Volume 11, Issue 7 — July 26, 2017
|Are You the Keymaster?|
By Joel Rollins
In the original movie Ghostbusters, Rick Moranis (in his immortal role as Vince Tully, CPA) is taken over by an evil spirit from another dimension and transformed into the Keymaster, the minion who will enable Gozer the Gozerian to enter our plane of existence and destroy the world.
First, if you don’t understand that reference, your cultural literacy is in question. Stop reading this article now, and download the 1984 classic movie. (No, it is not necessary for you to do this to understand the point of this article, but you really should see it.)
But every time I see the scene (and I have probably seen Ghostbusters as many times as Gary Kayye has seen Star Wars), I remind myself that audiovisual technicians can easily become the Keymaster of Gozer with regard to our clients’ system security. And with today’s constant news about cyber attacks and data security disasters, I thought it would be a good topic for us all to talk about.
If one examines the greatest data security losses, one finds that they are rarely caused or perpetrated by senior management. Most of them come from lower level data technicians like Edward Snowden or Chelsea Manning, because no matter how secure a system is, you can’t actually hide data from the people who operate it, fix it or maintain it. These people do jobs most of their supervisors do not understand, and thus, once hired, are largely left to their own devices, with only random audits and accidents to reveal any issues.
AV and systems technicians have access to client systems at levels we rarely think about, but should. We often have access to servers for downloading company presentations and very often have access to company videoconferencing networks. And rental and staging technicians have a number of characteristics that would make them an especially vulnerable group to be exploited in a cyber attack.
First, they are largely mobile employees, as they must travel to customer events. This means that, unlike Manning, who should’ve been watched, they operate out of sight. They have to; it’s part of their job. What this means is that they travel with tablets, phones and laptops that have access in many instances to client data systems, and thus the theft of one of their laptops could prove to be a real danger to a client if that device is not properly protected. And, being a field technician myself in many instances, I know that the kind of safeguards one would like to see instituted on these machines can prove cumbersome to use in the field, especially in the high pressure atmosphere of the show.
Second, we often have to troubleshoot issues on site with the client accessing their systems. This has led, in many instances that I can recall, to me or one of my technicians being given very high level passwords in order to bypass layers of security and get a system up and running for show. And I can think of more than one instance where I have had to remind the client to deactivate that password afterwards and at least one instance where I discovered months later that it was still active.
Third, unlike most corporate machines, our employees often use each other’s computers to troubleshoot issues during a show, meaning that it is often difficult to tie an individual to a breach.
Lastly, most of the rental companies that I am aware of (whose employees travel) allow the employee to utilize their laptop and phone for personal use, meaning that they can install their own software and access routines on the machines. Only the largest rental companies that I know have corporate MIS departments to maintain these mobile computers, let alone security specialists.
Fortunately, however, our employees also tend to work in tight groups, who can watch out for each other and remind each other about security.
A few suggestions:
When setting up a company laptop, establish two separate accounts, one for company use and the other for employee personal use. Make sure that the company partition is part of some regular company-wide backup scheme when the unit is in the office. Any account which might contain customer data should be encrypted and a rotating password (a strong one) should be used.
Consider getting one of the better password protection software packages that are on the market, and issuing it to all employees. My staff are Macintosh users, and we settled on a password protection and encryption program called “1 Password” that not only encrypts all of the passwords on our machines, but deletes expired passwords using secure deletion and reminds you to change each password regularly. It makes that process painless by even suggesting strong passwords that it will remember for you. And you can unlock your password “keychain” with a single password that is not stored in open format on the machine. This keeps our employees from having to have notepads or text files full of logins and passwords. And it works for us because it is actually easier to use your computer, as you are not constantly looking up password information.
But the most important suggestion I have for you is awareness. Talk among your employees about the sensitivity of this kind of information and where they store it. The first time I did this, I discovered we had some unofficial practices that I was unaware of and scared me.
Data security is just like rigging security. If everybody is aware of it, you have less trouble with it.
So ask yourself: Are you the Keymaster?Leave a Comment
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|PreSonus Ships AudioBox USB 96 and AudioBox 96 Studio Recording Kit|
PreSonus is shipping its compact new AudioBox USB 96 audio/MIDI recording interface, which makes recording at up to 24-bit, 96 kHz simpler. Bus-powered and built to travel, the AudioBox USB 96 offers two front-panel combo mic/instrument inputs.
