Volume 11, Issue 8 — August 24, 2017
|Can AV Pull Off a 360?|
By Joel Rollins
If you have been to any of the major electronics shows this year, or even if you have only been looking at websites for the advance sales for the holiday season, it is pretty obvious that this year’s hot holiday gift will be VR equipment. All of the major gaming manufacturers, the major video manufacturers, the major telephone manufacturers, and the movie studios will be promoting virtual reality and virtual reality equipment. And along with head-mounted displays (HMDs) comes the most basic use of 360-degree viewing devices, 360-degree video.
As some of you may know, I have been working fairly extensively in VR and 360-degree video lately. All of this research and development has caused me to ask questions about how this technology will affect audiovisual, and especially the rental and staging market. The companies that are pushing this technology such as Google, Apple, Samsung and Facebook (just to name a few) have the capability of actually pushing cultural changes that cause our clients to adopt new technology. Twitter and Facebook have certainly affected our live meetings and devices like the Apple TV quickly made their way into corporate meeting rooms as soon as they were introduced at home. So it is inevitable that we will have to deal with these technologies in one way or another.
Live-streaming 360 degrees
Certainly, YouTube is already working to make the format popular, and many companies are beginning their first efforts at producing educational and podcast materials in 360 degrees. On top of that, there are now multiple ways to stream 360-degree video live, using YouTube, Facebook and many commercial carriers, in addition to any individual websites ability to stream or post 360-degree video. If you’ve taken a look at any of it, even using a device as simple as your phone and a $20 headset, you will quickly see both why it is attention-getting and that it will produce challenges both in the production and playback arenas.
Changes in technical coverage
Commonly speaking, 360-degree video is used to place the viewer in the position a viewer would be placed in if they were there physically. Most of the 360-degree video I’ve seen of meetings essentially places a camera in the front row of the audience so that the user can direct his view on stage, to outboard screens or even to look around the audience behind them, to see who might be entering through the rear doors. In the past, we have directed remote viewers attention by using multiple cameras with multiple vantage points, and the use of zoom optics. In other words, we have produced live meeting video for streaming in the same way we would produce a multi-camera recording of a live event. Streaming 360-degree video depends on picking a single location for camera that picks up in all directions, establishing directional audio to assist the viewer in locating events throughout the room, and structuring the meeting to remember that they will be directing their own attention like any other attendee. Sight-lines for this camera are much the same as sight-lines for any other audience member, and only a single camera is used at a time, in order to prevent the disorientation of being “teleported” to another location in the audience.
Changes in the meeting environment
So, the use of this technology implies giving it some thought when designing the meeting layout, attempting to place the 360-degree camera in the center of the action. Giving the remote viewer a front row seat is part of what streaming 360-degree video will be all about. Also, remember that because we are treating the 360 camera as an audience member, we can still use IMAG within the room, as the 360 viewer will be able to direct their attention to the IMAG and speaker support screens just as any other audience member would.
Obviously, recording 360-degree video from a live event or a meeting is not difficult provided you have a 360-degree camera there. More challenging will be the provision to the camera and recording system of appropriate directional audio from a large environment. My anticipation is that this will largely be done (at first) using standalone multi-directional microphones to provide audio to the 360-degree video recording, but that very quickly our audio engineers will figure out ways to utilize our normal on-site audio systems to also provide audio signals to the 360 recording.
The real challenge
We have yet to find out if this technology will take off for streaming live meetings. We certainly already do know that it is taking off for recording and that many companies are beginning to experiment with it, so we should be prepared for it.
The part I have not yet thought about (though perhaps some of you have) is how we will deal with recorded material and streamed material in 360 degrees when people want to use it as support in the local, live meeting. Certainly, we can utilize computer-based 360-degree players with mouse control to direct the important parts of that video to projection screens or video walls.
