Volume 11, Issue 4 — April 25, 2017
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Collaboration: What’s Next?
By Joel Rollins rAVe Columnist
Over my last couple of columns, we have talked about the trend in meetings towards group collaboration, and the equipment and setups that will be necessary to accommodate this trend, as collaboration (and extended collaboration through social media) become the norm in public meetings. This led several of you to ask the question, “what is the next trend that will drive our industry?”
Although I am not sure if the quote was his or not, but I was at a MacWorld some time ago and listened to Steve Jobs remind his audience of developers that the important question was never, “what’s now?” The important question was always “what’s next?” And if we ask ourselves this question in the light of the trend towards collaboration, there are a couple of logical answers to the question and we do indeed see products being developed in advance of the need.
This year, we have obviously seen the development of mainstream collaboration devices, both from traditional AV manufacturers and from larger-market players such as Cisco, Microsoft and Google. All of the latest variety of these collaboration devices utilize a web-based ecosystem to provide collaboration tools. And if you follow the marketing reasons being given to clients for the adoption of collaboration and collaboration tools in their meetings, you will see that the biggest reason is that the use of such collaboration tools brings all the data together from multiple players in the most efficient way, allowing participants to see and manipulate data together, from multiple sources. So now that we have all of the data in one place, brought together in an ad hoc collaborative fashion, what are we going to do with it? What is going to make the end result of collaboration (and by extension, the use of collaboration tools) worth doing?
Artificial intelligence. And, most definitely, cloud-based data analytics systems.
With these new collaboration tools, we are becoming used to using artificial intelligence tools. I now dial most of the phone calls and video conference calls that I make from my conference room by saying, “Hey Siri, call Bob at X company.” And many of the manufacturers with whom I am acquainted are beginning to build in access to their equipment using Siri, Alexa and their ilk. With the advent of published API information for these devices (and the cloud-based backbone that runs them) we will certainly see more equipment controllable by command. On top of that, we will soon see devices that not only “hear” us, but can “see” us. So the developments that will make artificial intelligence part of our meetings on an everyday basis are already occurring. And they’re already being taken a lot farther than simple control of the equipment.
I recently saw an extremely powerful demonstration of one of the collaboration boards that has recently entered the market, in which three locations of a single company participated in an analysis of their current sales data in various parts of the country. A fourth participant in the conference was an artificial intelligence data analytics service from one of the companies that are marketing such services. OK, OK, in this instance the software was the IBM creation named Watson. The participants (and admittedly, myself) were stunned by some of the instant analysis that was created, merely because the artificial intelligence could compare the data that was being shared with data from many sources across the web. Not all of the cloud-based products comments were particularly intuitive or pertinent, but many were and the experiment was quite a success.
Since that time, I have seen an enormous amount of advertising both on cable television and on the web for the IBM Watson cloud services. So it is obvious what a major marketing effort this is going to be for IBM. And they are far from the only company that will be marketing such services.
So what does this portend for our clients and their meetings? Well, the inclusion of artificial intelligence services in a meeting will be essentially like having to accommodate another distant participant. It is certain that we will need to provide audio outputs to a network-based system so that the cloud-based service can “hear” on stage presenters or members of the audience in a collaborative meeting. It is also probable that we will (sooner rather than later) need to accommodate sending a video signal, possibly from a special motion tracking camera, so that the artificial service could more fully participate with the audience. And, as this type of meeting becomes more prevalent, we will certainly need to provide recording and documentation of the proceedings, both by those participants who are in the room and by distant participants.
This is coming. We can already see that much. But the long-term consequences to adding artificial intelligence to human meetings begs a number of questions. First, will we see “arguments” between multiple artificial intelligence devices? Will Siri deliberately lose Watson’s number? And, lastly, once we have all of the various artificial intelligence devices hooked together so that they can “meet,” will they still invite us to the meetings? Leave a Comment
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This Lightform Image Mapping Projection Technology Will Help Kill the Under 100″ Screen Market
By Gary Kayye rAVe Founder
The responses to my recent blog explaining why I believe the projection SCREEN (not projector, but screens) market is heading for a downward spiral have been mixed — sort of. I heard from systems designers, integrators/dealers and manufacturers. On the manufacturer front, surprise-surprise, the screen manufacturers nearly (I say nearly as ONE agreed with me) all universally disagreed. I got texts, emails and Tweets from screen manufacturers saying that the screen market is doing just fine and that screen sale are, remarkably, up. I’ll address that lie a little later — so hold that thought.
From integrators, the response was overwhelmingly in agreement with me — in counting the actual responses, I received various responses in the form of emails, social media, phone calls and texts. In total, I count approximately 300 — a decent response rate. There were seven that disagreed.
As for systems designers, I heard from 11. Nine of the 11 said they agreed with me and two said they have already stopped specifying screens in all small rooms opting for collaboration boards.
Oh, and before I tell you about something called Lightform, let me go back and address the three screen companies who told me their sales were up (not down) in recent years. As I said, one company spoke quite honestly in how they’d seen a 40 percent decline in screen sizes less than 100″ over the past two years and that 2017 was trending lower as well. Of the three that said sales were up, two admitted that they were down on sizes 80″ and smaller. So, there you go.
Now on to Lightform. Check out this video.
And now, take a look at these:
Note: No screen!