The AudioBox USB 96 is also the centerpiece of PreSonus’ new AudioBox 96 Studio recording kit. It’s designed as a starter kit for a simple studio and combines an AudioBox USB 96 interface with Studio One Artist software, Studio Magic Plug-in Suite, monitoring headphones, a large-diaphragm condenser microphone, and all necessary cables. It’s designed for multitrack song production, demos, songwriting, capturing live performances, podcasting, and field recording for video or sound effects.
AudioBox 96 Studio includes:
AudioBox USB 96 bus-powered audio/MIDI interface with cable
- 24-bit resolution, up to 96 kHz sampling rate
- Two combo mic/instrument inputs and 2 balanced line outputs
- 48V phantom power for M7 condenser microphone
- Zero-latency monitoring via internal mixer
- MIDI I/O
- USB 2.0 bus powered
Studio One Artist recording and production software
Studio Magic Plug-in Suite
- Single-window work environment
- Drag-and-drop functionality
- Unlimited audio tracks, MIDI tracks, virtual instruments, buses, and FX channels
- Instantly configures to PreSonus audio interfaces
- 25 Native Effects 32-bit effects and virtual instrument plug-ins
- Compatible with Mac and Windows
M7 large-diaphragm studio condenser microphone with cable
- Includes: SPL Attacker, Mäag Audio EQ2, Lexicon’s MPX-i Reverb, Eventide H910 Harmonizer, Eventide 2016 Stereo Room, Brainworx bx_opto compressor, and Arturia’s Analog Lab Lite
- Compatible with Studio One and any DAW for Mac or Windows that supports VST, AU, or AAX
HD7 studio monitoring headphones
PreSonusʼ high-definition HD7 headphones:
- High-resolution neodymium drivers
- Precision acoustic chamber
- Extended bass response
- Mic-stand adapter
- Cloth carry bag included
The PreSonus AudioBox USB 96 is available immediately for $99.95; here are the details. The PreSonus AudioBox 96 Studio is available immediately for $199.95; here are those details.Leave a Comment
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|Earthworks Debuts CTF Tabletop Gooseneck MicrophonesEarthworks has introduced the CTF tabletop gooseneck microphones with integrated base designed for conferencing and speech applications. This integrated solution provides the flexibility of temporarily placing the microphone on a table for ad-hoc meeting spaces or permanently affixing it to a surface.
Spec’d at a flat frequency response and near-perfect cardioid polar pattern, the CTF microphones deliver speech intelligibility and reliable coverage for speakers. And, RF shielding is incorporated into the microphone’s electronic design to prevent interference from cell phones and other electronic devices.
The low profile base measures just 4.1 inches in diameter and comes with a 10 feet (3.04-meters) cable with XLR-3M attached, which is designed to exit from the side or bottom of the microphone base. Mounting holes are included on the microphone base to make it possible to permanently affix the microphone to a flat surface. The XLR can be removed, allowing the cable to run through a small hole in the table surface for permanent installation, providing a low profile and elegant miking solution. Available with 10 or 12 inch rigid center goosenecks and a black finish, the primary applications for the CTF10 and CTF12 include conference rooms, boardrooms, classrooms, lecterns and houses of worship.
The will ship in August and here are the specs.Leave a Comment
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|Christie Launches New Access Series of LCD panelsProviding what Christie says is commercial-grade quality at consumer-based pricing, the new Christie Access Series of LCD panels feature 4K UHD resolution (3840×2160) and USB playback in a flexible package. Debuting at InfoComm 2017, designed for meeting rooms and retail applications, all four panels feature an OPS slot and with the optional touch overlay, the Access Series provides an interactive solution.
The Christie Access Series includes 55- and 65-inch models designed for 16/7 operation. For customers looking for a larger display, both portrait and landscape mode, and 24/7 run times, Christie Access Series offers 75 and 86-inch models, which are perfect for high-use settings like hotel lobbies, airport terminals and mission-critical environments such as control rooms.
The Christie Access Series panels are here.Leave a Comment
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|Audio-Technica Debuts ATDM-0604 Digital SmartMixer|Audio-Technica is debuting its ATDM-0604 Digital SmartMixer. Featuring echo-canceling and flexible web remote functionality, the ATDM-0604 is a six-channel automatic mixer ideal for meetings, conferences, soft codec applications, courtroom proceedings, radio and TV broadcasts and other applications involving the use of multiple microphones or other media inputs.
