Volume 11, Issue 11 — November 27, 2017
|It’s Beginning to Look a lot like Maintenance…|
By Joel Rollins
“’twas the night before Christmas,
and all through the shop
not an order is stirring
so let’s get out the mop…”
Yes, the holidays are upon us again. And with the exception of holiday parties and events, many of us can find ourselves looking for things to do. Having spent a few years working in rental companies, I have some suggestions for some nice, time-consuming things to do, many of which do not get done during the busy parts of the year.
OK, this one is a gimme that everybody has thought of already. But sometimes, maintaining our inventory is a lot like the case of the lazy man who was asked why he didn’t fix his leaky roof. His answer? “Well, I can’t fix it when it’s raining, and when it’s not raining it don’t leak.” Equipment maintenance may be boring and time-consuming, but it can save us so many of those potentially heart-stopping moments during the year that we can usually motivate people to do it during the downtime, if only in self-defense. The question here is how you make it interesting. One year, two other technicians and I created a bet over who could find the most potential problems. I have even thought about making it a drinking game, but I have been afraid of what the results might be.
This one is often overlooked, but can pay off during the year just as much as having a pristine inventory. And, during this special time of the year, it’s an opportunity for people who have information but are normally not involved in record-keeping to bring the company up to date. Namely, the technicians and field personnel could have a lot of information to contribute about our customers that they don’t normally think about. Field personnel often have more contacts within a client organization than the office people do. Many times, our client records at the shop contain an Accounts Payable reference, but not a lot of the management and administrative names and phone numbers that can help to get an invoice paid or an order clarified. This is also our opportunity to create better communication between field personnel and office personnel, and even to set up one of the simpler project and task management systems (like Basecamp, which I love) that could allow the technicians to provide this kind of information all year long.
Those demonstration systems
AV suppliers, especially rental suppliers, are in the business of introducing new technologies to clients. As we turn over our inventory and adopt new technologies, we need to show them to the people who are going to use them. For this purpose, I have nearly always had a meeting room at our headquarters that we use for this purpose. However, in the tradition of the barber usually having the worst haircut, I have seen a lot of these rooms that were, shall we say, less than professional. When I was a technician, no matter how our sales department set these rooms up, we considered them auxiliary inventory. This meant that very often by the time the sales department arrived in the building, we had stolen key pieces of their demonstration equipment for orders. I don’t believe this is ever going to stop, since in the rental business I have even stolen our office furniture and equipment to use as stage props. But this is an opportunity for our technicians to work with the sales department for a better understanding of how these systems work, and to potentially even get a short-term promise to eventually restore stolen items to the system.
This is another one that nearly everybody commits to do over the holidays, but often gets postponed as other, “more important” things take priority. But not only can training pay off during the year, it can also be an enormous staff booster if done well. I have long been an advocate of crosstraining, giving our office personnel an opportunity to see how things work and our field personnel an opportunity to see “how the other half lives.”
In the end, all of these things really boil down to “personnel maintenance.” Often, the technology that we represent is less important than the way we represent it and the way our staff works together during the busiest times of the year. This is an opportunity, during a rare time when we have everybody in the shop, to do a little teambuilding. A holiday party is great and I highly recommend it. But most of the time, a holiday party takes a single evening and is something many of us will forget afterward. But the opportunity to set ourselves up for a more successful year is a present that we can all give each other.
Stay tuned for next month, when we will cover the New Year’s resolutions that every AV staff should avoid making.
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|Audio-Technica Ships AT5047 Cardioid Condenser Microphone|
Audio-Technica is now shipping its new AT5047 Cardioid Condenser Microphone. The most recent addition to Audio-Technica’s acclaimed 50 Series (which also includes the AT5040 vocal microphone and AT5045 instrument mic), the AT5047 is a studio microphone that features the same capsule as the AT5040 but with a transformer-coupled output and optimized electronics. It is equally at home capturing instruments and vocals.