So, this is all using a box from a start-up called Lightform. Lightform is aimed at the consumer and small businesses to make projection mapping cheap and easy (cheap as in only hundreds, not thousands, of dollars) using any projector you want. Basically, it’s a computer that you stick onto the side, top or bottom of a projector and it uses a series of cameras and 3D “image scanners” to figure out what’s in the room — in realtime. (Thus, if the room changes, the projected image adapts automatically.) They call this making a dumb projector smart — using their Lightform box. As you know, with what we use for projection mapping, things inevitably move in the real world, and even slight shifts in the set or projector alignment can noticeably ruin the effect. It currently requires tedious clicking around in clunky software to re-align the content. This is why you typically don’t see projection-mapped installations outside of temporary events.
Lightform aims to offer the first end-to-end workflow for projection mapping, making it possible for a single user to 3D scan, create content and deploy an installation in one sitting. By leveraging computer vision, the company says they automate tedious steps while assisting in the more fun process of content creation. They use 3D info to drive AI-generated effects and real-time filters, which users can quickly integrate into their projects. The experience is designed around one explicit goal: quickly turning 3D scans of the real world into compelling motion content (their words).
Oh, and they are aiming it with use on a low maintenance LED or laser projectors — sound familiar?
Look, the laser projector (and the coming on-slaught of brighter LED projectors) will change everything. Please don’t live in denial. The need for screens will plummet. The use of screens will plummet. You WILL BE ABLE TO PROJECT ON ALMOST ANYTHING. Don’t be caught locking yourself in to the proverbial projection rectangle. Please.
Want to order a Lightform when it ships to test it for yourself? Go here. Leave a Comment
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Adamson Expands S-SERIES and Introduces New IS-SERIES Line Arrays Adamson Systems Engineering added the S10n line array cabinet to its S-SERIES and has introduced the integration-focused IS-SERIES family of loudspeakers this week. The S10n is a narrow-dispersion version of the S10 two-way, full-range line array cabinet. Having identical specs to the S10, the S10n has an 80° x 10° (H x V) dispersion pattern for applications with tighter horizontal coverage requirements.
The IS-SERIES made its debut with the IS7 and complementing IS118 subwoofer. The IS-SERIES uses Adamson’s tour-level technology into sleek, architecturally-friendly boxes with rugged but unobtrusive rigging solutions.
The IS7 is a two-way, full-range line array cabinet containing two ND7-X5, 7” Neodymium drivers and an NH3, 1.4” exit compression driver. It produces a slightly curved wavefront with a nominal dispersion pattern of 100° x 12.5° (H x V). According to Adamson, the waveguide’s efficiency allows for increased vertical dispersion without sacrificing high frequency presence in the far field while the patent-pending Controlled Summation Technology further eliminates the low-mid lobing normally associated with two-way line source systems.
The companion IS118 subwoofer is a lightweight, long excursion 18” ND18-S Kevlar Neodymium driver utilizing Adamson’s Advanced Cone Architecture and a 4” voice coil for power handling. It is mounted in a front-loaded enclosure.
The IS-SERIES cabinet construction uses marine-grade birch plywood and aircraft-grade steel. The IS7 is equipped with NL4 Connectors and screw terminals while the IS118 has screw terminals available on demand. A plate-and-screw rigging solution is recessed in the interior of the rear rigging fins for easy installation. The series is available in a standard black and white, with RAL colours available on demand.
The IS-SERIES is designed for a wide range of applications, including performing arts centers, live performance venues, sports venues, conference centers and houses of worship.
The IS7 and IS118 will begin shipping in late May 2017. The S10n will begin shipping in the summer of 2017. Here are all the specs. Leave a Comment
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LG Officially Adds Wallpaper Displays to Digital Signage Lineup — Stuns Everyone Looking At It LG Electronics USA Business Solutions has finally debuted the new lightweight LG OLED “Wallpaper” commercial display as well as new customizable open-frame LG OLED displays at the 2017 Digital Signage Expo (DSE). The Wallpaper isn’t totally new. In fact, we were the first publication to see the commercial version of it when it debuted in Australia last summer — here’s the video we shot there.
The LG OLED Wallpaper technology has literally created a new category of displays as it’s so thin. And, as you no doubt know, OLED technology has a unique ability to turn each pixel on or completely off, thus, black is black — and since white is the opposite of black in displays (and all color is made from everything between black and white), colorimetry is incredible.
So far, it’s the talk of the DSE — nearly everyone is talking about it.
This version of the LG OLED Wallpaper is specifically for commercial display applications and it’s in a 55-inch form-factor that weighs less than 13 pounds and has depth that is just 3.65 millimeters (0.14 inches). Yes, you read that right — barely more than 1/10th of an inch.
The Wallpaper display can be mounted either vertically or horizontally for a customizable display design. Ultra-slim mounting brackets with a magnetic mat create a truly seamless design that becomes one with the wall. Electronic components are housed in a separate control box connected to the display with a 2-meter (6-1/2-foot) cable.
The LG OLED Wallpaper commercial display is native HD (1920×1080) has 64 GB of internal memory, content mirroring capabilities, content scheduling and Wi-Fi connectivity. Future versions will include larger sizes (likely up to 80″) as well as 4K (3840×2160) resolution displays.
Also on display in the United States for the first time at DSE 2017 is the “In-Glass Wallpaper” LG OLED digital signage display. Designed with dual-sided ultra-slim OLED panels in a glass pane, the In-Glass Wallpaper LG OLED display is perfect for boutiques, art galleries and other businesses that want to add a sophisticated touch to their interior décor. The In-Glass Wallpaper LG OLED solution will be available in standing and hanging versions to provide businesses flexible options.