But I honestly do expect that some zany-eyed clients are going to want to attempt to do it by giving everybody in the audience a headset. I am saving several extra strength Tylenol for the day.Leave a Comment
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|Atlona Ships 4K HDR-Capable HDMI Audio De-Embedder and DownmixerAtlona is now shipping its new AT-HDR-M2C audio converter. Designed for commercial or residential playback of multi-channel source content via displays, distributed audio systems, and whole-house audio systems, the AT-HDR-M2C extracts, decodes, and downmixes multi-channel PCM, Dolby and DTS audio from HDMI sources. |
The AT-HDR-M2C delivers stereo downmixed audio over HDMI, analog unbalanced audio, and TOSLINK digital audio outputs. It also simultaneously passes through the HDMI input with no downmixing. The successor to Atlona’s popular AT-HD-M2C and AT-UHD-M2C-BAL, the AT-HDR-M2C is compatible with HDMI signals up to 4K/UHD at 60 Hz with 4:4:4 chroma sampling and supports HDR10 plus other HDR formats. The new audio converter is compatible with HDMI data rates up to 18 Gbps and is HDCP 2.2 compliant.
Compatible with current and emerging 4K/UHD and HDR sources and displays, the AT-HDR-M2C supports all video resolutions, audio formats – including all Dolby and DTS formats – and color spaces encompassed in the HDMI 2.0a specification, and can pass metadata for HDR content. The device can serve both surround-sound and two-channel audio systems from a multi-channel audio source, and can de-embed HDMI audio with or without being connected to a display or other HDMI destination.
Integrated EDID management features and audio volume, bass, and treble adjustments can be controlled through the device’s graphical web interface, third-party control systems, or the free Atlona Management System (AMS) network software platform. AMS enables systems integrators and users to set up, manage and monitor multiple Atlona solutions over a LAN, WAN or VPN.
The AT-HDR-M2C is $449.99. Here are all the details.Leave a Comment
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|Rugged TUFFCAT6A 10G RJ45 Cables Debut from Laird Digital Cinema|
Laird Digital Cinema recently added a Cat6A 10G tactical SF/UTP network cable featuring RJ45 connectors with heavy duty protection to their TUFFCAT cable series.
Designed for harsh conditions that require repeated connections and handling, the ruggedized CAT6A tactical cable is extra-flexible with a TPE jacket that withstands temperature extremes and terminates with RJ45 connectors that exceed 10-Gig performance standards. With integral latch protection and protective connector caps, Laird TUFFCAT6A cables are designed for HDBase-T and UHD-4K video transmission in punishing environments such as live events and OB trucks.
Here are the details.Leave a Comment
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|PreSonus Ships Quantum Thunderbolt Interface|
PreSonus is now shipping its Quantum Thunderbolt 2 interface. The 26 x 32-channel Quantum is the company’s fastest audio/MIDI interface, as it uses the Thunderbolt 2 bus and a direct-to-DAW signal path. Spec’d at 24-bit, 192 kHz converters with 120 dB of dynamic range and PreSonus’ recallable XMAX microphone preamps combine to deliver superb audio quality. For more I/O channels, you can stack up to 4 Quantum interfaces via Thunderbolt to create a monster 96 x 96 system.
The Quantum offers two combo mic/instrument/line inputs and six combo mic/line inputs, each with a digitally controlled XMAX preamp and +48V phantom power. You also get two ¼” TRS main outputs, the aforementioned eight ¼” TRS line outputs, and two independent headphone outs with dedicated volume controls. With ADAT Optical I/O and S/PDIF stereo digital I/O, you can have up to 18 additional digital inputs and outputs for a total of 26 in and 32 out. BNC word clock I/O ensures your Quantum and other digital audio devices operate in tight sync; and MIDI.
Designed to be the central hub for any recording studio, the Quantum offers two main and eight auxiliary balanced line-level outputs that are great for monitor mixing. An onboard talkback mic can be routed to any mix, and you can listen to any mix from either of two headphone amps. You also get Mute/Dim and Mono controls.
Here are all the tech specs.Leave a Comment
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|InFocus Intros Affordable Jupiter 1000 4K Wall Processor|
InFocus Corporation today announces its Jupiter Control 1000 Series, an entry-level range of 4K (3840×2160) display wall processors. Designed for smaller installations, Control 1000 processors come fully pre-configured as stand-alone display wall processors with hardware that can decode up to eight IP streams and support up to 10 direct video connections. InFocus Jupiter Control 1000 processors can be used as a stand-alone solution driving a single video wall or integrated into a fully networked enterprise solution that is managed by the Canvas platform, enabling robust collaboration between video walls, operators, ancillary displays and even mobile devices.