The AT5047 features four rectangular two-micron-thick diaphragms, which function together to provide a combined surface area twice that of a standard one-inch circular diaphragm. Advanced internal shock mounting decouples the capsule from the microphone body and the included advanced-design AT8480 shock mount provides isolation.
- Element: Fixed-charge back plate, permanently polarized condenser
- Polar Pattern: Cardioid
- Frequency Response: 20 to 20,000 Hz
- Open Circuit Sensitivity: -29 dB (35.5 mV) re 1V at 1 Pa
- Impedance: 150 ohms
- Maximum Input Sound Level: 148 dB SPL, 1 kHz at 1% T.H.D.
- Noise: 6 dB SPL
- Dynamic Range (typical): 142 dB, 1 kHz at Max SPL
- Signal-to-Noise Ratio: 88 dB, 1 kHz at 1 Pa
- Phantom Power Requirements: 48V DC, 2.7 mA typical
- Weight: 592 g (20.9 oz)
- Dimensions: 165.3 mm (6.51”) long, 57.0 mm (2.24”) maximum body diameter
- Output Connector: Integral 3-pin XLRM-type
The AT5047 is now available with a list of $3,499. Here are all the specs.Leave a Comment
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|DPA Microphones Introduces New Amplifier Technology Called CORE|
DPA has just launched CORE, a new amplifier technology that lives within its line of miniature lavalier and headset microphones.
Looking to minimize distortion as well as increase the dynamic range, or workable area, of its d:screet and d:fine lines of microphones, DPA developed this new amplifier to create an even clearer sound from the highest of the highs to the lowest of the lows. The dynamic range has been expanded in all ‘CORE’ miniature capsules. For example, the dynamic range of the d:screet 4061 and the d:fine 4066 has been increased by 14 dB at 1 percent THD. DPA says that CORE technology gives the microphones a more clear and open sound in the whole level range.
Located in the capsule of its miniature mics, CORE is currently available in the d:screet 4060, d:screet 4061, d:fine 4066 and d:fine 4088 mics. Microphones purchased with the new technology will come in CORE packaging and will have a blue label near the serial number on the cable to differentiate between these and the original versions. A very discreet laser engraving stating ‘core’ has been incorporated at the microphone capsule as well. The remaining d:screet and d:fine microphones and full range of color options will be available with CORE technology in early 2018.
The new ‘CORE’ omnidirectional microphones will also provide water and moisture resistance through nano coating and hermetic sealing of the sensitive electronics.
All of CORE’s specs are here.Leave a Comment
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|Alcons Extends Coverage Of The QR24 Line-Source ColumnThe QR24/110 is a modular two-way column loudspeaker to be used as scalable vertical array system, for both permanent and (limited) portable applications. It combines a 1:1 linear and dynamic sound reproduction with superb intelligibility and throw, in even the acoustically most challenging environments. The symmetrical acoustic design, in combination with the wide, patented 110-degree horizontal dispersion of the RBN High Frequency drivers (all the way up to 20 kHz), offers a coherent horizontal pattern control with seamless coverage; this widens the “stereo sweet spot” significantly, for the off-axis positioned audience.
By using only two 12″ RBN pro-ribbon transducers for the mid-high frequencies, the system’s 90 percent active frontal radiation results in a sharply-controlled vertical dispersion. This offers a unique, SPL-independent intelligibility-over-distance, without the necessity of DSP-based beam-shaping.
The flat frequency response and the fast transient response of the RBN mid-high frequency transducers, in combination with the sharply controlled dispersion, brings a maximum “gain-before-feedback” up to directly in front of / under the system. Each purpose-designed RBN1203 12″ pro-ribbon driver has a peak power handling of 2.000W (200 millisecond), creating a virtually infinite system MHF headroom of 4.000W from 1kHz up.