Audio-Technica’s SmartMixer technology allows channels to be mixed automatically in gate or gain sharing mode, ensuring consistent, high-quality audio output from all inputs in a setup, without the introduction of feedback, excessive ambient noise, or comb filtering. Controls and LED indicators on the mixer’s front panel allow users to easily adjust input/output and gain levels, set and recall presets, turn on/off phantom power, low-cut filter, automatic mixing and acoustic echo cancellation (AEC), change IP configuration (Auto or Static) and more. A full complement of digital signal processing is available for inputs and outputs including parametric EQ, compressor, limiter and feedback control. Control and monitoring tools are accessible locally on the front panel or via the Web Remote interface, which allows users to handle the aforementioned adjustments from a Windows-based PC, Mac, iOS or Android device, plus make additional changes to the input and output settings, select gate or gain sharing mode when using Smart Mix, and adjust other advanced settings.
The mixer is equipped with four balanced microphone inputs, two balanced mic/line inputs and one unbalanced stereo input, along with two balanced and two unbalanced outputs. Network (Cat5e or better) and USB ports are also included, as are A/B Audio-Technica Link ports that let users connect six ATDM-0604 mixers via Cat5e cable for simultaneous use within an expanded setup.
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- Four balanced mic inputs, two balanced Mic/Line inputs and one stereo unbalanced input
- One stereo and two mono outputs
- Two channel USB audio interface for soft codec (Skype, WebEx) integration or playback from computer
- Full digital processing on inputs and outputs
- 8 x 3 audio routing matrix
- Six-channel Smart Mix (gate or gain sharing)
- Onboard acoustic echo canceler (AEC) processing
- Front panel direct operation and Web Remote functionality
- IP control for third-party CCS administration
- Up to six mixers can be linked using Cat5e cable
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|LG Debuts 88-Inch Stretch Display and 55-Inch Ultra Bright MonitorLG Electronics USA Business Solutions today launched an 88-inch Ultra Stretch and 55-inch Ultra-Bright Video Wall digital signage displays. The 88-inch LG Ultra Stretch (model 88BH7D) — joins the 86-inch Ultra Stretch to offer an expanded portfolio of displays from LG that address an array of installation needs. The new 700-nit display measures over seven feet long and nearly two feet wide and features an incredible 32:9 aspect ratio for excellent image quality in a variety of commercial applications.
The 88BH7D supports content in Ultra HD (3,840×1,080) resolution and up to four picture by picture divisions for dynamic images and flexible display possibilities. For added convenience, the 88BH7D features a built-in system-on-a-chip for seamless synced playback — eliminating the need to install PCs or media players to drive the content on each display. Users may also edit content through SuperSign Premium, which distributes and syncs content to the display’s playlist without the use of another device.
LG Ultra Stretch displays are flexible in installation — acting as a stand-alone display, layered together for an artistic video wall or installed in a square pillar to create a 360-degree video wall column. The displays can also be daisy chained together to create a 4×4 tiled installation, allowing for larger, more robust content expression. The 88BH7D’s eye-catching design is perfect for clothing or cosmetic store displays, wayfinding, airport flight information display, hotel signage, museum displays, QSR menu boards and behind-the-counter displays.
The new 55-inch LG Ultra-Bright video wall display features a 3.5-mm bezel-to-bezel width and is three times brighter than conventional solutions. With 1,500 nit peak brightness and a high-performance system-on-a-chip, the new display (model 55VX1D) offers image quality and high brightness necessary to grab customers’ attention from distances near or far, even in brightly lit areas.
With each display having 1920×1080 Full HD resolution, a 2×2 array creates 4K Ultra HD images. Utilizing LG’s In Plane Switching technology, the display produces accurate and consistent colors from virtually any viewing angle and contains fast liquid crystal recovery properties that prevent display blurring and flashes when touched.
The 16:9 video wall’s Temperature Sensor enables it to function without blackening defects after being exposed to direct sunlight, temperatures as high as 230 degrees Fahrenheit or humidity levels between 10 and 80 percent. With conformal coating that protects against dust, iron powder and humidity, the 55VX1D display is built with long term-reliability for superior usage in already-bright spaces.
End users can also distribute control commands across connected display panels within the video wall through LAN daisy chain, maximizing display content. Even more, the video wall’s ultra-narrow bezel offers a sleek design that fits easily and blends seamlessly into window-facing retail, transportation and wayfinding installation environments.