The Jupiter Control 1000 Series processors ship with Windows 10 and will run Windows applications directly on the processor. Capable of ingesting video and other visual information from any IP encoded source, direct video connection, or Windows 10 ready application, the Control 1000 also ships with the InFocus Jupiter Canvas 5.3 collaborative visualization software. Canvas 5.3 manages sources including live streams from network cameras and mobile devices, application screens from PCs, and real-time data feeds. Users can view, share, and annotate on the live feeds with remote colleagues working on a range of different devices, including smartphones, tablets, laptop, and desktop PCs, or in conference rooms equipped with InFocus CRS-4K endpoints.
The latest 4K video processor in the Jupiter product line, the Control 1000 is capable of decoding up to five non-HDCP 4K signals. It supports input signals with a 4K DVI input card that leverages a DVI-D dual-link connector. The Control 1000 Series video processors also support up to four non-HDCP 4K outputs on a single CPU chassis. Each 4K display has a resolution of 3840 x 2160 pixels per mini DisplayPort interface and onboard software decoding can decode any IP stream up to 4K HD resolution.
The InFocus Jupiter Control 1000 is available now. Here are the details.Leave a Comment
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|New Quad Wireless Receiver from AmpliVox Controls Up to Four MicrophonesAmpliVox Sound Systems has introduced a new microphone receiver system to manage up to four wireless microphones from a rack-sized unit.
The S9190 Quad Wireless Microphone Receiver System can be rack mounted for permanent applications or the used for rental or traveling applications. The 2RU roto-molded chassis houses four independent receivers that can be used simultaneously, each with 16 UHF channels of selectivity, audio and RF indicators, volume control and a balanced XLR connector with summed output.
The S9190 systems pairs with AmpliVox’s S1695 Wireless Handheld Mic or S1693 Wireless Headset and Lapel Mic Kits. The Quad Receiver can also be paired with the AmpliVox SW915 Digital Audio Travel Partner PA to connect up to seven wireless mics at once.
The receiver offers a range of 300 feet and is aimed at schools, universities, restaurants, bars, hotel conference rooms, convention halls, corporate boardrooms, churches and more.
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|PreSonus Ships StudioLive 24 Series III Digital Console/RecorderPreSonus’ new StudioLive 24 digital console/recorders are now shipping. Like all Series III consoles, StudioLive 24 features touch-sensitive, motorized faders, recallable XMAX Class A preamps, and the full 32-channel mix DSP under the hood.
With the StudioLive Series III mixers you can now do complete multitrack recording without a computer. PreSonus Capture multitrack recording software with virtual soundcheck is installed directly into the consoles, enabling you to record up to 34 tracks to the onboard SD recorder. When finished recording, open your Capture session in Studio One for Mac and Windows (included), and the entire mix scene will transfer to your Studio One session, including fader levels and Fat Channel settings. In addition, user layers for the channel faders let you place any channel, DCA master or bus fader anywhere you want. 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 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 4 fixed subgroups, StudioLive Series III consoles offer 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.
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 integrated with an entire suite of software. Mix wirelessly or over a wired network from anywhere using free UC Surface touch-control software for Mac, Windows, Android and iPad. Completely automate virtual soundchecks and record shows with Capture for Mac and Windows (included) — or record with Studio One (included) 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.
The StudioLive 32 comes with Studio One Professional, while the StudioLive 16 and StudioLive 24 come with Studio One Artist. With either version of this easy-to-use DAW, you can remote control any StudioLive Series III mixer’s recallable XMAX preamps and Fat Channel processing for low-latency recording with effects. To further enhance your productions, you also get the Studio Magic Plug-in Suitefor Mac and Windows, which includes seven popular plug-ins in VST, AU and AAX formats.
All StudioLive Series III models are available now: StudioLive 32, $2,999.95; StudioLive 24, $2,499.95; and StudioLive 16, $1,999.95. Here are the details.Leave a Comment
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|FOR-A Ships Newest in Line of HANABI Video Switchers, the HVS-490 HD/4K-UHD|
FOR-A’s is now shipping the latest solution in its line of HANABI video switchers, the HVS-490 HD/4K-UHD unit, originally introduced this year a NAB. Offering an extensive feature set in a compact unit, the new HVS-490 production switcher offers 4K-UHD and 3G capabilities, and is designed for use in any live environment, including mobile shoots, events and in-house corporate productions.
