that delivers 4K Ultra High Definition (UHD) resolution in only one step. So users can offer their audiences a sharper image and much higher overall image quality with less latency compared to other products on the market.

The Barco F80 will be available from the fourth quarter of 2017. The F80 specs are here.

The DMP 128 Plus Series is the next generation of Digital Matrix Processors featuring Extron ProDSP 64-bit floating point technology. DMP 128 Plus Series processors are equipped with 12 analog mic/line inputs, eight analog outputs, up to four channels of digital audio input and output via USB, up to eight audio file players and new configurable multi-device macros. An ACP bus makes it easy to connect one or more ACP Series audio control panels, offering an economical solution for audio system control.

For detailed information on VoIP technology and compatibility, go here. For information about the DMP 128 Plus Series, go here.

ME-500 features include a crisp, dimmable display, 16 backlit select keys, mute and solo buttons, a master level with limiter and EQ, plus a single rotary encoder for all main navigation and control. Each ME-500 can store and recall eight user presets for different mixes, users and shows and save them to a USB thumb drive. Outputs include a mini jack and ¼” headphone jack and a TRS mono out for wedge monitors.

Any number of ME-500 and ME-1 personal mixers can be added to a system. Secure EtherCon connectors allow ME-500s to be daisy-chained, or deployed in a star topology using the ME-U or an off-the-shelf PoE switch.

Here are the details.

The newest addition to Sharp’s family of displays is designed for use in stores and shops that are looking to affordably create wow factor. With a bezel of just 4.4 millimeters, large images on the video wall appear natural and seamless. The 70″ Class (69.5″ diagonal) monitor allows integrators to assemble video walls with fewer monitors and less bezel lines, minimizing the non-display areas and maximizing value for users. Developed specifically for use in multi-monitor installations, the PN-V701 display is rated for 24/7 operation and can be arranged in portrait or landscape orientation. It’s also approximately 16 percent lighter in weight than the 60″ Class (60″ diagonal) PN-V601A display.

The PN-V701 comes equipped with Sharp’s Inverse Scan function. Designed to correct image misalignments by alternating the scanning direction between vertically adjacent monitors, Inverse Scan creates smooth, natural images on the large video wall. Additional features include SHARP Advanced Uniform Color Calibration Technology (UCCT), which can deliver uniformity of color and brightness across the entire video wall. The monitor also has an HDBaseT Receiver Board. By installing the optional receiver, the PN-V701 display is able to receive HDMI video, audio signals and control signals sent up to 100 meters away through a single Cat6 cable.

The PN-V701 is scheduled to ship this month and here are all the specs.

Walk around the venue during sound check and fine-tune your speakers to sound better as a system. Use the 8-band EQ, speaker delay, mute, gain and more to make sure your audience hears great sound from every corner of the room. It’s easy to configure shows offline and save presets. You can even find any connected speaker instantly with the useful Locator function.

Here are the details.

Released in February 2017, Overture created a revolution in A/V control solutions. Because it’s an IP-based software system where any network-connected device can be controlled via a browser.

By introducing new automation features, Overture allows users to get the most out of their A/V Control systems. Overture’s ‘Behaviors’ enable the automatic creation of a task associated to a specific point (device, room, location). For example, an administrator can set a task to automatically switch on or off all the devices on the same floor at the end of the workday — without any programming. Moreover, the detection of the state of a variable can be used as a trigger for automation. For example, the moment a ClickShare button is plugged into a laptop, the projector will automatically power on and switch to the ClickShare source.

The ‘Scheduler’ capability now enables users to set certain actions at pre-defined times, such as turning off all devices at night to save electricity. With the addition of the Behaviors and Scheduler functions, a facility or IT manager can easily configure the system to enable the entire enterprise to be controlled with the click of a button or even execute tasks automatically at specific times.

You can learn about Overture here.

Rubix22 is a two-in/two-out model with dual mic preamps. When coupled with an iPad, it creates a highly portable recording or performance rig. Rubix24 adds two extra outputs and a hardware compressor/limiter for controlling highly dynamic sources. Rubix44 adds two additional mic preamps for a total of four inputs and four outputs.

The Roland Rubix series is available with pricing as follows:

• Rubix22: $149
• Rubix24: $199
• Rubix44: $299

All the specs are here.

Constructed using a hybrid design of four POF (Polyfluorinated Optical Fiber) and six copper wires, plenum-rated HyperLight cables are rugged, lightweight and highly flexible, with a minimum bend radius of just two millimeters. The cables have two removable DisplayPort docking connectors may be detached, revealing a connector cross-section that measures just 10 by 12.4 millimeters. The docking connectors include a locking pin plus an optional pulling sleeve, make the cables easy to install in narrow conduits or in plenum air spaces.

The high speed DisplayPort signals are transmitted over four optical fibers, which DVIGear says make them immune to interference from environmental noise. The optical transmission path provides a very low RFI / EMI profile, which allows the cables to be installed in sensitive applications with strict security requirements. The cables draw power from the connected DisplayPort source, eliminating the need for an external power supply. These cables are available now in a wide range of cable lengths up to 100 meters (328 feet).

Here are the details.

The new Big Knob series delivers all that and more, with the addition of high-resolution Onyx USB recording and playback delivering a powerful, hybrid solution that is truly greater than the sum of its parts. Both the Big Knob Studio and Big Knob Studio+ offer high-resolution USB interfacing, with dual Onyx mic preamps to deliver an ultra-wide 60dB of gain range and award-winning sound quality.

The Big Knob Passive allows for selection for two sources and two monitors, its no-power-required passive design ensures pristine sonic integrity for any home studio application or for integration into a large studio or group of editing suites. Big Knob Studio adds USB recording/playback and expands the I/O routing to three sources and two monitor pairs. It also incorporates essential studio features like integrated talkback and dual headphone outputs. Big Knob Studio+ adds even more features, with three selectable monitor outputs and four input sources, including a USB playback from a DAW with 192kHz / 24-bit audio conversion.

Big Knob Passive, Big Knob Studio and Big Knob Studio+ are all shipping now worldwide. Big Knob Passive lists for $89.99, Big Knob Studio lists for $259.99 and Big Knob Studio+ lists for $389.99. All of them are here.

The FaderPort 16’s unique Session Navigator provides easy access to eight mission-critical functions for maximum flexibility. Dedicated buttons are provided to instantly arm all tracks for recording, control mutes and Solo Clear, view only the tracks, buses and VCAs users want to see and more. Four programmable user buttons let users quickly and easily access favorite functions. Large, illuminated buttons make finding the needed function quick and easy. Sixteen high-definition digital scribble strips provide visual feedback.

Streamlined workflow and support for the Mackie Control and HUI protocols make it fast and easy to control virtually any DAW. No driver installation is necessary; just plug the control surface into a USB port to take command of the mix and plug-ins.

When used with Studio One, the FaderPort 16 is allows a user to bypass all the plug-ins on any track with one button-press and open the Channel Editor and enable faders to control each channel’s custom macro. The Control Link feature so that the Pan/Param encoder can follow the mouse, providing instant hands-on control of any parameter — or lock the encoder to the current parameter. The Session Navigator can be used to quickly scroll through the different sections in the Arranger track and more.

The FaderPort 16 will list for $999.95. Here are the details.