Here are the technical details. Leave a Comment
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Vivitek Intros NovoTouch Collaboration BoardVivitek introduced at DSE 2017 this week a new 4K collaboration board designed for conference rooms, meeting areas and corporate lobbies. The NovoTouch is a native UHD 4K (3840×2160) LED display with up to 20 points of touch.
Utllizing the collaborative NovoConnect solution, the NovoTouch can connect up to 64 users at the same time as well as allow up to four people to present simultaneously on the same display. It offers wireless cross-platform mirroring from any device, moderation and on-screen annotation functions and polling and voting features for measuring audience participation. It’s also dual network with “ultra-secured” network support for separated or paralleled wired and wireless connections.
The NovoTouch is available in four sizes: 65″, 75″, 86″ and 98″. All the specs are here. Leave a Comment
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Barco Intros UDX Platform Projectors Aimed at Install and Rental Market, All Specified at Minimum 20K LumensBarco is launching a new projector range that they literally claimed “will change the game for rental companies and AV integrators.” Hmmm, that’s s a lot of hype to live up to.
The UDX series consists of five 3-chip DLP models — all laser-phosphor based projectors — that all are identically spec’d at a 2000:1 contrast ratio but having various aspect ratios and brightness specs — but the minimum brightness is 21,000 lumens:
- UDX-W22: 1920×1200 resolution and spec’d at 22,000 lumens,
- UDX-4K22: 3840×2400 resolution and spec’s at 21,000 lumens.
- UDX-U32: 1600×1200 resolution spec’d at 30,000 lumens.
- UDX-W32: 1920×1200 resolution spec’d at 32,000 lumens.
- UDX-4K32: 3840×2400 resolution spec’d at 31,000 lumens.
All five models also share Barco’s Constant Light Output (CLO) functionality, which they say provides constant brightness and color over time and they are all spec’d to outperform the Rec. 709 color space. In addition, all of them have warping, blending and image mapping built-in and even though they aren’t all native 4K resolution, all of them can handle inputs up to 4K DCI signals (4,096×2,560). In addition all of them can use Barco’s TLD+ series of lenses with throws from 1.2:1 to 11.5:1. And like all laser-based projectors, all of them can be mounted in table, ceiling, side (portrait) and vertical (landscape) orientations while spec’d at a 20,000 hour lifetime. Inputs include HDMI 2.0 (HDCP 2.2); DP 1.2 (HDCP 1.3) and Quad SDI/HDSDI/dual HDSDI/6G/BarcoLink.
Here are all the detailed specs. Leave a Comment
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Extron Introduces High Performance HDMI Videowall Processor for Up to Six Displays Extron just introduced the newest addition to their Quantum Connect Series of HDCP-compliant videowall processors, the Quantum Connect 126. The Quantum Connect Series delivers the same high quality scaling and real-time performance as Extron’s Quantum Elite processors, producing superior quality images. The Quantum Connect 126 features 12 HDMI inputs, six HDMI outputs, a 6U chassis with solid-state storage drives, and dual-redundant power supplies. Two-output and four-output Quantum Connect models are also available.
Extron says the Quantum Connect Series maintains full frame rate performance with a high-speed, 10 Gbps RAPT – Real-Time Asymmetric Packetized Transfer video/graphic bus that allows all inputs to be processed simultaneously, while preserving real-time control response and optimal image performance. When used in conjunction with HDCP-compatible displays, the HDMI inputs and outputs allow the display of HDCP-encrypted content on the videowall. A green window with an alert message will be displayed if HDCP-encrypted content is sent to a non-HDCP compliant display. The Quantum Connect Series meets the input and output requirements of many popular configurations for small videowalls. For larger videowalls, as well as applications requiring greater scalability and the flexibility to expand over time, AV integrators, system designers, and consultants should consider the Quantum Elite and Quantum Ultra processors.
Here are all the detailed specs. Leave a Comment
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Magewell to Launch 4K USB Video Capture Devices This WeekMagewell will unveil new 4K models in its USB Capture Plus series of external video capture devices this week.
Like existing Magewell USB video “ingest” solutions, the newest USB Capture Plus models enable all types of computers including laptops to capture professional video and audio signals through a standard USB 3.0 interface, with no additional power source required. Available with SDI or HDMI inputs, the 4K USB Capture Plus devices capture resolutions up to 4096×2160.
The new USB Capture SDI 4K Plus captures 4K video at 30 frames (@30Hz) per second over its 6Gbps SDI interface, while the USB Capture HDMI 4K Plus supports 4K inputs up to 60fps (@60Hz) via HDMI 2.0 connectivity, but scales them at 30fps. 4K inputs with 4:4:4 or 4:2:2 color sampling are automatically converted to 4:2:0 for capture in the NV12 or I420 color space formats, to fit within the bandwidth available in the USB 3.0 standard. Both models offer loop-through connections.
Both new 4K USB Capture Plus devices support embedded audio in the SDI or HDMI input signal, as well as separate audio inputs and outputs for capture and monitoring: line-level analog input and output connections on the USB Capture SDI 4K Plus, and an analog microphone input and stereo headphone output on the HDMI model.
Like Magewell’s HD models, the new 4K USB Capture Plus devices feature FPGA-based video processing, for deinterlacing, up/down conversion and image controls while not affecting CPU availability for third-party software. FPGA-based audio processing featuring ASRC technology delivers superior USB audio handling, while the included USB Capture Utility software gives users advanced control of processing settings and access to detailed status information.