Thanks to its compact size, the affordable HVS-490 is ideal for mobile production or live event venues where space is limited but production quality is important. Event memory and macro functions make it easy to set the switcher up quickly for live performances. With integrated frame synchronizers and multi viewers, the HVS-490 reduces the amount of equipment required. Using multiple control panels, the system enables several operators to work on separate tasks. With use of optional input and output expansion cards, the HVS-490 supports 40 inputs/18 outputs, 36 inputs/20 outputs or 32 inputs/22 outputs, including two-channel HDMI outputs. In 4K-UHD, it allows 10 inputs/six outputs, nine inputs/six outputs or eight inputs/seven outputs. It also has 16 channels of 2.5 DVE as standard and can be optionally expanded to a maximum of 32 channels.
Building on the success of features offered in other units in the HANABI series, including the HVS-2000 and HVS-390HS, the HVS-490 includes MELite technology, eliminating the need for multiple switchers in a multi-monitor staging scenario, as well as FLEXaKEY, which allows a traditional AUX bus to transform into a functional Mix Effects with cuts, mix, wipes, keys and DVE including full preview. MELite extends the switcher’s 2 M/Es to 6 M/E performannce (in 4K-UHD, HVS-490 has 1 M/E + 1 MELite with optional HVS 49IO card) and is the building block for more easy-to-use features of the HVS-490, such as upstream and downstream transition effects.
FOR-A is offering the new HVS-490 switcher with two types of 2 M/E control panels: the HVS-492OU, which features a compact panel that has 18 buttons and the HVS-492WOU, which features a wide panel that includes 22 buttons.
All the specs are here.Leave a Comment
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|Key Digital Introduces Affordable Distribution Amplifiers With Support for UHD 4K60 4:4:4 SignalsKey Digital introduced today the KD-DA1x2, KD-DA1x4 and KD-DA1x8, three cost-effective distribution amplifiers that offer resolution support up to UHD 4K60 4:4:4. The KD-DA1x2, KD-DA1x4 and KD-DA1x8 provide one HDMI input to two, four or eight HDMI outputs, respectively. Key Digital says these distribution amplifiers were designed for a superior distribution system without signal degradation, offering the best in quality, performance and reliability while still remaining cost-effective
All three of these distribution amplifiers will support all SD, HD, VESA and Ultra HD/4K video standards including UHD/4K, 1080p/60, 1920×1200, 3D and support of HDCP 2.2 and HDR, with deep color support up to UHD/4K 30Hz 4:4:4/12 bits or 60Hz 4:4:4/8 bit.
With EDID Control, there is a built-in internal library with 15 EDID handshakes in addition to native EDID data of output/display one. The full buffer system manages TMDS re-clocking / signal re-generation, HDCP source and display authentication, Hot Plug Management and EDID Control handshake. Supported lossless compressed digital audio formats include Dolby TrueHD, Dolby Digital Plus, DTS-HD Master Audio and Dolby Atmos.
The specs for the KD-DA1x2 are here, for the KD-DA1x4 are here and KD-DA1x8 are here.Leave a Comment
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|Delvcam Intros Eight LCD 1RU Rack Monitor for 3G-SDIDelvcam just unveiled the new DELV-8LCD-SDI 1RU rack mounted monitor panel featuring eight 2-inch displays, each with one 3G-SDI input and one 3G-SDI output and multiple functions. |
With functions such as equalization and reclocking as well as on-screen audio meters, timecodes and UMDs, this eight LCD rack mounted monitor is designed of both live events and in-house production suites.
The LED backlit LCD monitors feature embedded audio meters, equalization, reclocking and a UMD character function. Each monitor has a 640×240 native resolution and includes DIP switches that activate audio meters and time codes to assist in audio/video production monitoring. Functions, including brightness and contrast, are controlled through a computer interface.
Here are all the detailed specs.Leave a Comment
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|TASCAM’s US-1×2 Interface Delivers Pro-Quality Mobile RecordingThe newest member of TASCAM‘s U.S. series of USB 2.0 recording interfaces, the US-1×2 delivers high-quality, 24-bit, 96 kHz desktop recording at an amazingly low price point. An excellent choice for singer/songwriters, podcasters and small home studios, the compact US-1×2 interface is highly portable and can be USB bus-powered for mobile operation with a Mac or Windows laptop. A secondary 5 VDC mini-USB power input is provided for iOS devices and for standalone operation in practice sessions.