The low-mids are taken care of by 4x high-excursion, vented 6.5″ transducers, which are co-axially mounted behind the pro-ribbon drivers, delivering a frequency response of 74 Hz — 20.000 Hz (-3dB). The controlled (cylindrical) projection can be extended down to the lower frequencies by enlarging the array length through adding extra QR/QM modules (extending the “near field”). Up to two QR24 units can be combined on a single tripod stand, forming a 1.32-meter / 52-inch tall array; in flown configuration, up to 11 cabinets QR24 can be connected, with the integrated flying hardware under a safety-rating of 10:1, forming arrays of more than 7 meters / 24 feet tall.
The passive filtering allows multiple modules to be combined on one amplifier channel, up to three units. The QR24/110 is powered and controlled by the ALC amplified loudspeaker controller; Through the integrated processing and feedback, the ALC offers QR24-specific drive processing with optimal response and reliability and utmost user-friendliness.
The Signal Integrity Sensing pre-wiring dynamically compensates for speaker cable/connector influences between the QR24 and ALC; This offers a 1:1, undistorted, natural sound reproduction, regardless of cable length and amplifier impedance load (system damping factor 10.000).
The QR24 is also available as QR24/80, with 80-degree horizontal dispersion and can be combined with the QR24/110 in the same array. Certified EASE data for the QR24’s with a 1-degree resolution accuracy is available on the Alcons website.
You an find Alcons here.Leave a Comment
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|HARMAN Pro Ships JBL Professional 7 Series Powered Monitors|
HARMAN Professional Solutions today announced JBL Professional 7 Series Powered studio monitors are now shipping. The new JBL 705P and 708P self-powered models deliver superb imaging and neutral response in any room.
The 7 Series Powered studio monitors feature newly developed JBL high- and low-frequency transducers driven by dual 250-watt power amplifiers to deliver what JBL says is two-to-three times the output of conventional studio monitors, as well as exceptional dynamic range for demanding music and film production applications. Proprietary JBL waveguide technology provides neutral response and room-to-room consistency, while built-in room EQ solves common low-frequency issues. The system includes balanced analog and AES/EBU inputs for connecting to a broad range of sources. A HARMAN HiQnet Network port is provided for future upgrades.
When combined with the JBL Intonato 24 monitor management and tuning system, 7 Series monitors offer an exceptional monitoring platform for audio mix control of all sizes. Intonato 24 simplifies monitor system setup while offering precise automated calibration and complete control of monitor systems in stereo, surround and immersive-audio configurations. Intonato 24 includes a calibration microphone and innovative Automated Speaker Calibration process that tunes each 7 Series speaker to compensate for speaker placement and room acoustics, delivering a neutral response to the mix position — even in less-than-ideal workspaces. The elegant Intonato Desktop Controller provides instant access to Intonato 24’s master volume, scenes, mute and solo, bass management, aux send and talkback capabilities.
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|Barco Enters LCD Video Wall with Solution That Even Includes the Mount
Barco is building its new UniSee direct-view LCDs, aimed at the video wall market, in Taiwan. And because the new UniSee line is aimed at simplifying the installation of LCD video walls, Barco has also custom-designed a UniSee mount that, the company says, guarantees less than a 1.09-millimeter separation between pixels from one monitor to the next (the smallest LCD video wall on the market now is about 3 millimeters) as well as ensures that one person can install an entire wall by him or herself.
Barco UniSee is a bezel-less LCD video wall (as I mentioned earlier, 1.09-mm from pixel to pixel between tiles/LCDs, but there is no actual bezel) with bi-directional communications designed to allow for intra-tile uniformity, brightness and optimal colorimetry. Barco is branding its bezel-less design as NoGap.
In addition to guaranteeing the smallest possible gap without damaging the panels’ edges, Barco has created the UniSee Mount: a creative mounting structure that uses the power of gravity to automatically align panels. Because it’s a mount that’s specifically designed for the UniSee, that’s how they made it so they can be installed without a lot of effort and by one person — it’s purpose-built and Lego-like.