The USB Capture SDI 4K Plus and USB Capture HDMI 4K Plus support Windows, Mac and Linux operating systems. Here are the details. Leave a Comment
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Meyer Sound’s LEO Family Grows with LINA and 750-LFC Meyer Sound‘s LEO family of linear sound reinforcement systems has been expanded with the addition of the new LINA, a compact linear line array loudspeaker and companion 750-LFC, a compact low frequency control element.
The self-powered LINA loudspeaker measures only 20.27 inches (515 mm) wide and weighs in at 43 lbs. (19.5 kg). Also, because LINA shares the same structural footprint as Meyer Sound’s current MINA line array loudspeakers, owners of MINA systems can add LINA to their existing inventory using the same rigging and mounting hardware. Mixed systems of MINA and LINA are compatible using the delay integration in Compass control software.
Meyer Sound says that on the inside, LINA has been outfitted with new drivers and an updated amplifier and signal processing package to conform with the LEO. Compared to MINA, the newly designed class D amplifier affords greater efficiency, and an upgraded power supply enables higher peak output. The 3-inch HF compression driver incorporates a new magnet structure first used in the LEOPARD line array loudspeaker (LINA’s next-larger sibling) for reduced distortion. Low-frequency distortion from the dual 6.5-inch woofers is further reduced compared to MINA, aided by new internal venting and baffling to optimize performance. On-board signal processing has been upgraded for more power, and it now includes optimized Native Mode.
In most applications, LINA compact line array loudspeakers will be integrated with the companion 750-LFC low-frequency control element for extending deep bass performance across its operating frequency range of 36 Hz to 125 Hz. The 750-LFC houses a 15-inch, dual voice coil long excursion driver along with a two channel, open loop class D amplifier and signal processing to provide separate, precisely synchronized power to each voice coil. Like its larger siblings, the 900-LFC and 1100-LFC, the 750-LFC reproduces low frequencies at high continuous levels with clarity, extremely low distortion, and optimized phase response. An integral pole mount receptacle pairs with LINA or ULTRASeries loudspeakers, while an optional rigging frame allows flying in LINA arrays without a transition grid.
LINA compact linear line array loudspeakers and 750-LFC low-frequency control elements are expected to ship June and here are all the specs. Leave a Comment
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Barco Sells High End Systems Lighting to US-Based ETC Barco announced today that it has finalized an agreement with U.S.-based lighting company ETC to sell its lighting company, High End Systems, based in Austin, Tex. Barco says the transaction is part of Barco’s drive to step up focus on performance and streamline its business portfolio.
High End Systems has offices in the United States and employs 60 employees, primarily in Austin, Tex. In 2016, the lighting activity booked $20 million US dollar in sales with EBITDA close to break-even.
ETC, based in Madison, Wis., is a creator of lighting and rigging products and its offering is fully complementary with High End Systems’ product line. ETC will operate High End Systems as a separate company located in its current Austin, Tex. facility. The transaction with ETC will be effective as of April 2017 and ensures continuation of the product portfolio and future development for the current High End Systems customer base.
Barco is here and ETC is here. High End Systems is here. Leave a Comment
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GPO Display Debuts Panoramic Display Line From 16″ to 48″
Creative display sizes and form-factors are hard to come by. Nearly every display manufacturer exclusively sells 16:9 or 16:10 aspect ratio monitors — with few other options.
But, GPO Display has a line of 16”, 19”, 24”, 28” and 48” monitors that are like the width of a panoramic photo taken with your smartphone. With the exception of the 1,366 horizontal pixel resolution 16” version, the horizontal pixel resolutions of the line are all 1920, with vertical resolutions varying between 260 pixels to 540 pixels. Plus, every single display can be customized with a choice of bezels, front and back cover as well as branding — yes, they will even brand them with your company’s or school’s logo.
In case you’re worried about creating content for the displays, all you have to do is create content that’s designed for a 1920×1080 monitor (or for 1366×768 for the 16” version) and have the area you want to be displayed on any of the panoramic displays in the top ½ or 1/3 of the screen.
In addition to standing out — since they aren’t the same-old 16:9 aspect ratio — they can be used in more places since they are smaller in height — for example, for display in transit applications, digital signage and gaming. But we can see these being used in a conference room or meeting room as a stock-ticker display or a world clock — perhaps even outside a room as a room scheduling display. In a call-center, this could be used as a call-queue display and in a restaurant, a menu board.
The idea is to get the integrator and the client to think outside the traditional rectangle and offer-up a creative display option. The brightness of each display ranges from 320 nits to 700 nits. The lifetime for the displays is spec’d to be 30,000 hours. Inputs include two HDMI, one VGA and one USB, plus there’s a built-in digital signage media player.
Here are all the specs.
Here’s a blog that GPO Display wrote that has a few examples for using the panoramic monitor.
GPO Displays will feature the Panoramic Display series at InfoComm in booth 2385. Leave a Comment
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Samsung Debuts Cinema Screen LED Technology Samsung Electronics just unveiled something they are calling Cinema Screen, promoting it as the world’s first High Dynamic Range LED theater display. Citing no pixel-pitch of the LED-based technology, the 34 foot Samsung Cinema Screen is actually aimed at movie theaters but, clearly, has applications in digital signage and rental/staging as well. Cinema Screen is native 4K DCI (4096×2160) resolution and conforms to the DCI specifications used to ensure a uniform and high level of technical performance, reliability, and quality in digital cinema.