The US-1×2 can record from virtually any source thanks to its selection of inputs. The unit’s XLR microphone input employs TASCAM’s high-end Ultra-HDDA mic preamp, which uses discrete components and features an impressive -125 dBu EIN rating and 101 dB signal-to-noise ratio, meaning the noise level is so low it’s almost inaudible. The Ultra-HDDA preamp’s 57 dB gain range and the interface’s switchable +48V phantom power make the US-1×2 a great choice for use with almost any type of microphone, including dynamic, condenser or ribbon mics.
Input 2 can be switched between front- and rear-panel jacks. The front panel sports a switchable, 1/4-inch line/instrument input that enables recording a mono line-level signal (say, from a synth or mixer) or capturing a guitar or electric bass without needing a direct box. On the unit’s rear, a pair of RCA line inputs admit signals from stereo consumer audio devices, such as tape decks and media players.
Stereo line-level outputs are provided on RCA connectors, and the line outputs and 1/4-inch stereo headphone output have independent output level controls. The headphone out is plenty loud, thanks to an 18 mW/channel amplifier. Front-panel LEDs indicate signal present, peak/clip, phantom power active, and USB active.
Zero-latency direct monitoring can be enabled with a rear-panel switch or in the included Settings Panel software for Mac and Windows. The Settings Panel also accesses the stereo/mono input monitor, input mute, and audio source output.
As with other US-series interfaces, the US-1×2 boasts an attractive industrial design. The new interface is housed in a black powder-coated metal chassis with TASCAM’s unique, detachable Bio-Cell side panels, which angle the interface from the desktop for easier access.
The US-1×2 is class compliant for macOS and is compatible with Windows PCs using an easily installed ASIO driver. You also can record and play back with iOS devices such as an iPhone or iPad, using an Apple Camera Connection Kit. Steinberg’s Cubase LE DAW for macOS and Windows and Cubasis LE DAW for iOS are included free so you can start recording immediately.
The US-1×2 USB audio interface is shipping for $99. Here are the details.Leave a Comment
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|Audio-Technica Ships New AT5047 Cardioid Condenser Microphone|
Audio-Technica is now shipping its new AT5047 Cardioid Condenser Microphone. An addition to the company’s 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’s equipped with a transformer-coupled output, so the microphone maintains a constant load output impedance, even when capturing sources at extreme SPL.
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 superior isolation.
Other AT5047 specifications include:
- 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 percent 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 three-pin XLRM-type
- Accessories furnished: AT8480 shock mount for 5/8″-27 threaded stands; 3/8″ to 5/8″ stand adapter; protective carrying case
The AT5047 is shipping for $3,499. Here are the detailed specs.Leave a Comment
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|Galaxy’s Launches TQ8 Portable All-In-One PA|Galaxy’s new TQ8
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is a spec’d as a 150-watt portable PA with mixing, wireless and a long battery life. With an 8-inch woofer and a wide-dispersion HF horn with 1-inch compression driver. Two wired mic/line inputs complement a music system with an SD card slot, USB connector, left/right audio connections and Bluetooth compatibility for use with a phone or iPod source. One or two optional wireless mic receivers work with Galaxy’s hand-held or body-pack wireless microphones and expand the TQ8’s applications while eliminating mic cable issues.
The TQ8’s operation makes it easy to mix and control all of these sources with individual and master volume and 3-band equalization to optimize sound quality and voice clarity. A useful voice priority feature (with on/off switch) automatically ducks the music source when someone speaks into any microphone.
The TQ8 is light weight and portable with a carrying handle and may be AC powered or operated from its internal battery for up to 24 hours of continuous use. A standard pole socket allows stand mounting for larger groups.
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|Ocean Matrix Intros Four Problem Solving AV Interfaces|
Ocean Matrix just released four new ProAV and HomeAV adapters including an audio extractor, an audio embedder, an Ethernet to fiber converter and an HDBaseT HDMI extender.
The OMX-HDMI2-AEE 4K HDMI 2.0 Audio Extractor and Embedder extracts audio signals from an HDMI source and allows simultaneous S/PDIF (Toslink) and stereo (3.5mm) analog and digital output. This device can also embed external stereo analog or digital S/PDIF into the outgoing HDMI signal.
The OMX-HDMI-BASET HDBaseT HDMI Extender supports sending 1080p HD signals with embedded audio up to 300 feet over a single Cat5e/6/6a/7 cable. The HDBaseT technology based extender transports signals via network cables for point-to-point and multiple-point connections.