Barco also says that Sense X − its automatic and real-time color and brightness calibration system − is what allows the wall to produce a balanced image at all times, even if a panel needs to be replaced. Barco has also re-engineered the design of the panels to counter all possible variations in brightness from the center to the edges. The result is intra-tile and inter-tile uniformity.
Because the LCD video wall is often part of a business-critical application, Barco has taken all possible measures to ensure optimal uptime. The platform is built in such a way that it can easily be diagnosed and serviced. The software platform (UniSee Connect) that manages the entire video wall automatically assigns and calibrates the panels and acts as the single point of connection for remote diagnostics and control. The panel, itself, is spec’d at 100,000 hours light source lifetime.
The panel is a 55” direct-view LCD, specified at 800 nits. I spoke to Barco’s Hans Dekeyser,VP sales enterprise this morning on rAVe RADIO and got the exclusive scoop behind the product the reason for the concept and how it’s different than any other video wall product on the market right now. You can listen to that here.
You can see the entire UniSee line here and it will be distributed by both Starin and Almo Pro A/V in North America but Barco has not released plans for distbution in the rest of the world yet.
One UniSee panel, including the mount, cabling and included five-year warranty, will list for $8,500. Barco says it will be available before the end of the year.
rAVe editor Sara Abrons is in New York City at the live launch. You can see an interview she did with UniSee designer Tom Dewaele here.
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|Allen & Heath’s New SQ Series Is a Compact, 96kHz Digital Mixing SolutionWith its 96kHz XCVI FPGA engine, Allen & Heath’s new SQ Series Digital Mixers bring the high-resolution audio performance of the company’s dLive Digital Mixing System to a compact, cost-effective and customizable platform.|
SQ Series mixers are designed for a wide range of applications. Live sound engineers can customize the mixer’s workflow using a capacitive touchscreen, illuminated rotary controls and softkeys with custom naming on fader strips. Houses of worship can use scenes and layers to configure the mixer for worship, broadcast and special events while simplifying setup for volunteers. Rental and production companies will find SQ Series mixers well suited to music festivals and touring artists and can use the integrated auto-mixer for corporate events and conferences.
With the built-in “SQ-Drivem,” recording engineers can capture high resolution stereo and multitrack to a USB drive. In the studio, an SQ Series mixer can become a plug ‘n play, Core Audio or ASIO compliant, 32×32 96kHz audio interface, with MIDI and DAW control capabilities. To complement the SQ Series built-in EQ, compression and effects, users can add Allen & Heath’s optional boutique plug-ins while the mixer’s DEEP processing architecture maintains class-leading <0.7ms latency.
Two models offer a choice of size and control configuration. The rack-mountable SQ-5 has 16 onboard preamps, 17 faders and 8 softkeys while the SQ-6 provides 24 preamps, 25 faders, 4 assignable rotary controls and 16 softkeys. Both models support up to 56 input channels via remote expanders and both feature a networking slot for optional Dante, Waves and other cards, expanding the applications for installed systems, FOH-to-monitor splits and multitrack recording. An ecosystem of apps, remote expanders, networking cards and personal mixers multiply the SQ Series’ expansion and integration possibilities. The new SLink intelligent port allows connection to Allen & Heath’s 96kHz and 48kHz expanders and can link to another SQ Series mixer or to a dLive system.
SQ Series pricing starts at $2,999. Here are all the specs.Leave a Comment
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|TASCAM Unveils New TM-90BM and TM-90GN Mics and Stands|
TASCAM has introduced three new TM-series condenser microphones and the new TM-AM-series microphone stands and booms. The new products have multiple applications but are ideal for podcasters and videographers.