The Cinema Screen’s direct-lit LED technology is spec’d for a peak-brightness level nearly 10 times greater than that offered by standard cinema projectors (146fL versus 14fL) with what they say is better uniformity and free of optical distortion and interference. And, for the most interesting spec of all, they say the contrast ratio is infinity:1.
Not much else is known about the Samsung Cinema Screen other than, at this time, its mostly a technology demo but they expect to start integrating it into theaters next year. Here is their press release about it. Leave a Comment
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K-array Launches Mastif Line of Speakers for Live EventsK-array just launched new speaker/monitors in a line called Mastif, the KM312, KM312P, KM112 and KM11P. The monitors feature an asymmetrical 100° by 30° horn granting performers the possibility to select a wide or narrow sound emission. And with a strong stainless steel grill and sturdy birch wood chassis, these monitors are built to withstand any onstage abuse that may incur from the musical acts.
The larger models of the Mastiff line, the KM312 and the KM312P, feature three 12” woofers and produce a maximum SPL output at 136 dB (peak). K-arrays says these hard-hitting speakers are ideal for touring, concerts, music festivals and live events in large venues and are prefect for drum monitoring. The Mastiff KM312 is the active model while the Mastiff KM312P is passive.
The Mastiff-KM112 and Mastiff-KM112P are also potent yet in a smaller, compact form factor. Both models feature a coaxial 12” woofer and reach a maximum SPL of 133 dB (peak). The self-powered KM112 has a power output to drive the KM112P passive version, which in turn can drive a stereo mix, as well as a Thunder KMT18P for a drum fill.
To learn more about the line here:
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PreSonus Introduces StudioLive 24 Digital Console/RecorderPreSonus’ new 24-channel StudioLive 24 digital console/recorders further extends the company’s third-generation StudioLive Series III line, which launched earlier this year with the 16-channel StudioLive 16 and 32-channel StudioLive 32. Like all Series III consoles, StudioLive 24 further improves on the StudioLive’s legendary ease of use while letting you customize workflow and operations to fit the way you work.
The new console features 24 physical input channels with touch-sensitive, motorized faders and recallable XMAX Class A preamps. The main L/R bus also has a touch-sensitive, motorized fader. Internally, the StudioLive 24 is identical to the larger-framed StudioLive 32; all 32 internal channels can be addressed digitally via USB and AVB.
PreSonus Capture multitrack recording software with virtual soundcheck is installed directly into the StudioLive 24 console so you can leave your laptop at home. Record up to 34 tracks to the console’s onboard SD recorder. When finished recording, open your Capture session in Studio One Artist for Mac and Windows (included), and the entire mix scene will transfer to your Studio One session, including fader levels and Fat Channel settings.
As with other StudioLive Series III consoles, the StudioLive 24’s distinctive Fat Channel processing section presents a plug-in-style workflow that features vintage-style EQ and compression options on every channel, from classic tube limiters to passive EQs. In addition to channel processing, you get six-band, fully parametric EQ on all mix outputs.
StudioLive Series III provides ways to customize things to best fit the way users work. User layers for the channel faders let you place any channel, DCA master, or bus fader anywhere you want — and they’re easy to set up. You can customize your Fat Channel layout, putting the parameters you care about most right at your fingertips and there are several workflow options to personalize your mixing experience.
Scenes can also be extensively customized, including a Scene Safe feature that prevents a scene change from altering the settings on designated “safe” channels. Similarly, Fat Channel presets have, for practical purposes, become like scenes for individual channels, not only saving input and Fat Channel settings but also aux send and bus assignments. Of course you can also use preset filters to choose what you want to recall.
In addition to four fixed subgroups, the StudioLive 24 offers 16 FlexMixes that can be individually designated as aux, subgroup, or matrix mixes, for a total of 20 mix buses, not counting the main mix, effects mixes and solo buses. Twenty-four DCAs enable easy, flexible control of groups of channels. Choose between one-to-one or split-layer workflows: Assign all channels to the top layer, with one fader per input channel or split the faders between inputs and outputs, including DCAs and aux outputs.
An AVB Ethernet connection enables you to network compatible computers and stream up to 55 channels of audio to and from a Mac or Windows PC. (AVB networked solutions, including stage boxes, personal monitor mixers, and increased third-party AVB interoperability, are coming later in 2017.) You also get 40×40 recording via USB 2.0, giving you a choice of computer recording methods. A separate 1 Gb Ethernet port can connect to a wireless router or directly to a computer for remote control of virtually all features via a wired or wireless connection.
PreSonus StudioLive Series III mixers are tightly integrated with an entire suite of state-of-the-art software. Mix wirelessly or over a wired network from anywhere using free UC Surface touch-control software for Mac, Windows and iPad. Even add a second — or third, or even fourth! — screen for fast workflow. Remote control the mixer’s recallable XMAX preamps and Fat Channel processing with Studio One Artist (included) for low-latency recording with effects. Completely automate virtual soundchecks and record shows with Capture for Mac and Windows (included)—or record with Studio One or with any software that supports ASIO or Core Audio. Musicians can control their monitor mixes onstage with free QMix-UC for iPhone, iPod touch, and Android devices. You also get the Studio Magic Plug-in Suite for Mac and Windows, which includes seven popular plug-ins in VST, AU and AAX formats.