The OMX-E2F 100Base-T Fast Ethernet to SC Fiber Converter transmits up to 12 miles over singlemode SC fiber and protects the signal from electromagnetic interference(EMI). This converter can also be used for fiber to UTP signal conversion.
The OMX-HDMI-EPOE Extender sends 1080p HDMI over CAT6/6A/7 cables up to 110 feet with (this is their claim) zero latency and includes EDID management and IR control. The system’s POE transmitter sends AV signals and power through the receiver to the display on a single cable.
Of course, you can see all their products here.Leave a Comment
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|RHC’s Stagemaster Debuts Line of USB Adapters for Audio Applications|
StageMASTER has introduced three brand new USB Record/Play Adapters to its line of sound solutions. These adapters allow customers to plug directly into a computer without the need for additional driver/software installation.
The first of the three USB Record/Play Adapters is the SMA-USB-8GB-10. This product functions as two adapters in one, with an XLRF for analog to digital conversion and an XLRM for digital to analog out. This option also provides 8GB of on-board storage The SMA-USB-XLRF adapter converts an external microphone’s analog signal to digital, which can be accessed on a Mac or PC. The last addition is the SMA-USB-XLRM, which converts digital audio files from computers into professional balanced analog output for running into a mixer for live sound or recording applications.
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|Full Sail University Partners on AV Education With InfoComm Foundation The International Communications Industries Foundation (ICIF), a non-profit charitable and educational organization created by InfoComm International to support the audiovisual industry, is partnering with Full Sail University to bolster the institution’s AV coursework.
Full Sail University is an educational leader for students pursuing careers in entertainment, media, arts and technology, offering programs online and on campus in Winter Park, Fla. Its philosophy centers on recognizing the value in creative thinking and the importance of hands-on experience. Full Sail University is a longtime member of InfoComm. In past years, InfoComm has hosted special sessions and exhibit floor tours for students at its annual North America show. It is both organizations’ goal to develop a formalized partnership by bringing InfoComm curriculum into the classroom.
Among its creative offerings, Full Sail’s show production bachelor’s degree program focuses on the various components that go into creating concerts, live shows and corporate presentations, from lighting to sound design. The university’s recording arts bachelor’s degree program centers on live music production and audio post-production. Through this partnership, both programs will now offer InfoComm’s Essentials of AV Technology course, Certified Technology Specialist™ (CTS) Prep course and exam and AV Technologist exam. In addition, Full Sail students will have free access to attend InfoComm’s North America show and can attend three workshops free while there.
“A substantial portion of our show production and recording arts students enter the job market working for corporate production and AV companies, so we’ve added AV-heavy courses to our program,” said Mark Johnson, program director, show production/event production, Full Sail University. “We recognize the value of InfoComm’s CTS certification; our students will benefit greatly by having a certification respected worldwide by companies hiring AV professionals.”
“Full Sail and its faculty are very connected to the AV industry and committed to providing its students with AV education. Offering students the opportunity to earn a professional certification prior to graduation will enable them to enter the workforce better prepared,” said Betsy Jaffe, executive director, ICIF, and senior vice president of member services, InfoComm International. “With this partnership, Full Sail University and InfoComm are aiming to bridge the gap between education and career. In addition to taking professional education courses in AV, they will attend the largest AV industry trade show in North America and network with professionals working in the field.”
Full Sail University joins a group of 11 other educational institutions ICIF has partnered with to bring AV education into the classroom, including Benjamin Franklin Institute of Technology in Boston, Downey Unified School District in Southern California, Columbia College in Chicago, Valencia College in Orlando, Bogotá public schools in Colombia and more. For additional information on the foundation’s workforce development, go here.Leave a Comment
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|ABCOMRENTS Debuts Indoor 2.6mm X2v Absen LED Tile For Rental And Resale|ABCOMRENTSLeave a Comment
, a provider of IT and digital signage solutions, has expanded their inventory once again. The company has added the latest Absen LED tile: the indoor 2.6mm X2v from Absen’s Mobile Indoor/Outdoor Xv-series. ABCOMRENTS purchased 4,000 of the X2v tiles, with 2,000 available by August, the balance due in by September. They are available for both rental and resale.
Designed specifically for the rental and staging industry, Absen’s Xv-series sets a new standard for modular LED tiles. The unique 500×562 pixel size and 2.6mm pitch means each tile provides true HD clarity allowing for native 16:9 content design and application.