Primarily intended for personal podcasting and other talk shows but also useful for recording group interviews and corporate meetings, the new TM-90BM boundary condenser microphone is perfect for picking up multiple voices. Instead of setting up separate microphones for each speaker, simply place one unidirectional (half supercardioid) TM-90BM in the center of the table, supply it with phantom power and you’re ready to go. Only 24 millimeter (0.95 inches) high, the TM-90BM’s flat, compact, sleek black design minimizes its visibility so people won’t be distracted by the presence of a microphone. Yet it can record sources as loud as 140 dB SPL without distorting. A Bass Tilt switch can attenuate bass frequencies for better speech intelligibility or boost low frequencies when recording pianos, drums or other musical sources. The TM-90BM comes with a handy carry case and 2.9 m (9.5 ft) cable with XLR connector.
TASCAM’s new TM-95GN gooseneck electret condenser microphone is another solution for podcasts and meetings. The unidirectional (cardioid) TM-95GN comes with a dedicated, extremely stable mic stand with on/off switch, making it easy to set up, position and custom-adjust for show hosts, guests and meeting participants. A windscreen is included for reducing vocal pop noise. You also get a 2.4-meter (7.9-foot) XLR microphone cable. Pair a TM-95GN for the show host with a TM-90BM for guests to get a complete, professional-quality podcasting mic system.
Videographers and filmmakers can capture focused audio from a distance using TASCAM’s new TM-150SG supercardioid shotgun microphone. With the included microphone clip with shoe mount, you can easily mount the mic to compatible DSLR cameras. It can handle up to 124 dB SPL and its included windscreen and built-in low-cut filter make it an excellent choice for outdoor applications. Use the TM-150SG’s XLR output to mate it with a TASCAM digital audio recorder (e.g., the DR-701D or DR-70D), combining the electret condenser shotgun mic and the recorder’s built-in omnidirectional condenser mics to capture voices and ambient sound. A hard carry case and 5/8-to-3/8-inch mic screw adapter are included.
The TM-AM stand series starts with the TM-AM1 microphone stand, which includes a counterweight for the stability to support the heavier professional microphones many budget mic stands can’t handle. The height of the main pole can be adjusted between 90 and 142 centimeters (35.4 to 56 inches), and an expandable second boom can be connected to the center shaft, which is especially useful when stand space is limited, such as in a small vocal booth. The second boom’s height can be adjusted between 58 – 90 centimeters (23 – 35.5 inches). A 5/8 inch-to-3/8-inch mic screw adapter enables connection of virtually any standard microphone cradle.
TASCAM’s TM-AM2 adjustable broadcast-style microphone boom stand is a desk- and table-mounted solution, clamping to tabletops up to 55 millimeters (2.2 inches) thick. Its 520 millimeters (20.5 in) scissor-type boom arm reliably keeps your microphone positioned just where you want it for hands-free recording and podcasting. When not in use, it easily swings out of the way. When dismounted, it can be folded for storage or transport. The TM-AM2 comes complete with 5/8-to-3/8-inch mic screw adapter.
When you need maximum stability, choose the new TM-AM3 tripod microphone stand. Similar to speaker and camera tripods, the TM-AM3 easily sets up among existing gear, such as cymbal stands, cables and other mic stands. The main pole’s height can be adjusted between 114 – 162 centimeters (45 – 64 inches). A counterweight balances the weight of microphones and prevents the expandable second boom from moving. As with the TM-AM1, the second boom can be connected to the center shaft, and its height can be adjusted between 58 – 90 centimeters (23 – 35.5 inches). As with the other TM-AM series stands, the TM-AM3 includes a 5/8-to-3/8-inch mic screw adapter.
The three newest TASCAM TM-series microphones and TM-AM-series stands are available immediately and here are the detailed specs.Leave a Comment
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|Audio-Technica Ships Spectrum-Efficient 6000 Series Wireless System|
Audio-Technica is now shipping its 6000 Series High Density Wireless System, a spectrum-efficient solution that allows users to use 31 channels in 4 MHz of bandwidth. The 2016 FCC Incentive Auction has resulted in a repack of the broadcast spectrum, reducing the amount of spectrum available for wireless microphone operations and driving the need for spectrum-efficient technology to operate a high number of simultaneous channels in today’s market. To address this issue, Audio-Technica developed the 6000 Series, which has channels that are spaced at 125 KHz intervals and can all be used simultaneously. The system operates in the 944-952 MHz band, which is free of broadcast TV. The FCC has expanded license eligibility for this band beyond broadcasters and content creators to include sound companies and venues that routinely operate 50 wireless microphones or more.