The StudioLive 24 is expected to be available in the second quarter of 2017, with a U.S. MAP price of $2,499.95. For more information, go here. Leave a Comment
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Datapath Fx4-SDI Display Wall Controller Removes Need for External Conversion Datapath has launched a Fx4-SDI display wall controller that is fully SDI compatible, removing need for external conversion and reducing the margin for errors or faults when long cabling systems are deployed. The unit offers a choice of SDI/DP/HDMI inputs and is spec’d to deliver 4K @60 fps (4:4:4) through the DisplayPort input. But, DisplayPort cables are often too short for Live Events or Broadcast applications and are not compatible with existing equipment. For this reason, the Fx4-SDI has been designed to ingest a 4K 60 fps DisplayPort 1.2 signal from a media server and output that signal as four 3G-SDI HD signals.
All of the required cropping, scaling, rotation and frame-rate conversion is handled by the Fx4-SDI hardware. Regions can be overlapped to allow any output to replicate another, or be configured to support any creative splice of the source material. Many non-rectangular screen arrangements, as well as any mix of monitor orientations can be supported, allowing users to create an almost unlimited multi-monitor canvas.
Datapath’s Wall Designer software has been specifically updated to incorporate the Datapath Fx4-SDI for functions that include overlapping, mirroring and bezel-correction requirements. Supplied free-of-charge, Wall Designer allows users to add displays from the ever-expanding database of monitors. Users can visualise their content by adding inputs, adjust display regions, and finally instantly program all Datapath Fx4-SDI controllers either via USB or the network ports.
Fast transmission speeds are required in live events and broadcast projects, where vast networks of SDI cables often need to cover large distances. The Datapath Fx4-SDI offers four SDI outputs and the ability to loop multiple units together, making it suitable for large and/or complex video wall installations. The Fx4-SDI has dual Ethernet ports so that users can easily add the device to their networks. Only one Datapath Fx4-SDI in the chain requires connection to the physical LAN as Ethernet loop-through is supported on the second port.
Here are all the specs. Leave a Comment
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HARMAN Professional Solutions Debuts JBL VTX A12 Line Array LoudspeakerHARMAN Professional Solutions today introduced JBL by HARMAN VTX A12 line array loudspeakers, a completely redesigned solution for mid- to large-size touring productions and high-end fixed installations. Featuring entirely new and proprietary transducer and high-frequency waveguide designs, innovations in the rigging and suspension hardware, and refinements to the physical aspects of the cabinet, JBL VTX A12 addresses the most important needs of tour sound professionals and represents a renewed commitment by JBL to the tour sound community.
The VTX A12 loudspeaker was designed from scratch to address the unique challenges of rental companies, front-of-house engineers and tour sound production crews. All VTX A12 accessories are designed to be lightweight, durable and sized to fit both USA and International truck dimensions simplifying transport and logistics.
VTX A12 features a new high-frequency (HF) section with three uniquely designed drivers that combine the HF phasing-plug and waveguide into one part, yielding better tolerances and increased sensitivity above 6 kHz, while reducing distortion and overall weight. A newly designed Radiation Boundary Integrator (RBI) combines four 5” mid-frequency drivers into the high-frequency waveguide and provides a smooth horn surface for the high frequency section. A lightweight 12” low frequency woofer (LF) features a fourth-generation Differential Drive design, new dual NEO dual-coil magnet arrangement and a host of proprietary JBL technologies for increased excursion, power handling and sensitivity. These elements combine to deliver a system with the highest output per weight, great low-frequency extension, and 90 degree directivity down to 300 Hz.
VTX A12 also features an updated exterior. The full-face grill design protects the loudspeaker components and helps the system achieve a higher Ingress Protection rating (IP55). Even more extensive weatherization is available if desired. The full-face grill also reduces the number of exposed components, allowing the loudspeaker to be finished in a variety of color options to better suit fixed install applications.
JBL VTX A12 will be available in April 2017. Here are all the specs. Leave a Comment
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Zylight Introduces Pro-Cyc Color 350-Watt Cyclorama Light Zylight is debuting its Pro-Cyc Color asymmetric wall washer later this month. Designed for TV studios and theatres, the 350-watt Pro-Cyc Color produces a soft, even field with enough output to cover 25-foot cyc walls. It shines pure white for a clean chromakey wash and features Zylight’s Color Mode to produce millions of colors without gels or filters.
Built for floor use or truss mount, the lightweight Pro-Cyc Color features solid aluminum and steel construction. Up to four Pro-Cyc Color fixtures can be daisy chained through their powercon connectors. The Pro-Cyc Color features integrated DMX operation as well as an intuitive control panel for smooth 0-100 percent dimming.
The Pro-Cyc Color is priced at $2,799 and will be available in Summer 2017. Here are the specs. Leave a Comment
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VocoPro Launches Battery-Powered PA System With Integrated LED Projector VocoPro today announced its new K-CAST product, what they are claiming as the world’s first battery-powered PA system with an on-board LED projector. The K-Cast’s portable PA system has a 12-inch woofer and horn tweeter pumping out 120 watts of power. The back panel includes an integrated LED projector and a guitar input jack, as well as controls for the two included wireless microphones. The 1080p LED projector can includes content deliver from either an HDMI source or via a USB thumb drive. The K-Cast USB drive has a built-in video decoder that will accept the most popular video files such as .mp4, .avi, .mov and .mkv.