The individual Xv-series tiles have an 8:9 aspect ratio and 192×216 resolution allowing for the industry-standard 16:9 aspect ratio to be matched to any wall size consisting of an even number of columns. The new sizing structure eliminates the need for content to be stretched, distorted, or cropped to fit the screen size. Like other Absen tiles, the indoor X2v tiles can be curved. Integrated latches and custom brackets provide easy concave or convex curving up to five-degree increments. The tiles are suitable for indoor applications that range from concerts and touring, staging and production, to corporate and tradeshow/exhibit needs. You can find them here.
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|Mackie Thump Series Gets Redesign and Expanded LineupMackie just launched the redesigned Thump SeriesPowered Loudspeakers – Thump12A, Thump15A, Thump12BST, Thump15BST and Thump18S. Mackie says the new 13000W Thump Series delivers more power and reliability and add features like built-in mixers, speaker modes and more. Totally new for the Thump Series are two Thump Boosted models, the 12″ Thump12BST and 15″ Thump15BST.
The Thump Series is equipped with custom-designed, high-output woofers and 1.4″ titanium dome compression drivers plus an ultra-efficient amplifier design with Dynamic Bass Response technology and next-generation system protection. So when you need maximum performance and chest-pounding bass, Thump loudspeakers will always have the power on tap that you need.
The 1300W Thump12A and Thump15A feature a built-in two-channel mixer equipped with Vita preamps and Wide-Z technology that can easily handle mics, instruments and line level signals without any additional equipment or adjustments. Plus, with four application-specific speaker modes, you can optimize the system for your needs at the push of a button.
The Thump12BST and Thump15BST models include wireless control, linking, and streaming. They include a built-in 3-channel digital mixer that features two digitally controlled Vita+ preamps with Wide-Z technology, three-band EQ per channel with variable high-pass filters on Vita+ inputs, and six speaker modes. For convenient control and visibility, the back panel features a crystal clear, high-resolution color display showing channel metering, levels, EQ, and more.
With Thump Boosted you can pair your Bluetooth enabled device to a Thump Boosted speaker and stream music directly to your Thump system. In addition to back panel control, Thump Boosted gives you complete wireless control over everything using the Thump Connect app available for iOS and Android devices. Quickly access levels, EQ, meters, and configuration.
Thump Boosted loudspeakers can wirelessly link directly to each other at up to 100 meters for music streaming applications plus give you wireless control over the entire system via the Thump Connect app.
The Mackie Thump Series includes the 12″ Thump12A, 15″ Thump15A, 12″ Thump12BST, 15″ Thump15BST, and the 18″ Thump18S and will be available beginning in September. Sold individually, the US MSRP pricing is $419.99 for the Thump12A, $489.99 for the Thump15A, $559.99 for the Thump12BST, $699.99 for the Thump15BST, and $879.99 for the Thump18S.
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|DVEO Launches 4K Ultra HD H.265/HEVC Live Video Decoder & Server for Video Walls, Digital Signage & Production|
DVEO will demo its new H.265/HEVC 4K Ultra HD video player this week. The Mavio 4K IP/IP: HEVC Live Out can be used as a single channel live HEVC 4K Ultra HD (3840×2160 resolution) video player or a 4 channel Full HD (1920×1080 RESOLUTION) video player. It ingests HD or H.265 based 4K compressed video files on to its local hard drive via Gigabit Ethernet or a USB port. Output for UHD is delivered via the built-in HDMI port, with multiple output frame rates up to 30 fps.
The Mavio features a playlist scheduler and can be configured for ‘looping’ playback” so it’s designed for 4K HEVC video source for video walls, museums, sports arenas and concert venues, and 4K Ultra HD broadcast services.