The 55VX1D is the latest addition to LG’s line of narrow bezel displays. The ultra-bright video wall joins the VH7B and brand-new VM5B and VM5C models, which feature 1.8mm bezel to bezel widths for maximum content expression.
Here are the details.Leave a Comment
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|RCF Introduces MZ8060 8×6 Matrix MixerRCF just introduced the MZ8060, an 8×6 digital audio matrix mixer built on the company’s RDNet DSP platform. RDNet is a proprietary protocol for RCF loudspeaker products that provides dedicated networking software that makes is possible to control and monitor all system components and parameters. The DSP allows for configurable system programming including room combining, automatic level control, along with all audio input and output criteria including EQs, gates, compressors, limiters, delays, priorities and levels.
The MZ8060 features eight universal mic/line inputs with six balanced outputs along with 10 programmable logic inputs and six programmable logic outputs. In addition it includes these features:
- Eight universal mic/line inputs with 48V phantom power and audio processing
- Six hi-level routable balanced outputs with audio processing
- 10 programmable logic inputs (GPI), six programmable logic outputs (GPO)
- 40-bit floating point processing DSP and 48 kHz 24-bit HI-Q Analogue/Digital Conversion, dynamic range > 112 dB.
- Configurable parametric EQs, gates, compressors, limiters, delays, priority levels, automatic gain control, levels, gains on in-out and cross points, auto-mixer operation.
- Room Combiner — each unit can work as a dual-room combiner with independent auto-mixer facility for each room.
- Configurable ALC (Automatic Level Control) by using Input 8 to connect a noise detection microphone.
- The control is then assignable to any output or group of outputs.
- Serial port for control
- USB connectivity on the front panel
- Linkable – Allows for two units to be linked in master/slave configuration to create a 16-input, 12-output matrix
- Compact one-rack unit design
- Up to 12 BM 3003 mics can be daisy-chained to the system via dedicate RJ45 port
Here are all the detailed specs.Leave a Comment
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|AJA Ships Ki Pro Ultra Plus|
AJA Video Systems is now shipping Ki Pro Ultra Plus, its new multi-channel recorder with one-, two-, three- or four-channel simultaneous HD recording up to 1080 50/60p or in single-channel mode, 4K/UltraHD/2K/HD recording and playback, with full HDMI 2.0 input and output (up to 12-bit capture and output).
Originally unveiled at NAB 2017, Ki Pro Ultra Plus captures 4K/UltraHD and HD video to standard production codecs including Apple ProRes and Avid DNxHD MXF. Housed in a portable 2RU half-rack, it also offers I/O connectivity options from 3G-SDI to HDMI 2.0 and fiber. Users can record four channels of HD simultaneously as ProRes files, each with different compression profiles, to AJA Pak 1000, 512 or 256 SSD media, with eSATA options also available. Additionally, the channels can be displayed on Ki Pro Ultra Plus’ LCD screen as a quad-split during capture for confidence monitoring, which can also be output over HDMI, SDI, fiber and the device’s web-based UI.
Additional Ki Pro Ultra Plus feature highlights include:
- HDMI 2.0 support for full 4:2:2 and 4:4:4 capture/output at up to 4K/UltraHD 60fps
- 12-bit support on input for Apple ProRes 4444 and ProRes 4444 XQ encoding and HDMI 2.0 input and output
- Built-in Ki Protect technology to ensure recordings are secure
- Multi-channel audio support via embedded SDI or HDMI, AES/EBU and analog
- Web-based UI for remote monitoring, control and deployment in the field or in-studio
Ki Pro Ultra Plus is available now through AJA at a list price of $3,995. AJA Pak SSD media is available: AJA Pak256 $495, AJA Pak512 $995, AJA Pak1000 $1,495. Here are all the tech specs.Leave a Comment
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|ABCOMRENTS Adds Absen X5 5.2mm Outdoor LED Tiles to Its Technology Rental Fleet|
ABCOMRENTS has partnered with Absen to bring even more of their products to the U.S. rental market. One of the latest offerings is the Absen X5 LED Tile, a high quality, multipurpose, curvable LED wall tile that is unique in the technology rental industry. The partnership will continue to make innovative technology more accessible to the rental & staging industry nationally.