The 6000 Series system consists of the following components: the ATW-R6200 receiver, the ATW-T6001 body-pack transmitter, an optional ATW-DA410 antenna distribution system, and a number of compatible Audio-Technica lavalier and headworn microphones. Audio-Technica describes key features as high-performance filtering to remove external noise; clear, easy-to-read displays; transmitter frequency setup from receiver via IR sync; network monitor and control; durable, compact body-pack transmitter design; and a reliable new miniature input connector.
ATW-R6200 receiver specifications:
- Receiving system: True diversity
- Operating frequency: 946.125 to 949.875 MHz
- Simultaneous channels: Total of 31 channels (125 kHz intervals)
- RF sensitivity: 20 dBμV (at 60dB S/N ratio)
- Total harmonic distortion: <1 percent (63 dBμV input, 1 kHz, frequency deviation ±10 kHz)
- SN ratio: 110 dB or more
- Audio output level: XLR balanced +6 dBV (LINE) -13 dBV (MIC) (frequency deviation ±15 kHz, 600 ohm load)
- Antenna input jack: BNC type (50 ohm) DC 12V OUT (max 60 mA x 2)
- Audio output terminal: XLR 3-pin male (balanced) 1/4″ (6.3 mm) standard stereo jack (balanced)
- Headphone OUTPUT jack: 1/4″ (6.3 mm) standard stereo jack; max power output: 100 mW + 100 mW into 32 ohms
- Power: AC 120V 60 Hz
- Operating temperature range: 41°F (5°C) to 113°F (45°C)
- Power consumption: 25 W
- External dimensions: 18.97″ (482 mm) W × 1.69″ (43 mm) H × 14.21″ (361 mm) D (excluding protrusions)
- Weight: 10.4 lbs (4.7 kg)
ATW-T6001 body-pack transmitter specifications:
- Operating frequency: 946.125 MHz to 949.875 MHz (31 channels)
- Frequency step: 125 kHz
- Spurious emissions: Following federal and national regulations
- RF power output: 50 mW / 10 mW / 2 mW
- Normal deviation: ±5 kHz
- Maximum deviation: ±16.25 kHz
- Frequency response: 70 to 15 KHz
- Batteries: Two 1.5V AA alkaline (not included)
- Battery life: Approx. 6 hours (using two alkaline batteries at 50 mW)
- Current consumption: 230 mA or less (at DC 3V)
- External dimensions: 2.44″ (62 mm) W x 2.76″ (70 mm) H x 0.67″ (17 mm) D (excluding protrusions)
- Weight: Approx. 3.2 oz (90 g) (excluding batteries)
The Audio-Technica 6000 Series wireless system is available with the following components and pricing:
- ATW-R6200 receiver: US $2,999
- ATW-T6001 body-pack transmitter: US $1,299
- ATW-DA410 antenna distribution system: US $4,349
- ATW-F948 pair of antenna filters: US $189
- AT898cH subminiature cardioid condenser lavalier microphone: US $179
- AT899cH subminiature omnidirectional condenser lavalier microphone: US $179
- BP892cH MicroSet subminiature omnidirectional condenser headworn microphone: US $309
- BP893cH MicroEarset omnidirectional condenser headworn microphone: US $259
- BP894cH MicroSet subminiature cardioid condenser headworn microphone: US $359
All the applications details are here.Leave a Comment
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|Wisycom Launches New Two-Channel MPR52-ENG|
Wisycom introduced its new MPR52-ENG Dual Diversity Receiver today. This addition to Wisycom’s range of products was designed for professional applications.