The Linux based system ships with a one terabyte SSD. Systems with additional SSD or HDD storage or an optional RAID are available. Features include:
- Outputs: 4K Ultra HD (2160p) or four independent channels of Full HD (up to 1080p) on HDMI
- Supports multiple output frame rates up to 30 fps
- File to IP – playlist play out with schedules
- 10 bit output precision supports high dynamic range imaging (HDR)
- Real time decode and play back from compressed video files
- Up to 16 channels of embedded PCM or pre-compressed audio output
- Supports Dolby Digital and DTS passthrough
- Multi-viewer mode that combines 4 HD video as a single 4K Ultra HD output
- NewTek NDI enabled
- Convenient web browser user interface with proxy video display for monitoring during playback
- Playlist with looping option for continuous playback of multiple hours of Full HD/Ultra HD Video programs
- Includes playlist scheduler
- Vertical Ancillary Data output
- Test Pattern Generation
- Supports closed captioning
- Dual Ethernet port for content upload and video server management
- One gig Ethernet Interface
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|Point Source Audio Now Shipping New Microphones with Built-in Backup|
Point Source Audio (PSA) has announced it is now shipping the dual element microphones with built-in backup. The CO2-8WL Dual Lavalier Microphone and the EO-8WR Dual Earmount Microphone are patent pending and claim to be the world’s first fully redundant microphones with dual factory-matched elements.
The dual microphones incorporate matched frequency and sensitivity elements in a single housing to ensure consistent audio quality from either source. Two separate wire paths and discrete continuous connectors with no solder points help eliminate the possibility of interference and simplify cable management.
With a list price of $825 for the CO2-8WL Dual Lavalier and $926 for the EO-8WR Dual Earmount, the mics have omnidirectional pickup patterns, and offer 136 dB max SPL and IP 57 waterproof rating. The dual matched elements lead to hardwired terminations for use with Shure, Sennheiser and Lectrosonics wireless transmitters. Available in beige, brown or black, the CO2-8WL and EO-8WR also accept theatrical color markings for camouflaging.
The 6-foot mic cable splits approximately nine inches above connection to the body-pack to allow ample separation between the two transmitters. A slim line SLIDER clip, traditional alligator clip, and a color-matched windscreen come standard.
The CO2-8WL and EO-8WR specs are here.Leave a Comment
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|Ferrofish A32 Dante AD/DA Converter Ships|
Ferrofish announced that its new A32 Dante interface is now shipping. With a 368-channel capacity that supports AD/DA Dante, MADI and ADAT formats, the A32 Dante is designed for broadcast, live and installed sound environments.
With its Dante networking capability and support for MADI and ADAT formats, the Ferrofish A32 Dante works in professional broadcast environments, complex AV installations and live sound productions.
The A32 Dante supports 64 channels of MADI I/O, 32 channels of ADAT optical I/O and 32 channels of analog I/O. Any ADAT optical connector can be used alternatively as an S/PDIF or AES/EBU interface. With its AD/DA capacity, the A32 Dante is able to convert audio in groups of eight among any connected device. Further, the unit provides four TFT screens that permit complete control of levels and adjustments on the equipment.
The A32 Dante uses 24-bit, 192 kHz high-quality converters with analog gain switches. The gain of each channel can be separately adjusted in 0.5 dB steps, and the standard levels are switches in the analog domain.
The Ferrofish A32 Dante is shipping and costs $3,799. All the details are here.Leave a Comment
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|GLP JDC1 Hybrid LED Strobe Includes Pixel MappingGLP’s new JDC1 hybrid LED strobe creates a new class of strobe that goes way beyond the standard definition of a hybrid. Fundamentally, the JDC1 has been designed in three sections, which can be controlled independently or as a complete synchronized unit.
The fixture itself contains a traditional single tube element with an incredible clear, bright, white output, derived from 216 white LEDs, and then combines that with a surrounding, format-filling full face of RGB LED power, utilizing 1,320 high quality LEDs. Whether running independently, or together these elements offer the brightest output unit its class with retina burning output.
The two RGB plates can be divided into six separate ‘pixel’ sections on each plate and then operated with full pixel mapping control. This alone creates stunning effects, whilst the LED tube can pop through with high intensity flashes.
And, the JDC1 also allows pixel mapping of the LED tube, which is broken down into 12 individually addressable sections. This enables the tube to create incredible motion effects, either when forward facing or through shadow play behind a performer. Whilst the tube is operated in this mode, the RGB plates can give a solid background color to strengthen the effect.
Finally, along with working as a strobe light, both the tube and the RGB plates can be run continuously for high output blinder and wash light effects, which never reduce output or have thermal cut-out. With their wide beam angle, this allows for wide coverage of backdrops, stage areas or audience sections. And, JDC1 also offers dynamic movement, with a 16-bit, 185° tilt range, allowing you to place effects exactly where and when you want them to be — to derive the most possible power and impact.
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