The partnership between Absen and ABCOMRENTS meets a strategic need for ABCOMRENTS whose customers have been expressing interest in more LED display rental offerings.
The Absen X5 LED Tile is the latest in indoor/outdoor LED wall rental solutions. These displays can be used to create a number of different types of video wall arrays for any event need. They work equally as well as extremely large video walls at concerts or outdoor festivals as they do on a smaller scale walls flying over a tradeshow booth. The tiles are customizable and easily configured. Features include:
- Extremely high brightness at 5000nits
- Smart locks, which make the tiles easy to connect, build, and dismantle regardless of display size.
- Fully sealed weatherproof LED tiles with convex or concave curvability.
- High resolution and adjustable brightness provide exceptional clarity in both indoor and outdoor settings.
The Absen X5 Tile has a pixel pitch of 5.2 mm. Each 500mm x 562.5mm x 94mm panel is lightweight, weighing just 10kg, thanks to aluminum alloy construction.Leave a Comment
ABCOMRENTS has been provider to the rental & staging industry since 1989. The company is here.
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|AVProConnect Claims 18Gbps 4×4 Matrix Switch for 4KThe new AVProConnect AC-MX44-AUHD is spec’d as an 18Gbps 4K60 4:4:4 4×4 matrix switch that features Toslink audio output support up to Dolby 7.1, DTS and LPCM and on-board audio delay control, for lip-synching TV video. This switch claims to equalize and amplify the output to ensure the HDMI signal can be transmitted through long HDMI cables without loss of quality. Built-in 1080p to 4K and 4K to 1080p scaling on each output allows for EDID management. Other features are:
- HDMI 2.0(a/b)
- Full HDR support (HDR 10 and 12-Bit color)
- Dolby Vision, HDR10+ and HLG support
- HDCP 2.2 (and all earlier versions supported)
- IR, RS232 and LAN control options
- Digital Toslink out (7CH PCM, DD, DD+, DTS, DTS-MA)
- Balanced analog out (2CH PCM)
- Audio delay for digital and analog out
- Support for Crestron, C4, RTI, ELAN and more
Here are the detailed specs.Leave a Comment
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|PreSonus Ships Ultra-High-Def Studio 2|6 and 6|8 Interfaces|
PreSonus is now shipping its Studio 26 and Studio 68 USB 2.0 audio/MIDI interfaces. Both interfaces record at up to 24-bit, 192 kHz resolution and feature PreSonus’ XMAX microphone preamps, audiophile-grade digital converters, ultra-low-jitter clocking, and MIDI I/O.
As with all PreSonus recording systems, Studio-series interfaces come with the company’s Studio One Artist DAW software and Studio Magic Plug-in Suite for Mac and Windows. The Studio Magic bundle includes seven popular plug-ins in VST, AU and AAX formats.
The Studio 26 2×4 bus-powered audio/MIDI interface features two front-panel combo mic and switchable line/instrument inputs with +48V phantom power for condenser mics. In addition to the L/R main outputs, you get two balanced line outputs for monitor mixing, while LED meters indicate input and output levels. A Cue Mix A/B function lets you toggle between two mixes while monitoring through headphones.
Designed for small studios, the Studio 68 six-in, six-out audio/MIDI interface sports two front-panel combo mic/line/instrument inputs and two rear-panel mic/line inputs. In addition to the L/R main outputs, you get two balanced line outputs for monitor mixing or speaker switching plus S/PDIF I/O. A Cue Mix A/B function lets you toggle between two mixes while monitoring through headphones — perfect for DJs and to listen in on a performer’s monitor mix.
Both PreSonus Studio-series audio/MIDI interfaces are available immediately and the Studio 26 is $199 while the Studio 68 is $299. All the details are here.Leave a Comment
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|VUE h-208 Loudspeaker DebutsVUE Audiotechnik debuted the next addition to its h-Class family of ultra-high-definition, full-range loudspeaker systems. The h-208 includes a custom-designed 3-inch diameter large-format compression driver that features a Truextent beryllium diaphragm and a powerful Neodymium magnet. VUE says this combination allows the HF unit to deliver dramatically better high-frequency extension and response linearity than more traditional aluminum or titanium-based designs. A precision engineered 70° x 45° (HxV) horn ensures predictable coverage.
The compression driver is joined by two custom-designed and manufactured 8-inch transducers. These transducers have large, 3-inch (75 millimeters) voice coils that increase power handling while minimizing losses due to power compression.