The new MPR52-ENG now has two built-in diversity receivers with both analog and digital outputs. With up to 790 MHz bandwidth in the 470/1260 MHz range, the MPR52-ENG features next generation multi-band front-end filtering. The software selectable wideband and narrowband DSP-FM operation gives users options based on their project needs. Country specific Surface Acoustic Wave (SAW) filters are also available (USA: 935-960 MHz and Japan: 1240-1260 MHz).
The MPR52-ENG features an extreme low noise Voltage-controlled Oscillator (VCO) with ultrafast spectrum scanning for optimal quick and easy setup. The automatic scan and transmitter programming works via infrared technology. This receiver is DSP-based for extreme flexibility and multi-companding operations. It is able to be monitored and controlled through USB and Wisycom Manager 2.0 software, which transforms the MPR52-ENG into a quick and low noise portable spectrum scanner.
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|Blackmagic Design Announces DeckLink 8K Pro with Quad Link 12G‑SDI|
Blackmagic Design today announced DeckLink 8K Pro, a new high performance capture and playback card featuring quad link 12G‑SDI to allow real time high resolution 8K workflows. This new DeckLink 8K Pro supports all film and video formats from SD all the way up to 8K DCI, 12‑bit RGB 4:4:4, plus it also handles advanced color spaces such as Rec. 2020 for deeper color and higher dynamic range. DeckLink 8K also handles a massive 64 channels of audio, stereoscopic 3D, high frame rates and more.
DeckLink 8K Pro features four quad link multi rate 12G‑SDI connections it can work in all SD, HD, Ultra HD, 4K, 8K and 8K DCI formats and is compatible with all existing professional SDI equipment. The 12G‑SDI connections are also bi-directional so they can be used to either capture or playback quad link 8K, or for the simultaneous capture and playback of single or dual link SDI sources.
DeckLink 8K Pro supports capture and playback of 8 or 10-bit YUV 4:2:2 video and 10 or 12‑bit RGB 4:4:4. Video can be captured as uncompressed or to industry standard broadcast quality ProRes and DNx files. DeckLink 8K Pro lets customers work at up to 60 frames per second in 8K and supports stereoscopic 3D for all modes up to 4K DCI at 60 frames per second in 12‑bit RGB.
DeckLink 8K Pro will be available for $645 in early January. All the details are here.Leave a Comment
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|Hitachi Intros 5,000-Lumen Laser ProjectorToday Hitachi America introduced the LP-WU6500 laser projector as its newest member of the solid-state laser (SSL) projector line, specified at 5,000 lumens and a native WUXGA 1920×1200 resolution. Solid state laser projectors have a maintenance-free life, up to 20,000 hours and no changing lamps or replacing filters.
With WUXGA 1920×1200 resolution, the new 5,000-lumen laser projector is equipped with a built-in 1.65x zoom lens, HDBaseT, three HDMI digital inputs and is suitable for long life usage with an expected 20,000 hours of maintenance-free operation. Like other SSL projectors from Hitachi, the LP-WU6500 is eligible for the OneVision program for higher education facilities.
Here are the more detailed specs.Leave a Comment
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|Extron Intros New 4K/60 HDMI Switchers With Ethernet Monitoring and Control|
Extron just introduced two new HDMI switchers that support data rates up to 18 Gbps and signals up to 4K/60 with 4:4:4 color sampling. The two input SW2 HD 4K PLUS and the four input SW4 HD 4K PLUS are HDCP compliant, and support HDR, 12-bit Deep Color, 3D, Lip Sync, HD lossless audio formats and CEC pass-through. The switchers provide automatic input cable equalization up to 25 feet (7.6 meters) on Extron HDMI Pro Series cable. The switchers are easy to operate using the front panel controls or auto-switching. Ethernet, RS232 and contact closure ports provide ample options for integration with any control system. Both models feature EDID minder, which maintains communication with connected devices and ensures that the HDMI sources power up properly and maintain correct video output.