The K-Cast also includes two UHF wireless microphones for duet performances and a 70-inch portable screen for outdoor events.
Other features:
- Four to six hours of performance time on a full charge
- 12-inch woofer with compression tweeter
- Remote control uses 2.4G RF for distance and 360 degree reception
- Speaker stand ready
- Includes: rolling PA system unit, two UHF wireless microphones, 70-inch portable outdoor screen
It retails for $699.00. Here are all the specs. Leave a Comment
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Audio-Technica’s Alteros Debuts GTX Series Ultra-Wideband (UWB) Wireless Microphone System Alteros, an Audio-Technica company, just introduced the GTX Series Ultra-Wideband (UWB) Wireless Microphone System. The Alteros GTX Series is a fully digital 6.5 GHz system that provides reliable, interference-free performance and license-free operation, supporting up to 24 simultaneous, high-quality, low-latency (< 3ms), uncompanded 48 kHz/24-bit audio channels in any indoor or outdoor broadcast environment.
The GTX Series operates beyond the UHF and VHF television bands, requires no frequency coordination, license, database registration or STA, and does not cause interference or create intermodulation products.
The GTX Series system launches with three components: the GTX3224 control unit, GTX24 body-pack transmitter and
transceiver. No additional filters, combiners or distribution amplifiers are required. The GTX3224 simultaneously supports up to 24 channels, an additional 24 channels of talkback audio, and eight group assignment channels in just 3U of rack space. The unit features MADI, Dante and AES67 digital outputs that are all available simultaneously and allow for seamless integration with IP-based infrastructures. A single-mode fiber output supports long-distance runs. The 7-inch front-panel touch screen provides access to system settings, monitoring tools, performance reports and other controls.
Up to 32 GTX32 transceivers may be deployed, connecting to the GTX3224 over standard shielded Cat 5 cable, which is operational to 1,000 feet. The GTX Series system’s powerful management software maximizes operational efficiency, enabling users to set up and confirm operation of 32 transceivers and 24 transmitters in only a few hours.
The GTX24 body-pack transmitter may be purchased on its own, without a microphone or configured with one of two Audio-Technica Subminiature Omnidirectional Condenser Lavalier Microphones, the AT899cL4 or AT899cL4SW, the latter equipped with an in-line talkback switch.
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Neutrik USA Announces opticalCON MTP24 Fiber Optic System and Connectors Neutrik USA just announced the opticalCON MTP24, a 24-channel fiber optic connection system based on MTP data connectors. Designed for long cable runs and point-to-point wiring where high fiber counts are required, it’s based on opticalCON QUAD and they’ve designed two different connector options. For rugged applications, the MTP24 ADVANCED is a cable connector that uses a metal housing and a heavy-duty strain relief and for less rugged applications they’ve made something called the opticalCON MTP24 LITE cable connectors.
The opticalCON MTP24 chassis connector accepts a standard MTP breakout cable at the rear for easy adaptation to LC, SC or ST optical fiber connectors. The sealing gasket provides color coding and IP protection and opticalCON MTP24 conforms to the IEC-61754-7 standard for interface dimensions for MPO-type (Multi Push-On) connectors.
More information is here. Leave a Comment
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DPA Microphones Introduces Four-Way d:screet Microphone Clip DPA Microphones’ d:screet microphone series has a new four-way clip that DPA says is designed for fast and secure mounting-upwards, downwards, left and right-and has multiple cable management mounting options. The clip offers three points for cable attachment, providing the user with the flexibility they need to move around. The clip is available in black and retails for €17 ($18). The four-way clip is compatible with the d:screet 4060 series, Slim series as well as 4071 omnidirectional microphones.
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Canare Intros 12G Produce LineCanare launched its new 12G coax solution for economical transport of 4K UHD television signals.
4K UHD is fast becoming the dominant industry standard for sports, live events and commercial production work, placing increasing demands on teleproduction companies and truck operators to provide a 4K product. Canare is ready to assist with an all-new line of coaxial cable and connectors that are specially optimized for high performance at 12 Gbps. With the introduction of Canare’s 12G solution, it is now feasible and convenient to transport 4K signals at distances up to 100 meters via copper.
Canare’s new 12G cable products employ several unique features and technologies to meet the demanding requirements of the sports production and distribution industry. The L-5.5 CUHD coax cable has enhanced attenuation characteristics that allow transport of 12G signals at much greater distances than comparable-sized coax currently available. The new 12G cable and connectors are also ideal for high-performance transport of 3G and 6G video, allowing system designers and integrators to future proof construction of new teleproduction facilities.
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Atomos 19″ Sumo Monitor-Recorder Delivers 4Kp60 HDR to the Set and the StudioAdding HDR and 1200-nit brightness to a 19” monitor at a list price of $2,495 is an amazing feat itself, but the addition of recording, switching and playback is a true revolution, completely redefining how production monitors will be used on set and in studio. This is exactly what the new Sumo Monitor-Recorder from Atomos does.
Sumo’s native 1920×1080 10-bit LCD panel is driven by the AtomHDR engine, which maps the Log/PQ/HLG from popular cameras, game consoles or TV makers to perfectly resolve 10+ stops of HDR in real time and output to larger HDR/Rec709 displays for on set review. It can also be used with popular NLE or grading suites for affordable HDR or SDR editing or grading in the studio.