A 64-bit digital processor handles EQ, time alignment, crossover management, speaker protection, and complete SystemVUE network control and monitoring functions. A dual-channel, high-efficiency amplifier delivers 1600 watts LF, and 275 watts HF power long-term with more than 3,000 watts output. What’s more, the Class D design eliminates the need for noisy cooling fans, while a lightweight, fully protected, switch-mode power supply provides worldwide compatibility with universal mains operation from 85V to 260V.
All transducers and VUEDrive electronics are housed in a birch enclosure that includes integrated M10 hanging points as well as the h-Class’ distinctive, deep red multi-layered powder coated grill. A U-bracket yoke is provided as standard for easy installation and aiming. The h-208 also features a built-in stand mount for portable applications.
The h-208’s unique enclosure is the perfect marriage of form and function. Due to its low-profile design and rear-cabinet slant, the h-208 can be easily hung from the ceiling at steep angles while maintaining a very profile. The unique cabinet shape also allows the h-208 to serve as a high-output stage monitor for applications where stage depth is limited, but sound quality and output are critical.
Here are all the specs.Leave a Comment
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|Focusrite Debuts Audio Network Solutions at InfoCommAt InfoComm, Focusrite will debut new RedNet and Red audio network interfaces, designed for contractors and system integrators working in live sound, house-of-worship, corporate A/V, rental houses, municipalities and more, at its exhibition booth, #6560.
RedNet is the audio-over-IP solution, based around Audinate’s industry standard Dante protocol. It is composed of a suite of modular Ethernet audio interfaces. RedNet’s
The following RedNet interfaces, all featuring network and power redundancy, and for use in Dante audio-over-IP networks, are shipping:
- RedNet A16R: 16 channels of Dante-networked A-D and D-A conversion
RedNet A8R: Eight channels of Dante-networked A-D and D-A conversion
RedNet MP8R: Eight-channel remote-controlled mic pre and A/V
RedNet D16R: 16-channel AES3 I/O
RedNet D64R: 64-channel bridge between MADI and Dante Networks
RedNet HD32R: 32-Channel Bridge between Dante Networks and Pro Tools HD
RedNet PCIeR Card: RedNet PCI Express card with network redundancy, enabling ultra-low-latency audio and full track count
Focusrite will also be exhibiting its flagship Red interfaces:
- Red 4Pre (58 in/64 out Dante-enabled Thunderbolt interface)
- Red 8Pre (64 in/64 out Dante-enabled Thunderbolt interface)
Here are the details.Leave a Comment
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|beyerdynamic Intros the TG 500 Wireless System|
beyerdynamic, Inc will be debut the TG 500 at InfoComm in the Audio Pavilion, Booth 5775. The TG 500 is a wireless system that is value priced. It’s designed for performances on smaller stages, theatre productions, speeches or presentations.Leave a Comment
The beyerdynamic TG 500 system is available in five sets, each of which contains an individual receiver and two removable antennas. The TG 550 Vocal Set is supplied with the dynamic TG 500H-D handheld transmitter with a TG V50 capsule (dynamic capsule, cardioid) and is perfect for singing, whereas the TG 556 Vocal Set comes with a TG 500H-C handheld transmitter with a TG V56 capsule (condenser capsule, cardioid), making it a solution for presentations. There are matching microphone clamps for both handheld transmitters. The TG L58 clip-on microphone (condenser, omnidirectional) from the TG 558 Presenter Set can be worn in an inconspicuous position during lectures, while the TG 534 Headworn Set with a TG H34 neckworn microphone (condenser, supercardioid) is the perfect choice for theatre productions. Electric and bass guitars can be miked using the WA-CGI instrument cable (6.35 mm mono jack), which is part of the TG 510 Instrument Set.
With an operating range of up to 393 feet, the beyerdynamic TG 500 switching bandwidth is up to 40 MHz, and when all four frequency bands (518-548 MHz, 606-636 MHz, 794-832 MHz and 1.780-1.810 MHz) are used, up to 72 channels (18 compatible frequencies per band) can be operated simultaneously, thus making the TG 500 system suitable even for larger installations. Each of the five TG 500 sets is available for use in one of four frequency bands, so there are 20 different sets to choose from in total.