To simplify integration, the SW HD 4K PLUS provides integrator-focused features, including automatic input cable equalization, automatic color bit depth management, indicators for monitoring and troubleshooting, as well as peripheral device power on the output. Automatic input cable equalization corrects for signal loss due to lengthy input cables, ensuring signal integrity up to 25 feet (7.6 meters), when used with Extron HDMI Pro Series cable. The SW HD 4K PLUS automatically adjusts color bit depth based on the display EDID, preventing color compatibility conflicts between source and display. Front panel LED indicators provide immediate visual confirmation of HDCP authentication and signal presence for each input and output. If HDCP-encrypted content is transmitted to a noncompliant display, a full-screen green signal provides immediate visual confirmation that protected content cannot be viewed on that display. The SW HD 4K PLUS also provides +5 VDC, 250 mA on the HDMI output for powering peripheral devices such as an Extron HD 4K 101 Plus cable equalizer.
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|Christie Intros Crimson Series Projector
Designed specifically for staging and high-usage applications, the new Christie Crimson projector line uses 3DLP laser phosphor technology and have lumens outputs up to 25,000. Featuring an IP5X sealed, solid-state laser light source, all Crimson projectors weigh 165-pounds and are spec’d at 2000:1 contrast ratio. The launch includes two models – the 1920 x 1200 (WUXGA) resolution WU25 and the 1920 x 1080 (HD) resolution HD25.
With Christie BoldColor Technology, these projectors have their TruLife electronics electronics for ultra-fast processing up to 120Hz and includes Christie Twist (image warping and mapping) and is, of course, compatible with all Christie processing products. The line is ILS lens compatible and inputs include HDMI, DVI, 3G-SDI, HDBaseT and ChristieLink (QSFP + Fiber). They re compatible with 4K up to 12-bit color 4:4:4.
Here is a detailed spec sheet.Leave a Comment
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|Atlona Ships AT-HDR-H2H-44M HDMI 4K with HDR Matrix Switcher
Atlona is now shipping the AT-HDR-H2H-44M HDMI matrix switcher, a 4K HDR-capable 4×4 matrix switcher for HDR in a 1RU form factor. The HDR-H2H-44M supports all video resolutions, audio formats, and color space formats encompassed in the HDMI 2.0b specification. Atlona claims that it has fast switching and that it supports 4K/UHD video at 60 Hz with 4:4:4 chroma sampling (10-bit color) and HDMI data rates up to 18 Gbps, while HDCP 2.2 compliance enables switching of protected content.
The HDR-H2H-44M offers HDMI audio de-embedding for each output, enabling two-channel PCM or multi-channel surround sound audio to be sent to AV receivers or soundbars via corresponding TOSLINK digital audio outputs. Further easing integration, the switcher includes EDID and HDCP management features and can send CEC signals independently to each output for controlling individual destination displays. The HDR-H2H-44M can be controlled via Ethernet, RS-232 or the included handheld IR remote, and can be configured remotely through its integrated web interface or the free Atlona Management System (AMS 2.0) network software platform. Additionally, the HDR-H2H-44M is ready to integrate with their Velocity Control System.
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|Key Digital Ships Audio Matrix with DSPThe new Key Digital KD-MAX8x8 eight input to eight output audio matrix switcher with built-in audio DSP. The KD-MAX8x8 has analog and digital connections for input and output and enables analog-to-digital or digital-to-analog conversion of signals, or can operate as two independent audio matrixes (one digital and one analog). Analog audio inputs are connected on balanced/unbalanced six pin phoenix terminal blocks and digital audio sources are input on a PCM coaxial RCA connection that supports surround formats up to Dolby and DTS 5.1.
Each output of KD-MAX8x8 handles all pre-amp functionality, enabling integrators to connect directly into amplifiers. Any of the connected audio sources may be selected on any output and apply variable signal processing levels for volume, bass, mid, treble, balance and lip sync.
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