In addition, it can capture the RAW output from Sony FS5/FS7/FS700, Canon C300MKII/ C500 or Panasonic Varicam LT over SDI up to 12-bit 4Kp30 as CDNG or 10-bit Apple ProRes / Avid DNxHR up to 4Kp60 / 2Kp240 depending on the camera’s capability. The processing power of Sumo can preserve pristine quality direct from the sensor with data rates of up to 3.2 Gbps. Record direct to high capacity and widely available 2.5″ SSDs that provide an affordable solution for long recording times.
Switch and mix a live record and stream or record four HD ISO recordings using the QuadLink SDI connections. Switch between feeds on screen with cueing, cross fade and hard cuts from the locked sources or tag and adjust final edits with advanced metadata tagging preserving ISO feeds, with the desired final result infinitely editable.
Eliminate the need for a separate audio recorder by using the full size XLR connections to connect and power external microphones for balanced analogue audio with dedicated meters and adjustments for frame delay and gain. 48-volt phantom mics or line level audio are all seamlessly synchronized for the most advanced audio feature set in a monitor today. There is also a 3.5-millimeter stereo headphone jack and built-in speakers for on set review or complete internal recording review anytime anywhere with clients or production team. You can connect SDI or HDMI devices and convert between HDMI 2.0 and 3G QuadLink/6G/12G SDI in any combination. Quad SDI inputs connect cameras with multiple 1.5 or 3G SDI outputs without the need for converters. HDMI 2.0 supports up to 4Kp60 input/output along with the very latest Atomos open protocol that supports HDR automation including importing of camera settings. There is also support for Genlock and LTC timecode.
The 19” Atomos Sumo will launch in Q3 2017 and lists for $2,495 — here are the details. Leave a Comment
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VER Announces Flex Mobile Truck Service VER just announced their new Flex Solutions mobile truck service. A new broadcast service, Flex Solutions specializes in HD multi-purpose support units and equipment rental. The support units are customizable and can accommodate any type of facility including remote production, edit facilities, reality show productions and operations trailers.
VER Flex Solutions has already supported Desert Trip, The CMA Awards, ABC’s The View, American Ninja Warrior and Monday and Thursday Night Football. All mobile units have an HD infrastructure with multi-viewing monitoring and routing, and can be modified to meet the needs of specific productions.
VER offers a choice of eight Flex Solutions models. The Flex 2 is a 53’ expanding trailer with a back storage area and lift gate. This multi-purpose unit can serve as a fully functional support space with HD viewing and monitoring throughout. Two flex rooms offer single front benches with wall monitors.
The Flex 3 50’ single expanding unit delivers VER’s VIP treatment. The main viewing room provides three 65” viewing monitors and a Dolby 5.1 system. Finished with custom cabinetry, it features a built-in stainless steel refrigerator. The two private executive offices come equipped with coffee bars and refrigerators.
For a 53′ single expanding support unit there’s the spacious Flex 4 which is a favorite for full production shows due to its unique feature rooms, edit suites, specialized technology and sub-mix rooms. The 48’ Flex 6 is a single expanding unit with movable walls that make it easy to customize for specific production needs. The Flex 7 50’ stage truck is an excellent platform for mixing broadcast with sponsorship opportunities. Formed from a stage platform, it works well as a host position.
The Flex 8 53’ double expanding ops trailer is built with 4K infrastructure and features operating stations for up to twenty-four. Plus, an enclosed conference room in the center offers windows on both sides for a unique mobile production space. Another double expander is the 24’ wide Flex 10 trailer offering ample floorspace to accommodate multiple broadcasts.
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Extron Introduces Four-Channel DTP Output Card for Quantum Ultra Videowall ProcessorExtron just introduced the new Quantum OUT4DTP, a four-channel DTP output card for the Quantum Ultra videowall processor. The Quantum OUT4DTP card sends video signals up to 330 feet (100 meters) over shielded CATx cable. In four-channel mode the unit supports resolutions up to 2K. Dual-channel mode supports two single path 4K/30 signals, while single-channel mode supports one dual-path or quad path 4K/60 signal. Output format selection provides a choice of DTP, XTP or HDBaseT output modes. Power insertion on the Quantum OUT4DTP enables remote powering of DTP receivers, eliminating the need for separate power supplies at the remote units. Bidirectional RS-232 and IR insertion provides control of AV devices by transmitting data alongside the video signal over DTP connections, allowing the remote device to be controlled without the need for additional cabling.
Quantum Ultra is a modular 4K videowall processor with high-performance scaling and windowing technology which accommodates a wide range of applications. It features the Extron Vector 4K scaling engine and HyperLane video bus capable of carrying a multitude of high-resolution sources for real-time performance. A single processor can support multiple videowalls with mixed resolutions and screen orientations, providing flexible system design with minimal complexity and cost. Portrait and landscape output support, output overlap and mullion compensation provide compatibility with nearly any display technology. RS232 and Ethernet interfaces provide direct connections for control systems.
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A little about me: I graduated from Journalism School at the University of North Carolina at Chapel Hill (where I am adjunct faculty). I’ve been in the AV-industry since 1987 where I started with Extron and eventually moved to AMX. So, I guess I am an industry veteran (although I don’t think I am that old). I have been an opinionated columnist for a number of industry publications and in the late 1990s I started the widely read KNews eNewsletter (the first in the AV market) and also created the model for and was co-founder of AV Avenue, which is now known as InfoComm IQ. rAVe [Publications] has been around since 2003, when we launched our original newsletter, rAVe ProAV Edition.
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