At the heart of every beyerdynamic TG 500 set is a receiver with a metal enclosure and a parametrised front panel. The frequency response of the system ranges from 45 to 15 kilohertz. A balanced XLR output and a balanced jack are provided as analogue audio ports. The individual receiver takes up a single height unit in the 19″ installation; the rack assembly kit supplied allows two 9.5″ devices to be installed in one rack.
A dual receiver in 19″ format (1 HU) featuring an integrated power supply and a built-in antenna splitter is also available within the TG series. The dual receiver supplies the antenna phantom power required for using remote antennas. Intermodulation-free transmission frequencies are also provided in preconfigured groups to ensure interference-free multi-channel operation. Frequencies can also be freely allocated. A scan function with automatic search provides assistance for system set-up. The integrated pilot tone function ensures interference-free transmission and gives a warning when the battery power is running low.
The handheld transmitters from the new TG 500 series can be switched between 10 mW and 50 mW. Settings are simple to configure on the receivers and are relayed to the transmitters by means of infrared synchronization. All transmitters are equipped with an LCD display. The handheld transmitters feature a mute button at thumb level on the microphone shaft, and the pocket transmitter has a programmable mute button on the top.
Here are all the specs.
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|LG Launches More Commercial-Grade 4K Resolution Desktop Monitors at InfoCommLG Electronics USA Business Solutions has added new 4K UHD and In-Plane Switching (IPS) commercial monitors to its portfolio of cutting-edge desktop monitors.LG’s new family of 4K UHD monitors – 43-, 32- and 27-inch class units (models 43MU79, 32MU99 and 27MU58P, respectively) – all are native 3840×2160 resolution.
The new 43MU79 monitor is one of the largest desktop monitors on the market. Featuring a 350-nit IPS panel it has a non-glare coating that reduces sun and light reflection on the display. The monitor’s built-in speakers use LG’s Rich Bass technology and a 10Wx2 Sound amplifier.
Available this month, the 43MU79 comes equipped with a tilt-adjustable stand and LG OnScreen Control Software including Screen Split, remote-controlled two or four Picture in Picture displays and My Display customizable presets. The monitor also comes with USB Type-C DP Alt Mode, and Display Port 1.2×1 and 4 HDMI ports, two of which support HDMI 2.0.
Joining the 43MU79 is the 32MU99, a 32-inch display that includes high dynamic range (HDR), an IPS panel that’s spec’d to display 95 percent of the DCI-P3 color space and H/W Calibration Feature Supported with True Color Pro Software and Color Modes. Featuring an ultra-thin 1.3-millimeter bezel, the 32MU99’s four-side “borderless” edges and “Slim Arc” height- and pivot-adjustable stand, USB Type-C interface as well as and HDMI and DisplayPort input.
LG also will debut a 27-inch (27MU58P) version of the IPS monitor later this year.
At InfoComm 2017, LG also will showcase 27- and 24-inch IPS monitors in both the BK75 and BK55 series. The borderless BK75 series monitors (models 27BK750Y and 24BK750Y) feature one thin bezel on the bottom of the panel. The 250-nit BK75 monitors can be daisy chained together to pivot and stack Full HD (1920×1080) content from up to four monitors onto one single display for digital signage column-like applications. BK75 series monitors offer near-zero standby power – 0.005 watts in DC off mode – increasing energy savings.
Here are specs on the 43” monitor. The other sizes are not on their website yet. But, when they are, they will be here.
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For all you REGULAR readers of rAVe Rental [and Staging] Edition out there, hopefully you enjoyed another opinion-packed issue!
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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.
Everything we publish is Opt-in — we spam NO ONE! rAVe ProAV Edition is our flagship ePublication with what we believe is a reach of virtually everyone in the ProAV market. rAVe HomeAV Edition, co-published with CEDIA and launched in February 2004, is, by far, the largest ePub in the HomeAV market. We added rAVe Rental [and Staging] in November 2007, rAVe ED [Education] in May 2008 and then rAVe DS [Digital Signage] in January 2009. We added rAVe GHGav [Green, Healthcare & Government AV] in August 2010 and rAVe HOW [House of Worship] in July 2012. You can subscribe to any of those publication or see ALL our archives by going to: http://www.ravepubs.com
To read more about my background, our team and what we do, go to http://www.ravepubs.comBack to Top
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rAVe Rental [and Staging] contains the opinions of the author only and does not necessarily reflect the opinions of other persons or companies or its sponsors.